Ensemble

SKU: LM.COR3300901

Composed by Bernard de Vienne. Classical: 20th Century (Contemporary). CD. Editions Henry Lemoine #COR3300901. Published by Editions Henry Lemoine (LM.COR3300901).

ISBN 3000033009015.

Comm e si... - Les instantanes - Votre Rilke - Ubuhuha - Les Identites remarquables.

Orchestra; Score (Full Score)

SKU: HL.243779

For Orchestra. Composed by Nico Muhly. Music Sales America. Classical. Softcover. Composed 2017. 50 pages. Duration 660 seconds. St. Rose Music #SRO100143. Published by St. Rose Music (HL.243779).

UPC: 840126953398. 12.0x16.5x0.135 inches. English.

Nico Muhly's It Remains To Be Seen was written in 2006 for for full Orchestra and has a duration of approximately 9 minutes. This work was originally written for the Boston University Tanglewood Institute''s 40th Anniversary Gala in July 2006. The piece begins with a chord identical to the one at the end of Stravinsky''s Firebird suite and proceeds into a series of charged nocturnal episodes. The piece is a nine-minute navigation of an excited, occasionally illuminated, dark road filled with arguing, cars, fragments of remembered music, and a constant, propulsive pulse.

Band Bass Clarinet, Bass Drum, Bassoon, Bongos, Brake Drum, Chimes, Clarinet 1, Clarinet 2, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn, Mallet Percussion 1, Mallet Percussion 2, Oboe, Percussion 1, Percussion 2, Percussion 3, Snare Drum and more. - Grade 2.5

SKU: CF.YPS217F

Composed by Zachary Cairns. Sws. Yps. Full score. 24 pages. Duration 4 minutes, 48 seconds. Carl Fischer Music #YPS217F. Published by Carl Fischer Music (CF.YPS217F).

ISBN 9781491156551. UPC: 680160915095. 9 x 12 inches.

Hope Remains Within was commissioned by and composed for the Mount Nittany Middle School 7th and 8th Grade Concert Bands. Having heard the students of Mount Nittany perform another work of mine, I was very excited when their director, Johanna Steinbacher, approached me about writing a piece specifically for them. I knew right away that I wanted to write something that would tie in with their non-music curriculum in some way, but I wasn't exactly sure how, or what. Johanna talked to some of her students and learned that, in 7th grade, the students spend a good deal of time studying mythology in their English class. In particular, two clarinet students mentioned how much they enjoyed the story of Pandora. As such, I decided to use that story as the basis of this composition. Hope Remains Within doesn't attempt to re-tell the story, event by event, in musical terms. Instead, my goal was to address what seems to be one of the central issues of the Pandora myth. Though there are some variations, we probably all know the basics as told by the ancient Greek poet Hesiod. Zeus decides to punish Prometheus for stealing fire from heaven and giving it to humans. He and the other gods create Pandora, a beautiful and deceitful woman, and they give her to Prometheus's brother Epimetheus as a bride. Pandora is herself given a jar (according to many sources, jar seems to be a more accurate translation for what we commonly call Pandora's box) which contained numerous evils, diseases, and other pains. Out of curiosity, Pandora opens the jar and releases all of these evils into the world. But one thing remains in the jar: hope. The issue of hope seems to be one of the big interpretive questions of the Pandora myth. Why does hope remain within the jar? Why doesn't it come out of the jar to help humanity? Is hope being held on a pedestal of some sort? Is hope deliberately withheld from humanity? Why was hope in the jar with all those evils in the first place? I'm not enough of a mythological scholar to claim to have definitive answers to those questions, but these are the questions that I've tried to engage from a musical perspective in Hope Remains Within. I encourage the students and listeners to consider their own ideas of what hope is, and where you can find your own hope when needed. Musically, Hope Remains Within draws one of its main themes from the Prometheus Symphony by Alexander Skryabin (Scriabin). The note sequence F-D-Gb -F, heard near Hope's beginning played by alto saxophones and chimes, comes from the opening measures of Skyrabin's work. Given the important role that Prometheus plays in the Pandora myth, this seemed like an appropriate musical gesture to quote. This Prometheus motive is varied throughout the course of the piece, and even provides closure at the end, recast in a major key. Additionally, I have tried to involve a manageable amount of chromaticism in this piece. I have worked from the key of Bb major, no doubt familiar to every student who has ever played an instrument in a band. But I have added three extra notes: Db, Gb, and Ab, which are drawn from the key of Bb minor. During the piece's slow opening, I have allowed these minor key pitches to mingle freely within the Bb major tonality, adding extra color and (I hope!) beauty. As the piece progresses, though, the tempo increases, and we lose sense of the Bb major key entirely, and these extra notes play a more important role. But finally, Bb major returns triumphantly and all the extra notes are gone, except for a brief memory near the very end. (Ok, there are a couple of E-naturals that sneak in there along the way. I couldn't resist.).
Hope Remains Within was commissioned by and composed for the Mount Nittany Middle School 7th and 8th Grade Concert Bands. Having heard the students of Mount Nittany perform another work of mine, I was very excited when their director, Johanna Steinbacher, approached me about writing a piece specifically for them. I knew right away that I wanted to write something that would tie in with their non-music curriculum in some way, but I wasn’t exactly sure how, or what. Johanna talked to some of her students and learned that, in 7th grade, the students spend a good deal of time studying mythology in their English class. In particular, two clarinet students mentioned how much they enjoyed the story of Pandora.As such, I decided to use that story as the basis of this composition. Hope Remains Within doesn’t attempt to re-tell the story, event by event, in musical terms. Instead, my goal was to address what seems to be one of the central issues of the Pandora myth. Though there are some variations, we probably all know the basics as told by the ancient Greek poet Hesiod. Zeus decides to punish Prometheus for stealing fire from heaven and giving it to humans. He and the other gods create Pandora, a beautiful and deceitful woman, and they give her to Prometheus’s brother Epimetheus as a bride. Pandora is herself given a jar (according to many sources, “jar” seems to be a more accurate translation for what we commonly call “Pandora’s box”) which contained numerous evils, diseases, and other pains. Out of curiosity, Pandora opens the jar and releases all of these evils into the world. But one thing remains in the jar: hope.The issue of hope seems to be one of the big interpretive questions of the Pandora myth. Why does hope remain within the jar? Why doesn’t it come out of the jar to help humanity? Is hope being held on a pedestal of some sort? Is hope deliberately withheld from humanity? Why was hope in the jar with all those evils in the first place?I’m not enough of a mythological scholar to claim to have definitive answers to those questions, but these are the questions that I’ve tried to engage from a musical perspective in Hope Remains Within. I encourage the students and listeners to consider their own ideas of what hope is, and where you can find your own hope when needed.Musically, Hope Remains Within draws one of its main themes from the Prometheus Symphony by Alexander Skryabin (Scriabin). The note sequence F-D-Gb -F, heard near Hope’s beginning played by alto saxophones and chimes, comes from the opening measures of Skyrabin’s work. Given the important role that Prometheus plays in the Pandora myth, this seemed like an appropriate musical gesture to quote. This Prometheus motive is varied throughout the course of the piece, and even provides closure at the end, recast in a major key.Additionally, I have tried to involve a manageable amount of chromaticism in this piece. I have worked from the key of Bb major, no doubt familiar to every student who has ever played an instrument in a band. But I have added three extra notes: Db, Gb, and Ab, which are drawn from the key of Bb minor. During the piece’s slow opening, I have allowed these minor key pitches to mingle freely within the Bb major tonality, adding extra color and (I hope!) beauty. As the piece progresses, though, the tempo increases, and we lose sense of the Bb major key entirely, and these extra notes play a more important role. But finally, Bb major returns triumphantly and all the extra notes are gone, except for a brief memory near the very end. (Ok, there are a couple of E-naturals that sneak in there along the way. I couldn’t resist.).

Band Bass Clarinet, Bass Drum, Bassoon, Bongos, Brake Drum, Chimes, Clarinet 1, Clarinet 2, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn, Mallet Percussion 1, Mallet Percussion 2, Oboe, Percussion 1, Percussion 2, Percussion 3, Snare Drum and more. - Grade 2.5

SKU: CF.YPS217

Composed by Zachary Cairns. Folio. Yps. Set of Score and Parts. 8+8+4+8+8+4+2+6+4+4+4+8+8 +8+8+6+6+6+4+6+4+2+2+4+6+ 10+24 pages. Duration 4 minutes, 48 seconds. Carl Fischer Music #YPS217. Published by Carl Fischer Music (CF.YPS217).

ISBN 9781491156544. UPC: 680160915088. 9 x 12 inches.

Hope Remains Within was commissioned by and composed for the Mount Nittany Middle School 7th and 8th Grade Concert Bands. Having heard the students of Mount Nittany perform another work of mine, I was very excited when their director, Johanna Steinbacher, approached me about writing a piece specifically for them. I knew right away that I wanted to write something that would tie in with their non-music curriculum in some way, but I wasn't exactly sure how, or what. Johanna talked to some of her students and learned that, in 7th grade, the students spend a good deal of time studying mythology in their English class. In particular, two clarinet students mentioned how much they enjoyed the story of Pandora. As such, I decided to use that story as the basis of this composition. Hope Remains Within doesn't attempt to re-tell the story, event by event, in musical terms. Instead, my goal was to address what seems to be one of the central issues of the Pandora myth. Though there are some variations, we probably all know the basics as told by the ancient Greek poet Hesiod. Zeus decides to punish Prometheus for stealing fire from heaven and giving it to humans. He and the other gods create Pandora, a beautiful and deceitful woman, and they give her to Prometheus's brother Epimetheus as a bride. Pandora is herself given a jar (according to many sources, jar seems to be a more accurate translation for what we commonly call Pandora's box) which contained numerous evils, diseases, and other pains. Out of curiosity, Pandora opens the jar and releases all of these evils into the world. But one thing remains in the jar: hope. The issue of hope seems to be one of the big interpretive questions of the Pandora myth. Why does hope remain within the jar? Why doesn't it come out of the jar to help humanity? Is hope being held on a pedestal of some sort? Is hope deliberately withheld from humanity? Why was hope in the jar with all those evils in the first place? I'm not enough of a mythological scholar to claim to have definitive answers to those questions, but these are the questions that I've tried to engage from a musical perspective in Hope Remains Within. I encourage the students and listeners to consider their own ideas of what hope is, and where you can find your own hope when needed. Musically, Hope Remains Within draws one of its main themes from the Prometheus Symphony by Alexander Skryabin (Scriabin). The note sequence F-D-Gb -F, heard near Hope's beginning played by alto saxophones and chimes, comes from the opening measures of Skyrabin's work. Given the important role that Prometheus plays in the Pandora myth, this seemed like an appropriate musical gesture to quote. This Prometheus motive is varied throughout the course of the piece, and even provides closure at the end, recast in a major key. Additionally, I have tried to involve a manageable amount of chromaticism in this piece. I have worked from the key of Bb major, no doubt familiar to every student who has ever played an instrument in a band. But I have added three extra notes: Db, Gb, and Ab, which are drawn from the key of Bb minor. During the piece's slow opening, I have allowed these minor key pitches to mingle freely within the Bb major tonality, adding extra color and (I hope!) beauty. As the piece progresses, though, the tempo increases, and we lose sense of the Bb major key entirely, and these extra notes play a more important role. But finally, Bb major returns triumphantly and all the extra notes are gone, except for a brief memory near the very end. (Ok, there are a couple of E-naturals that sneak in there along the way. I couldn't resist.).
Hope Remains Within was commissioned by and composed for the Mount Nittany Middle School 7th and 8th Grade Concert Bands. Having heard the students of Mount Nittany perform another work of mine, I was very excited when their director, Johanna Steinbacher, approached me about writing a piece specifically for them. I knew right away that I wanted to write something that would tie in with their non-music curriculum in some way, but I wasn’t exactly sure how, or what. Johanna talked to some of her students and learned that, in 7th grade, the students spend a good deal of time studying mythology in their English class. In particular, two clarinet students mentioned how much they enjoyed the story of Pandora.As such, I decided to use that story as the basis of this composition. Hope Remains Within doesn’t attempt to re-tell the story, event by event, in musical terms. Instead, my goal was to address what seems to be one of the central issues of the Pandora myth. Though there are some variations, we probably all know the basics as told by the ancient Greek poet Hesiod. Zeus decides to punish Prometheus for stealing fire from heaven and giving it to humans. He and the other gods create Pandora, a beautiful and deceitful woman, and they give her to Prometheus’s brother Epimetheus as a bride. Pandora is herself given a jar (according to many sources, “jar” seems to be a more accurate translation for what we commonly call “Pandora’s box”) which contained numerous evils, diseases, and other pains. Out of curiosity, Pandora opens the jar and releases all of these evils into the world. But one thing remains in the jar: hope.The issue of hope seems to be one of the big interpretive questions of the Pandora myth. Why does hope remain within the jar? Why doesn’t it come out of the jar to help humanity? Is hope being held on a pedestal of some sort? Is hope deliberately withheld from humanity? Why was hope in the jar with all those evils in the first place?I’m not enough of a mythological scholar to claim to have definitive answers to those questions, but these are the questions that I’ve tried to engage from a musical perspective in Hope Remains Within. I encourage the students and listeners to consider their own ideas of what hope is, and where you can find your own hope when needed.Musically, Hope Remains Within draws one of its main themes from the Prometheus Symphony by Alexander Skryabin (Scriabin). The note sequence F-D-Gb -F, heard near Hope’s beginning played by alto saxophones and chimes, comes from the opening measures of Skyrabin’s work. Given the important role that Prometheus plays in the Pandora myth, this seemed like an appropriate musical gesture to quote. This Prometheus motive is varied throughout the course of the piece, and even provides closure at the end, recast in a major key.Additionally, I have tried to involve a manageable amount of chromaticism in this piece. I have worked from the key of Bb major, no doubt familiar to every student who has ever played an instrument in a band. But I have added three extra notes: Db, Gb, and Ab, which are drawn from the key of Bb minor. During the piece’s slow opening, I have allowed these minor key pitches to mingle freely within the Bb major tonality, adding extra color and (I hope!) beauty. As the piece progresses, though, the tempo increases, and we lose sense of the Bb major key entirely, and these extra notes play a more important role. But finally, Bb major returns triumphantly and all the extra notes are gone, except for a brief memory near the very end. (Ok, there are a couple of E-naturals that sneak in there along the way. I couldn’t resist.).

Santorella Publications' proudly boasts our connection to some of the best studio players in the Los Angeles studio circuit. Each one of these great musicians, when they are not in a session or performing on a new movie soundtrack, is giving lessons to horn players of all ages. Santorella Publications is setting a new trend in the industry by making it possible for you to study with these talented professionals in a virtual world with Learn From A Pro. Nick Lane will walk you through all 23 lessons as if you're sitting in a studio by his side. If you went to Los Angeles and took 23 lessons, it would cost over $1,000.00. Now you can Learn "Trombone" From A Pro for only $12.95 and in the privacy of your own home. Whether you are an early beginner or an adult, here is your chance to fulfill that dream. Do something for yourself and learn to play today with Santorella's Learn From A Pro series. About your private instructor, Nick Lane Nick Lane has been active in the Los Angeles music scene for over twenty five years. He joined Maynard Ferguson's Band after graduating from Bostones Berklee College of Music and remained on the road for three years before moving to Los Angeles. He continued touring while based in L. A. with Rod Stewart, The Who and Tom Petty and The Heart Breakers. Nick Lane continues to perform with Etta James, Chicago, Shakira, Alejandro Sans and has even performed with Jennifer Lopez. Nick has also been featured in a special PBS broadcast about "the blues" with T-Bone Burnett. Nick remains active in the commercial recording fields for movies, television, commercials and has recorded with such Pop artists as; Macy Gray, Tim Mc Graw, Baby Face, Destiny's Child, The Offspring, The Wallflowers, Fast Ball, Green Day, No Doubt, Natalie Merchant, Everclear, Barbara Streisand and Joe Cocker. Nick has recorded with such Jazz artists as; Rick Braun, Jeff Golub, David Benoit, Dave Koz, Kombo, Greg Karukus and Warren Hill. Nick's popular "lounge jazz" CD performed with baritone saxophonist Greg Smith and an organ trio is recorded on the Oakland Stroke Label.

Guitar

SKU: M7.DUX-898

Arranged by Werner Reif. Sheet music. 40 pages. Edition Dux Verlag #DUX 898. Published by Edition Dux Verlag (M7.DUX-898).

ISBN 9783868490015.

Mit Werken von Giovanni Maria da Crema, Alessandro Piccinini, Ambrosio Dalza, Marco Dall'Aquila, Francesco da Milano, Michelangelo Galilei, Vincenzo Capirola, Pietro Paolo Borrono.

Trombone (Trombone)

SKU: HL.48189621

Composed by Jean-Yves Remaud. Leduc. Softcover. Alphonse Leduc #NT18960Z. Published by Alphonse Leduc (HL.48189621).

Remaud Brebis 2 Trombones Book.

Trombone

SKU: HL.48189618

Composed by Jean-Yves Remaud. Leduc. Softcover. Alphonse Leduc #NT18930Z. Published by Alphonse Leduc (HL.48189618).

UPC: 888680885335. 8.25x12.0x0.17 inches.

Remaud Berna En Do Trombone Solo Book.

Cello

SKU: HL.48189680

Composed by Jean-Yves Remaud. Leduc. Softcover. Alphonse Leduc #NT20300Z. Published by Alphonse Leduc (HL.48189680).

UPC: 888680834036. 8.25x12.0x0.46 inches.

Remaud Pol'in Cello Solo Book.

Trombone

SKU: HL.48189626

Composed by Jean-Yves Remaud. Leduc. Softcover. Alphonse Leduc #NT19020Z. Published by Alphonse Leduc (HL.48189626).

UPC: 840126902068. 8.25x11.75 inches.

Remaud Entre Aube Et Loire 2 Trombones Book.

Trombone

SKU: HL.48189620

Composed by Jean-Yves Remaud. Leduc. Softcover. Alphonse Leduc #NT18950Z. Published by Alphonse Leduc (HL.48189620).

UPC: 888680885434. 8.25x12.0x0.16 inches.

Remaud Steph En Mi Trombone Solo Book.

Trombone

SKU: HL.48189617

Composed by Jean-Yves Remaud. Leduc. Softcover. Alphonse Leduc #NT18920Z. Published by Alphonse Leduc (HL.48189617).

UPC: 888680885328. 8.25x12.0x0.16 inches.

Remaud Tron Trom Trombone Solo Book.

Trombone

SKU: HL.48189619

Composed by Jean-Yves Remaud. Leduc. Softcover. Alphonse Leduc #NT18940Z. Published by Alphonse Leduc (HL.48189619).

UPC: 888680885410. 8.25x12.0x0.15 inches.

Remaud Cel'in De Re Trombone Solo Book.

Trumpet

SKU: HL.48189679

Composed by Jean-Yves Remaud. Leduc. Softcover. Alphonse Leduc #NT20290Z. Published by Alphonse Leduc (HL.48189679).

UPC: 888680842680. 8.25x12.0x0.15 inches.

Remaud Oiseau Trumpet Or Cornet Solo Book.

Trombone

SKU: HL.48189676

Composed by Jean-Yves Remaud. Leduc. Softcover. Alphonse Leduc #NT20260Z. Published by Alphonse Leduc (HL.48189676).

UPC: 888680833923. 8.5x12.0x0.25 inches.

Remaud Pepere Trombone Solo Book.

Tuba

SKU: HL.48189675

Composed by Jean-Yves Remaud. Leduc. Softcover. Alphonse Leduc #NT20250Z. Published by Alphonse Leduc (HL.48189675).

UPC: 888680833916. 8.25x12.0x0.013 inches.

Remaud Tuba Cool Tuba Or Saxhorn Book.

Trumpet

SKU: HL.48189678

Composed by Jean-Yves Remaud. Leduc. Softcover. 1 pages. Alphonse Leduc #NT20280Z. Published by Alphonse Leduc (HL.48189678).

UPC: 888680842697. 8.25x12.0x0.19 inches.

Remaud En Tromb Trompette Ou Cornet Seule Trumpet Solo Book.

Tuba

SKU: HL.48189656

Composed by Jean-Yves Remaud. Leduc. Softcover. Alphonse Leduc #NT19710Z. Published by Alphonse Leduc (HL.48189656).

UPC: 888680833152. 8.5x12.0x0.019 inches.

Remaud Chocs Tuba Ou Saxhorn Bb Seul Tuba Or Saxhorn Book.

Trombone

SKU: HL.48189677

Composed by Jean-Yves Remaud. Leduc. Softcover. Alphonse Leduc #NT20270Z. Published by Alphonse Leduc (HL.48189677).

UPC: 888680833961. 8.25x12.0x0.16 inches.

Remaud Pouc'7 Trombone Solo Book.

Violin - difficult

SKU: HL.49018020

Violin Solo. Composed by Heinz Holliger. This edition: Saddle stitching. Sheet music. String Solo. Classical. Softcover. Composed 2000/2009. 4 pages. Duration 2'. Schott Music #VLB141. Published by Schott Music (HL.49018020).

ISBN 9790001168533. UPC: 884088567149. 9.0x12.0x0.05 inches.

Like Holliger's standard work Trema (a piece made up of theme, tremolo and breathing), Souvenirs tremaesques too can be played by various instruments of the string family. After the original version for viola (VAB 67) Schott now publishes a version for violin which will soon be followed by a version for violoncello.

SKU: HL.48189682

Composed by Jean-Yves Remaud. Leduc. Softcover. 14 pages. Alphonse Leduc #NT20320Y. Published by Alphonse Leduc (HL.48189682).

UPC: 888680834098. 8.25x12.0x0.85 inches.

Remaud Alto Feu Violin Viola Or Cello & 4 Trombones Score/Parts.

By Martin Bresnick (1946-). For cello, piano. 24 pages. Duration 14 minutes, 30 seconds. Published by Carl Fischer

Horn and piano - Grade 2

SKU: ND.HORN21

Composed by Stache. Arranged by Rema. Horn. Published by Edition Andel (ND.HORN21).

Alto saxophone and piano - Grade 2

SKU: ND.SAXO103

Composed by Stache / Rema. Saxophone. Published by Edition Andel (ND.SAXO103).

4 trumpets or 2 trumpets, horn and trombone - Grade 1-2

SKU: ND.CHBS22

Composed by Rulst / Rema. Chamber music - brass. Quartet. Published by Edition Andel (ND.CHBS22).

by Mel Bay. For Guitar (All). method. Modern Guitar Method. All Styles. Level: Beginning. Book. Size 8.75x11.75. 48 pages. Published by Mel Bay Publications, Inc.

Arranged by Dan Woolpert and Michael Brown. 1st Brigade Band Series. Softcover. Published by Hal Leonard