| Gold-Rush Rag Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Manhattan Beach Music
Concert band - Grade 4 SKU: MH.1-59913-066-1 Composed by Stephen Kent Goo...(+)
Concert band - Grade 4
SKU:
MH.1-59913-066-1
Composed by Stephen Kent
Goodman. Suitable for
high school, community,
and college bands.
Conductor score and set
of parts. Duration 3:00.
Published by Manhattan
Beach Music
(MH.1-59913-066-1).
ISBN
9781599130668. The
discovery of the yellow
metal at Sutter's Mill in
California's Sacramento
Valley in 1849 was only
the beginning of
subsequent gold-rushes to
occur in the state.
Gold-Rush Rag was written
to commemorate all of the
California gold rushes
from past to present --
not only for the precious
metal, but for all the
opportunities that
California has offered.
This work is dedicated to
the Sacramento Valley
Symphonic Band, conducted
by Dr. Lester E. Lehr.
Ensemble instrumentation:
1 Piccolo, 6 Flutes, 2
Oboe 1-2, 2 Bassoon 1-2,
1 Eb Clarinet, 4 Bb
Clarinet 1, 4 Bb Clarinet
2, 4 Bb Clarinet 3, 1 Eb
Alto Clarinet, 3 Bb Bass
Clarinet, 4 Eb Alto
Saxophone 1-2, 1 Bb Tenor
Saxophone, 1 Eb Baritone
Saxophone, 3 Bb Cornet 1,
3 Bb Cornet 2, 3 Bb
Cornet 3, 2 Horn in F
1-2, 2 Horn in F 3-4, 2
Trombone 1, 2 Trombone 2,
2 Trombone 3, 3 Euphonium
BC, 2 Euphonium TC, 5
Tuba, 1 Bells, 2
Triangle/Tambourine, 3
Snare Drum/Bass
Drum/Crash Cymbals. $95.00 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Thom Yorke: The Eraser Music Sales
| | |
| Mount Rushmore for Chorus and Orchestra Chorale SATB SATB divisi, A Cappella Boosey and Hawkes
Choral Score. Composed by Michael Daugherty (1954-). BH Large Choral. Classica...(+)
Choral Score. Composed by
Michael Daugherty
(1954-). BH
Large Choral. Classical,
Contemporary. Softcover.
84
pages. Boosey and Hawkes
#M051097784. Published by
Boosey and Hawkes
$10.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Prairie Lullaby Orchestre à Cordes [Conducteur et Parties séparées] - Débutant Carl Fischer
Orchestra String Orchestra - Grade 1 SKU: CF.BAS5 Composed by Joseph Comp...(+)
Orchestra String
Orchestra - Grade 1
SKU: CF.BAS5
Composed by Joseph
Compello. SWS - FS. Carl
Fischer Beginning String
Orchestra Series.
Classical. Score and
Parts. With Standard
notation.
12+8+8+5+5+5+3+2 pages.
Duration 2:30. Carl
Fischer Music #BAS5.
Published by Carl Fischer
Music (CF.BAS5). ISBN
9780825845086. UPC:
798408045081. 8.5 X 11
inches. Key: D
major. The musical
effect of Prarie
Lullaby should be
graceful and serene,
evocative of a peaceful
night on the open plains.
To that end, players will
need to strive for an
unlabored rhythmic flow,
smooth bowing and a
clear, steady tone as
close to p as
possible. Beginning at
m.39, the violin and
viola parts are marked
pizzicato. If
young players are unable
to return quickly to
argo at m.53,
they may make the bow
preparation easier by
taking a full measure
rest at m.52. This option
is marked in the parts
and score. The divisi
notes at m. 69 are
provided for ensembles
which lack violas.
Ensembles with violas may
have them play the lower
notes while the second
violins play the upper
notes. Percussion, which
is completely optional,
should be very subdued.
Choose a bell mallet
which allows the tones to
be heard just above the
strings. the woodblock
part is intended to
imitate the clip-clop
sound of a horse's
hooves. Two different
sizes of woodblocks or
temple blocks are needed.
Finding two suitable
sounds on one woodblock
is difficult. Again, the
right mallets are very
important. The suspended
cymbal should be played
with brushes if the
string ensemble is small.
If the suspended cymbal
with brushes cannot be
heard above a large
number of strings, then
sticks should be used
instead. The percussion
part can be performed by
one player, provided the
instruments and mallets
are set up properly and
the player has the skill
to make the transitions
smoothly. Note the
optional rest at mm.
53-54. Performance time
with the repeat is two
and a half
minutes. The musical
effect ofA Prarie
LullabyA should be
graceful and serene,
evocative of a peaceful
night on the open plains.
To that end, players will
need to strive for an
unlabored rhythmic flow,
smooth bowing and a
clear, steady tone as
close toA p as
possible. Beginning at
m.39, the violin and
viola parts are markedA
pizzicato. If
young players are unable
to return quickly toA
argo at m.53,
they may make the bow
preparation easier by
taking a full measure
rest at m.52. This option
is marked in the parts
and score. TheA
divisiA notes at
m. 69 are provided for
ensembles which lack
violas. Ensembles with
violas may have them play
the lower notes while the
second violins play the
upper notes. Percussion,
which is completely
optional, should be very
subdued. Choose a bell
mallet which allows the
tones to be heard just
above the strings. the
woodblock part is
intended to imitate the
clip-clop sound of a
horse's hooves. Two
different sizes of
woodblocks or temple
blocks are needed.
Finding two suitable
sounds on one woodblock
is difficult. Again, the
right mallets are very
important. The suspended
cymbal should be played
with brushes if the
string ensemble is small.
If the suspended cymbal
with brushes cannot be
heard above a large
number of strings, then
sticks should be used
instead. The percussion
part can be performed by
one player, provided the
instruments and mallets
are set up properly and
the player has the skill
to make the transitions
smoothly. Note the
optional rest at mm.
53-54. Performance time
with the repeat is two
and a half
minutes. The musical
effect ofA Prarie
LullabyA should be
graceful and serene,
evocative of a peaceful
night on the open plains.
To that end, players will
need to strive for an
unlabored rhythmic flow,
smooth bowing and a
clear, steady tone as
close toA p as
possible. Beginning at
m.39, the violin and
viola parts are markedA
pizzicato. If
young players are unable
to return quickly toA
argo at m.53,
they may make the bow
preparation easier by
taking a full measure
rest at m.52. This option
is marked in the parts
and score. TheA
divisiA notes at
m. 69 are provided for
ensembles which lack
violas. Ensembles with
violas may have them play
the lower notes while the
second violins play the
upper notes. Percussion,
which is completely
optional, should be very
subdued. Choose a bell
mallet which allows the
tones to be heard just
above the strings. the
woodblock part is
intended to imitate the
clip-clop sound of a
horse's hooves. Two
different sizes of
woodblocks or temple
blocks are needed.
Finding two suitable
sounds on one woodblock
is difficult. Again, the
right mallets are very
important. The suspended
cymbal should be played
with brushes if the
string ensemble is small.
If the suspended cymbal
with brushes cannot be
heard above a large
number of strings, then
sticks should be used
instead. The percussion
part can be performed by
one player, provided the
instruments and mallets
are set up properly and
the player has the skill
to make the transitions
smoothly. Note the
optional rest at mm.
53-54. Performance time
with the repeat is two
and a half
minutes. The musical
effect of Prarie
Lullaby should be
graceful and serene,
evocative of a peaceful
night on the open plains.
To that end, players will
need to strive for an
unlabored rhythmic flow,
smooth bowing and a
clear, steady tone as
close to p as
possible. Beginning at
m.39, the violin and
viola parts are marked
pizzicato. If
young players are unable
to return quickly to
argo at m.53,
they may make the bow
preparation easier by
taking a full measure
rest at m.52. This option
is marked in the parts
and score. The divisi
notes at m. 69 are
provided for ensembles
which lack violas.
Ensembles with violas may
have them play the lower
notes while the second
violins play the upper
notes. Percussion, which
is completely optional,
should be very subdued.
Choose a bell mallet
which allows the tones to
be heard just above the
strings. the woodblock
part is intended to
imitate the clip-clop
sound of a horse's
hooves. Two different
sizes of woodblocks or
temple blocks are needed.
Finding two suitable
sounds on one woodblock
is difficult. Again, the
right mallets are very
important. The suspended
cymbal should be played
with brushes if the
string ensemble is small.
If the suspended cymbal
with brushes cannot be
heard above a large
number of strings, then
sticks should be used
instead. The percussion
part can be performed by
one player, provided the
instruments and mallets
are set up properly and
the player has the skill
to make the transitions
smoothly. Note the
optional rest at mm.
53-54. Performance time
with the repeat is two
and a half
minutes. The musical
effect of Prarie Lullaby
should be graceful and
serene, evocative of a
peaceful night on the
open plains. To that end,
players will need to
strive for an unlabored
rhythmic flow, smooth
bowing and a clear,
steady tone as close to p
as possible. Beginning at
m.39, the violin and
viola parts are marked
pizzicato. If young
players are unable to
return quickly to argo at
m.53, they may make the
bow preparation easier by
taking a full measure
rest at m.52. This option
is marked in the parts
and score. The divisi
notes at m. 69 are
provided for ensembles
which lack violas.
Ensembles with violas may
have them play the lower
notes while the second
violins play the upper
notes. Percussion, which
is completely optional,
should be very subdued.
Choose a bell mallet
which allows the tones to
be heard just above the
strings. the woodblock
part is intended to
imitate the clip-clop
sound of a horse's
hooves. Two different
sizes of woodblocks or
temple blocks are needed.
Finding two suitable
sounds on one woodblock
is difficult. Again, the
right mallets are very
important. The suspended
cymbal should be played
with brushes if the
string ensemble is small.
If the suspended cymbal
with brushes cannot be
heard above a large
number of strings, then
sticks should be used
instead. The percussion
part can be performed by
one player, provided the
instruments and mallets
are set up properly and
the player has the skill
to make the transitions
smoothly. Note the
optional rest at mm.
53-54. Performance time
with the repeat is two
and a half
minutes. The musical
effect of Prarie
Lullaby should be
graceful and serene,
evocative of a peaceful
night on the open plains.
To that end, players will
need to strive for an
unlabored rhythmic flow,
smooth bowing and a
clear, steady tone as
close to p as
possible.Beginning at
m.39, the violin and
viola parts are
marked pizzicato. If
young players are unable
to return quickly
to argo at m.53, they
may make the bow
preparation easier by
taking a full measure
rest at m.52. This option
is marked in the parts
and
score.The divisi no
tes at m. 69 are provided
for ensembles which lack
violas. Ensembles with
violas may have them play
the lower notes while the
second violins play the
upper notes.Percussion,
which is completely
optional, should be very
subdued. Choose a bell
mallet which allows the
tones to be heard just
above the strings. the
woodblock part is
intended to imitate the
clip-clop sound of a
horse's hooves. Two
different sizes of
woodblocks or temple
blocks are needed.
Finding two suitable
sounds on one woodblock
is difficult. Again, the
right mallets are very
important. The suspended
cymbal should be played
with brushes if the
string ensemble is small.
If the suspended cymbal
with brushes cannot be
heard above a large
number of strings, then
sticks should be used
instead.The percussion
part can be performed by
one player, provided the
instruments and mallets
are set up properly and
the player has the skill
to make the transitions
smoothly. Note the
optional rest at mm.
53-54.Performance time
with the repeat is two
and a half minutes.
About Carl
Fischer Beginning String
Orchestra
Series Thi
s series of Grade 1
pieces is designed for
first year string groups.
The pieces in this series
are characterized by:
- Limited parts
(often 2nd violin and
viola are the same part,
cello and bass are same
part)
- Limited
keys and rhythms - only
simple 8th note
patterns
- Limited
independence of
parts
- Playable
after limited study
time
- First
position and natural
bowings
- Piano for
rehearsal and
reinforcement
$50.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Heartfelt [Conducteur] Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Cabasa, Clarinet 1, Clarinet 2, E...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bells,
Cabasa, Clarinet 1,
Clarinet 2, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Flute 3, Horn 1,
Horn 2, Mallet
Percussion, Oboe,
Percussion 1, Percussion
2, Snare Drum, Suspended
Cymbal, Tambourine and
more. SKU:
CF.CPS271F Composed
by Chris Campbell. Full
score. 16 pages. Carl
Fischer Music #CPS271F.
Published by Carl Fischer
Music (CF.CPS271F).
ISBN 9781491164105.
UPC:
680160922895. Music
is what feelings sound
like is perhaps my
favorite maxim about
music. And I occasionally
like to take a
title—often a
single word—and
attempt to portray the
purest expression of the
feelings evoked by that
word that I can.Heartfelt
is probably my most
successful attempt in
this area. The quintuplet
rhythms in this piece
lend themselves
surprisingly well to the
emotional intent.
Following the lead set by
the trumpet soloist in
the timing of these
rhythms; the flutes and
clarinets soon echo the
sentiment. By the end of
the piece, the entire
wind ensemble has the
opportunity to lock in
the rhythm together (in
rehearsals, m. 50 might
be a good place to start
this process).My
recommendation is to just
try to feel it, as
opposed to attempting to
rush four eighth notes or
drag six sextuplet notes.
And if there are some
tears on some faces in
the audience by the end
of the piece, the
ensemble has definitely
done its job!Chris
Campbell. Music is
what feelings sound like
is perhaps my favorite
maxim about music. And I
occasionally like to take
a title—often a
single word—and
attempt to portray the
purest expression of the
feelings evoked by that
word that I can.Heartfelt
is probably my most
successful attempt in
this area. The quintuplet
rhythms in this piece
lend themselves
surprisingly well to the
emotional intent.
Following the lead set by
the trumpet soloist in
the timing of these
rhythms; the flutes and
clarinets soon echo the
sentiment. By the end of
the piece, the entire
wind ensemble has the
opportunity to lock in
the rhythm together (in
rehearsals, m. 50 might
be a good place to start
this process).My
recommendation is to just
try to feel it, as
opposed to attempting to
rush four eighth notes or
drag six sextuplet notes.
And if there are some
tears on some faces in
the audience by the end
of the piece, the
ensemble has definitely
done its job!Chris
Campbell. $13.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Heartfelt - Facile Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Cabasa, Clarinet 1, Clarinet 2, E...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bells,
Cabasa, Clarinet 1,
Clarinet 2, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Flute 3, Horn 1,
Horn 2, Mallet
Percussion, Oboe,
Percussion 1, Percussion
2, Snare Drum, Suspended
Cymbal, Tambourine and
more. - Grade 3 SKU:
CF.CPS271 Composed by
Chris Campbell. Set of
Score and Parts. Carl
Fischer Music #CPS271.
Published by Carl Fischer
Music (CF.CPS271).
ISBN 9781491163702.
UPC:
680160922499. Music
is what feelings sound
like is perhaps my
favorite maxim about
music. And I occasionally
like to take a
title—often a
single word—and
attempt to portray the
purest expression of the
feelings evoked by that
word that I can.Heartfelt
is probably my most
successful attempt in
this area. The quintuplet
rhythms in this piece
lend themselves
surprisingly well to the
emotional intent.
Following the lead set by
the trumpet soloist in
the timing of these
rhythms; the flutes and
clarinets soon echo the
sentiment. By the end of
the piece, the entire
wind ensemble has the
opportunity to lock in
the rhythm together (in
rehearsals, m. 50 might
be a good place to start
this process).My
recommendation is to just
try to feel it, as
opposed to attempting to
rush four eighth notes or
drag six sextuplet notes.
And if there are some
tears on some faces in
the audience by the end
of the piece, the
ensemble has definitely
done its job!Chris
Campbell. Music is
what feelings sound like
is perhaps my favorite
maxim about music. And I
occasionally like to take
a title—often a
single word—and
attempt to portray the
purest expression of the
feelings evoked by that
word that I can.Heartfelt
is probably my most
successful attempt in
this area. The quintuplet
rhythms in this piece
lend themselves
surprisingly well to the
emotional intent.
Following the lead set by
the trumpet soloist in
the timing of these
rhythms; the flutes and
clarinets soon echo the
sentiment. By the end of
the piece, the entire
wind ensemble has the
opportunity to lock in
the rhythm together (in
rehearsals, m. 50 might
be a good place to start
this process).My
recommendation is to just
try to feel it, as
opposed to attempting to
rush four eighth notes or
drag six sextuplet notes.
And if there are some
tears on some faces in
the audience by the end
of the piece, the
ensemble has definitely
done its job!Chris
Campbell. $80.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| 3. Sisters Chorale 3 parties SSA A Cappella Treble Clef Music Press
SSA, a cappella SKU: SU.80300153 For SSA, a cappella. Composed by ...(+)
SSA, a cappella SKU:
SU.80300153 For
SSA, a cappella.
Composed by Gwyneth W.
Walker. Vocal/Choral,
Secular Choral. A
cappella. Choral Octavo.
Treble Clef Music Press
#80300153. Published by
Treble Clef Music Press
(SU.80300153).
The most
percussive of the set,
this can't wait to do
this piece features
schoolyard-style
partnered handclap
patterns for singers in
pairs. That's in addition
to finger snaps, and
cymbal, brush, and
sticks-on-the-rim vocal
percussion effects, all
painting a lively picture
of the very same place
that you and me, sisters,
come from. 15 pages;
duration: 3:40 min.;
range: g to g;
difficulty: medium. SSA,
a cappella Published by:
Treble Clef Music Minimum
order quantity: 8
copies. $2.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Chase the Horizon Orchestre d'harmonie [Conducteur] - Facile Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Chimes, Clarinet 1, Clarinet 2, Crash Cy...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Chimes,
Clarinet 1, Clarinet 2,
Crash Cymbals, Euphonium,
Euphonium T.C., Flute,
Flute 2, Glockenspiel,
Horn, Mallet Percussion,
Oboe, Percussion 1,
Percussion 2, Snare Drum,
Suspended Cymbal,
Timpani, Trombone and
more. - Grade 2 SKU:
CF.YPS197F Composed
by John Pasternak. Young
Band (YPS). Full score.
With Standard notation.
20 pages. Carl Fischer
Music #YPS197F. Published
by Carl Fischer Music
(CF.YPS197F). ISBN
9781491152850. UPC:
680160910359. Chase
the Horizon is
a musical journey
depicting a lonesome
cowboy riding on his
horse, chasing the
horizon. Composer John
Pasternak has delivered a
strong and musically
rewarding piece for the
young band. It begins
with a nice legato
section before setting
off on the journey with a
tuneful theme. The piece
develops through several
contrasting sections
finishing in a dramatic
conclusion. This piece
is a story of new
beginnings. While writing
this piece I pictured a
lonely cowboy riding on
his horse, chasing the
horizon. The beginning
for this piece should
have a very legato feel
except for the Xylophone
part, which should use a
very abrupt, staccato
articulation. Measure 9
should take on a staccato
and light feel. The
feeling should remain
light except for the
instruments with the
melody, who should play
their parts with a more
legato feel. Dynamics
throughout this first
section are crucial. All
parts at m. 22 should
play with a legato style
with focus on the
dynamics. The trumpet
interjection at m. 25
should be played very
light. At m. 32 there
should be contrast with
all the different styles
of articulation. Measure
42 should not slow down
too quickly as the group
should not ever get
slower than the tempo
marking at m. 49.The slow
section at m. 49 should
be played soft with a
legato style growing
gradually through m. 61.
The articulation at m. 61
should be short and
staccato, and be careful
not to rush. The sections
with the melody here
should contrast the
staccato of the ensemble
with a legato style. When
the ensemble arrives at
m. 78 the piece should
have a maestoso-style
feel. The rit. at m. 88
should not become slower
than the tempo at m. 92.
At m. 92, let the
horns and saxophones
really shine through. $11.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
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