| Adult Piano Adventures - Classics, Book 1 Piano seul Faber Piano Adventures
(Symphony Themes, Opera Gems and Classical Favorites). Arranged by Nancy Faber a...(+)
(Symphony Themes, Opera
Gems and Classical
Favorites). Arranged by
Nancy Faber and Randall
Faber. For
Piano/Keyboard. Faber
Piano Adventures�®.
Softcover. Faber Piano
Adventures #FF3030.
Published by Faber Piano
Adventures
$9.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Adult Piano Adventures Classics Book 2 Piano seul Faber Music Limited
Symphony Themes, Opera Gems and Classical Favorites. Arranged by Nancy Faber a...(+)
Symphony Themes, Opera
Gems
and Classical Favorites.
Arranged by Nancy Faber
and
Randall Faber. Faber
Piano
Adventures®.
Softcover. 80
pages. Faber Piano
Adventures #FF3032.
Published by Faber Piano
Adventures
$9.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Gregorian Liturgical Year, A, Vol. 1 Orgue MorningStar Music Publishers
By Gerald Near. For organ. Aureole Editions. Advent, Epiphany. Published by Morn...(+)
By Gerald Near. For
organ. Aureole Editions.
Advent, Epiphany.
Published by MorningStar
Music Publishers.
(1)$18.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Mass of the Sun of Justice / Misa Sol de Justicia - Full Score GIA Publications
Flute, trumpet 1 in B-flat, trumpet 1 in C, trumpet 2 in B-flat, trumpet 2 in C,...(+)
Flute, trumpet 1 in
B-flat, trumpet 1 in C,
trumpet 2 in B-flat,
trumpet 2 in C, trombone,
violin 1, violin 2,
cello, guitar SKU:
GI.G-10297FS Composed
by Peter M. Kolar.
Sacred. Full score. 104
pages. GIA Publications
#10297FS. Published by
GIA Publications
(GI.G-10297FS). UPC:
785147029793. A
versatile Mass setting
for use throughout the
liturgical year, Mass
of the Sun of Justice /
Misa Sol de
Justicia is fully
bilingual, singable
entirely in English or in
Spanish, or any pastoral
combination of both
languages. Â At its
core, this setting is
built on assembly-minded
melodies. Much of the
choral writing is
two-part, albeit spelled
out in four voices,
whereby the basses
frequently double the
soprano melody, and the
alto and tenor lines
essentially share a
single harmony in their
respective ranges,
splitting only at cadence
points for a fuller
effect. Optional descants
and divisi further expand
the voicing
possibilities. The
additional
instrumentation is
particularly spirited,
further enhancing these
sung texts for solemn
occasions. Â
“Sun of
justice†is a term
used to reference Christ
with respect to his
second coming, as found
in the ancient
“Oâ€
antiphons. This title
appears in the Lectionary
among the Alleluia
options for the common of
the Blessed Virgin Mary,
and is, in fact, assigned
to the feast of Our Lady
of Guadalupe, celebrated
within the Advent season.
As such, the music is
“Advent-likeâ€
in nature—joyful
and filled with hope.Â
  Una Misa
versátil para usar
durante todo el año
litúrgico, Mass of
the Son of Justice / Misa
Sol de Justicia es
completamente
bilingüe, se puede
cantar completamente en
inglés o en
español, o en
cualquier combinación
pastoral de ambos
idiomas. Â En esencia,
este arreglo se basa en
melodÃas para la
asamblea. Gran parte de
la escritura coral es de
dos partes, aunque
escrito para cuatro
voces, por lo que los
bajos con frecuencia
duplican la melodÃa de
soprano, y las lÃneas
de alto y tenor comparten
esencialmente una sola
armonÃa en sus
respectivos rangos,
dividiéndose solo en
los puntos de cadencia
para una melodÃa
más completa. Los
discante y divisi
opcionales amplÃan
aún más las
posibilidades de
sonorización. La
instrumentación
adicional es
particularmente animada,
mejorando aún más
estos textos cantados
para ocasiones solemnes.
 Sol de justicia es
un término que se usa
para referirse a Cristo
con respecto a su segunda
venida, como se encuentra
en las antÃfonas O
antiguas. Este tÃtulo
aparece en el Leccionario
entre las opciones de
Aleluya para el común
de la SantÃsima Virgen
MarÃa y, de hecho,
está asignado a la
fiesta de Nuestra
Señora de Guadalupe,
celebrada dentro del
tiempo de Adviento. Como
tal, la música es en
esencia de
adviento—alegre y
llena de esperanza. $28.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Mass of the Sun of Justice / Misa Sol de Justicia Chorale SATB SATB, Piano - Facile GIA Publications
SATB choir, cantor, assembly, keyboard accompaniment, flute, trumpet 1 in B-flat...(+)
SATB choir, cantor,
assembly, keyboard
accompaniment, flute,
trumpet 1 in B-flat,
trumpet 1 in C, trumpet 2
in B-flat, trumpet 2 in
C, trombone, violin 1,
violin 2, cello, guitar -
Early intermediate
SKU: GI.G-10297
Composed by Peter M.
Kolar. Mass. Sacred.
Octavo. With guitar chord
names. 64 pages. GIA
Publications #10297.
Published by GIA
Publications
(GI.G-10297). UPC:
785147029717. English,
Spanish. Text Source:
Revised Order of Mass
2010, Lectionary for
Mass. Misal
Romano, tercera
edición A
versatile Mass setting
for use throughout the
liturgical year, Mass
of the Sun of Justice /
Misa Sol de
Justicia is fully
bilingual, singable
entirely in English or in
Spanish, or any pastoral
combination of both
languages. At its core,
this setting is built on
assembly-minded melodies.
Much of the choral
writing is two-part,
albeit spelled out in
four voices, whereby the
basses frequently double
the soprano melody, and
the alto and tenor lines
essentially share a
single harmony in their
respective ranges,
splitting only at cadence
points for a fuller
effect. Optional descants
and divisi further expand
the voicing
possibilities. The
additional
instrumentation is
particularly spirited,
further enhancing these
sung texts for solemn
occasions. “Sun of
justice†is a term
used to reference Christ
with respect to his
second coming, as found
in the ancient
“Oâ€
antiphons. This title
appears in the Lectionary
among the Alleluia
options for the common of
the Blessed Virgin Mary,
and is, in fact, assigned
to the feast of Our Lady
of Guadalupe, celebrated
within the Advent season.
As such, the music is
“Advent-likeâ€
in nature—joyful
and filled with hope.Â
~~~~~ Una Misa
versátil para usar
durante todo el año
litúrgico, Mass of
the Son of Justice / Misa
Sol de Justicia es
completamente
bilingüe, se puede
cantar completamente en
inglés o en
español, o en
cualquier combinación
pastoral de ambos
idiomas. En esencia, este
arreglo se basa en
melodÃas para la
asamblea. Gran parte de
la escritura coral es de
dos partes, aunque
escrito para cuatro
voces, por lo que los
bajos con frecuencia
duplican la melodÃa de
soprano, y las lÃneas
de alto y tenor comparten
esencialmente una sola
armonÃa en sus
respectivos rangos,
dividiéndose solo en
los puntos de cadencia
para una melodÃa
más completa. Los
discante y divisi
opcionales amplÃan
aún más las
posibilidades de
sonorización. La
instrumentación
adicional es
particularmente animada,
mejorando aún más
estos textos cantados
para ocasiones solemnes.
Sol de justicia es un
término que se usa
para referirse a Cristo
con respecto a su segunda
venida, como se encuentra
en las antÃfonas O
antiguas. Este tÃtulo
aparece en el Leccionario
entre las opciones de
Aleluya para el común
de la SantÃsima Virgen
MarÃa y, de hecho,
está asignado a la
fiesta de Nuestra
Señora de Guadalupe,
celebrada dentro del
tiempo de Adviento. Como
tal, la música es en
esencia de
adviento—alegre y
llena de esperanza. ~~~~~
Preview select songs from
this mass setting in the
video below:. $7.65 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| 200 B.C. Orchestre d'harmonie - Intermédiaire/avancé Oxford University Press
Concert band - Grade 4 SKU: MH.0-931329-53-1 Composed by Gregory B.Rudger...(+)
Concert band - Grade 4
SKU:
MH.0-931329-53-1
Composed by Gregory
B.Rudgers. Suitable for
high school, community,
and college bands.
Conductor score and set
of parts. Duration 7:30.
Published by Manhattan
Beach Music
(MH.0-931329-53-1).
ISBN
9780931329531. Jour
ney back to ancient
Greece and view a place
of long-gone legend.
Follow the trail to the
Kingdom of Ithaca, from
the heroic palace, to a
place of tranquility, to
a reckless dance of
abandon, to the return of
Odysseus. The melodic
material used in 200 B.C.
is from a two thousand
year old Greek hymn to
Apollo. The legendary
adventures of Odysseus as
described by Homer in the
Odyssey (ca. 700 B.C.)
provide the programmatic
material. The music is
freely based upon the
First Delphic Hymn (or
Paen to Apollo), composed
ca. 200 B.C. The source
is a transcription
appearing on pages 363 -
367 of Ancient and
Oriental Music, Edited by
Egon Wellesz (Oxford
University Press: London,
1957). Each movement of
the work depicts a key
event in the epic Homeric
poem, as described below.
Movement I: Intrada - The
first four notes of this
movement, C - Bb - G -
Bb, are the melodic and
harmonic foundation for
the entire work. These
pitches, introduced in a
simple and direct manner,
are subsequently
developed in more complex
fashions throughout the
suite. Following this
stately introduction is a
militaristic fanfare that
introduces the
dotted-eighth and
sixteenth-note figure
later reprised in the
second and fourth
movements. Indeed, all
the musical ideas which
will be central to the
remaining movements first
appear in the Intrada.
This movement depicts the
grandeur of Odysseus and
his kingdom in Ithaca,
and establishes the
heroic mood of the entire
work. Movement II: Ballad
- After a brief
restatement of the
opening
dotted-eighth-and-sixteen
th fanfare, the second
movement extracts the
falling third (Bb to G)
from the C - Bb - G - Bb
motif and extends it and
expands it into a
haunting solo for alto
saxophone. The C - Bb - G
- Bb motif appears again
(see measures 23 - 33 in
trumpets) as counterpoint
to this melody, now
pulsing through the thick
texture of the band. Many
performers have come to
view the Ballad as the
emotional epicenter of
the entire suite; my
conception of the Ballad
is to achieve a union of
pathos and strength.
Programmatically, this
movement depicts
Odysseus's son,
Telemachos, as he both
longs for Odysseus's
return and stoically
defends his father's
kingdom. Movement III:
Dance - It will take
Odysseus twenty years to
return to Ithaca. During
his absence, noblemen
besiege his palace,
violating the sanctity of
the household and seeking
the hand of his wife,
Penelope. This movement
depicts the wanton
revelries that result.
The original four-note
motif is chromatically
altered and the meter is
made irregular. The rapid
tempo, driving
percussion, and angular
meter and melodies
combine in an explosion
of reckless abandon.
Movement IV: March
Building from a delicate
woodwind ensemble
accompanied by finger
cymbals to a fully
orchestrated statement
replete with thundering
percussion, this is a
resounding march of
victory. Odysseus has
returned in triumph to
restore dignity to his
household and to reclaim
the throne of the Kingdom
of Ithaca. Ensemble
instrumentation: 1
Piccolo, 8 Flute 1 - 2, 2
Oboe 1 - 2, 4 Bb Clarinet
1, 4 Bb Clarinet 2, 4 Bb
Clarinet 3, 1 Eb Alto
Clarinet, 3 Bb Bass
Clarinet, 2 Bassoon 1 -
2, 3 Eb Alto Saxophone 1,
3 Eb Alto Saxophone 2, 2
Bb Tenor Saxophone, 1 Eb
Baritone Saxophone, 3 Bb
Trumpet 1, 3 Bb Trumpet
2, 3 Bb Trumpet 3, 2 F
Horn 1-2, 2 F Horn 3-4, 2
Trombone 1, 2 Trombone 2,
2 Trombone 3, 3 Euphonium
(B.C.), 2 Euphonium T.C.,
4 Tuba, 1 Timpani, 2
Mallet Percussion: Bells,
Xylophone, 2 Percussion
1: Snare Drum,
Tambourine, 2 Percussion
2: Crash Cymbals,
Suspended Cymbal,
Tom-Tom, Finger Cymbals,
1 Percussion 3: Bass
Drum. $135.00 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Upriver Orchestre d'harmonie Theodore Presser Co.
Band Concert Band SKU: PR.46500013L For Wind Ensemble. Composed by...(+)
Band Concert Band SKU:
PR.46500013L For
Wind Ensemble.
Composed by Dan Welcher.
Contemporary. Large
Score. With Standard
notation. Composed 2010.
Duration 14 minutes.
Theodore Presser Company
#465-00013L. Published by
Theodore Presser Company
(PR.46500013L). UPC:
680160600151. 11 x 14
inches. I n 1803,
President Thomas
Jefferson sent Meriwether
Lewis and William Clarks
Corps of Discovery to
find a water route to the
Pacific and explore the
uncharted West. He
believed woolly mammoths,
erupting volcanoes, and
mountains of pure salt
awaited them. What they
found was no less
mind-boggling: some 300
species unknown to
science, nearly 50 Indian
tribes, and the Rockies.
I have been a student of
the Lewis and Clark
expedition, which Thomas
Jefferson called the
Voyage of Discovery, for
as long as I can
remember. This
astonishing journey,
lasting more than
two-and-a-half years,
began and ended in St.
Louis, Missouri and took
the travelers up more
than a few rivers in
their quest to find the
Northwest Passage to the
Pacific Ocean. In an age
without speedy
communication, this was
akin to space travel out
of radio range in our own
time: no one knew if,
indeed, the party had
even survived the voyage
for more than a year.
Most of them were
soldiers. A few were
French-Canadian voyageurs
hired trappers and
explorers, who were
fluent in French (spoken
extensively in the
region, due to earlier
explorers from France)
and in some of the Indian
languages they might
encounter. One of the
voyageurs, a man named
Pierre Cruzatte, also
happened to be a
better-than-average
fiddle player. In many
respects, the travelers
were completely on their
own for supplies and
survival, yet,
incredibly, only one of
them died during the
voyage. Jefferson had
outfitted them with food,
weapons, medicine, and
clothing and along with
other trinkets, a box of
200 jaw harps to be used
in trading with the
Indians. Their trip was
long, perilous to the
point of near
catastrophe, and arduous.
The dream of a Northwest
Passage proved ephemeral,
but the northwestern
quarter of the continent
had finally been
explored, mapped, and
described to an anxious
world. When the party
returned to St. Louis in
1806, and with the
Louisiana Purchase now
part of the United
States, they were greeted
as national heroes. I
have written a sizeable
number of works for wind
ensemble that draw their
inspiration from the
monumental spaces found
in the American West.
Four of them (Arches, The
Yellowstone Fires,
Glacier, and Zion) take
their names, and in large
part their being, from
actual national parks in
Utah, Wyoming, and
Montana. But Upriver,
although it found its
voice (and its finale) in
the magnificent Columbia
Gorge in Oregon, is about
a much larger region.
This piece, like its
brother works about the
national parks, doesnt
try to tell a story.
Instead, it captures the
flavor of a certain time,
and of a grand adventure.
Cast in one continuous
movement and lasting
close to fourteen
minutes, the piece falls
into several subsections,
each with its own
heading: The Dream (in
which Jeffersons vision
of a vast expanse of
western land is opened);
The Promise, a chorale
that re-appears several
times in the course of
the piece and represents
the seriousness of the
presidential mission; The
River; The Voyageurs; The
River II ; Death and
Disappointment; Return to
the Voyage; and The River
III . The music includes
several quoted melodies,
one of which is familiar
to everyone as the
ultimate river song, and
which becomes the
through-stream of the
work. All of the quoted
tunes were either sung by
the men on the voyage, or
played by Cruzattes
fiddle. From various
journals and diaries, we
know the men found
enjoyment and solace in
music, and almost every
night encampment had at
least a bit of music in
it. In addition to
Cruzatte, there were two
other members of the
party who played the
fiddle, and others made
do with singing, or
playing upon sticks,
bones, the ever-present
jaw harps, and boat
horns. From Lewis
journals, I found all the
tunes used in Upriver:
Shenandoah (still popular
after more than 200
years), Vla bon vent,
Soldiers Joy, Johnny Has
Gone for a Soldier, Come
Ye Sinners Poor and Needy
(a hymn sung to the tune
Beech Spring) and Fishers
Hornpipe. The work
follows an emotional
journey: not necessarily
step-by-step with the
Voyage of Discovery
heroes, but a kind of
grand arch. Beginning in
the mists of history and
myth, traversing peaks
and valleys both real and
emotional (and a solemn
funeral scene), finding
help from native people,
and recalling their zeal
upon finding the one
great river that will, in
fact, take them to the
Pacific. When the men
finally roar through the
Columbia Gorge in their
boats (a feat that even
the Indians had not
attempted), the
magnificent river
combines its theme with
the chorale of Jeffersons
Promise. The Dream is
fulfilled: not quite the
one Jefferson had
imagined (there is no
navigable water passage
from the Missouri to the
Pacific), but the dream
of a continental
destiny. $80.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Upriver Orchestre d'harmonie Theodore Presser Co.
Band Concert Band SKU: PR.465000130 For Large Wind Ensemble. Compo...(+)
Band Concert Band SKU:
PR.465000130 For
Large Wind Ensemble.
Composed by Dan Welcher.
Sws. Contemporary. Full
score. With Standard
notation. Composed 2010.
Duration 14 minutes.
Theodore Presser Company
#465-00013. Published by
Theodore Presser Company
(PR.465000130). ISBN
9781598064070. UPC:
680160600144. 9x12
inches. Following a
celebrated series of wind
ensemble tone poems about
national parks in the
American West, Dan
Welcher’s Upriver
celebrates the Lewis &
Clark Expedition from the
Missouri River to
Oregon’s Columbia
Gorge, following the
Louisiana Purchase of
1803. Welcher’s
imaginative textures and
inventiveness are freshly
modern, evoking our
American heritage,
including references to
Shenandoah and other folk
songs known to have been
sung on the expedition.
For advanced players.
Duration:
14’. In 1803,
President Thomas
Jefferson sent Meriwether
Lewis and William
Clark’s Corps of
Discovery to find a water
route to the Pacific and
explore the uncharted
West. He believed woolly
mammoths, erupting
volcanoes, and mountains
of pure salt awaited
them. What they found was
no less mind-boggling:
some 300 species unknown
to science, nearly 50
Indian tribes, and the
Rockies.Ihave been a
student of the Lewis and
Clark expedition, which
Thomas Jefferson called
the “Voyage of
Discovery,†for as
long as I can remember.
This astonishing journey,
lasting more than
two-and-a-half years,
began and ended in St.
Louis, Missouri —
and took the travelers up
more than a few rivers in
their quest to find the
Northwest Passage to the
Pacific Ocean. In an age
without speedy
communication, this was
akin to space travel out
of radio range in our own
time: no one knew if,
indeed, the party had
even survived the voyage
for more than a year.
Most of them were
soldiers. A few were
French-Canadian voyageurs
— hired trappers
and explorers, who were
fluent in French (spoken
extensively in the
region, due to earlier
explorers from France)
and in some of the Indian
languages they might
encounter. One of the
voyageurs, a man named
Pierre Cruzatte, also
happened to be a
better-than-average
fiddle player. In many
respects, the travelers
were completely on their
own for supplies and
survival, yet,
incredibly, only one of
them died during the
voyage. Jefferson had
outfitted them with food,
weapons, medicine, and
clothing — and
along with other
trinkets, a box of 200
jaw harps to be used in
trading with the Indians.
Their trip was long,
perilous to the point of
near catastrophe, and
arduous. The dream of a
Northwest Passage proved
ephemeral, but the
northwestern quarter of
the continent had finally
been explored, mapped,
and described to an
anxious world. When the
party returned to St.
Louis in 1806, and with
the Louisiana Purchase
now part of the United
States, they were greeted
as national heroes.Ihave
written a sizeable number
of works for wind
ensemble that draw their
inspiration from the
monumental spaces found
in the American West.
Four of them (Arches, The
Yellowstone Fires,
Glacier, and Zion) take
their names, and in large
part their being, from
actual national parks in
Utah, Wyoming, and
Montana. But Upriver,
although it found its
voice (and its finale) in
the magnificent Columbia
Gorge in Oregon, is about
a much larger region.
This piece, like its
brother works about the
national parks,
doesn’t try to
tell a story. Instead, it
captures the flavor of a
certain time, and of a
grand adventure. Cast in
one continuous movement
and lasting close to
fourteen minutes, the
piece falls into several
subsections, each with
its own heading: The
Dream (in which
Jefferson’s vision
of a vast expanse of
western land is opened);
The Promise, a chorale
that re-appears several
times in the course of
the piece and represents
the seriousness of the
presidential mission; The
River; The Voyageurs; The
River II ; Death and
Disappointment; Return to
the Voyage; and The River
III .The music includes
several quoted melodies,
one of which is familiar
to everyone as the
ultimate “river
song,†and which
becomes the
through-stream of the
work. All of the quoted
tunes were either sung by
the men on the voyage, or
played by
Cruzatte’s fiddle.
From various journals and
diaries, we know the men
found enjoyment and
solace in music, and
almost every night
encampment had at least a
bit of music in it. In
addition to Cruzatte,
there were two other
members of the party who
played the fiddle, and
others made do with
singing, or playing upon
sticks, bones, the
ever-present jaw harps,
and boat horns. From
Lewis’ journals, I
found all the tunes used
in Upriver: Shenandoah
(still popular after more
than 200 years),
V’la bon vent,
Soldier’s Joy,
Johnny Has Gone for a
Soldier, Come Ye Sinners
Poor and Needy (a hymn
sung to the tune
“Beech
Springâ€) and
Fisher’s Hornpipe.
The work follows an
emotional journey: not
necessarily step-by-step
with the Voyage of
Discovery heroes, but a
kind of grand arch.
Beginning in the mists of
history and myth,
traversing peaks and
valleys both real and
emotional (and a solemn
funeral scene), finding
help from native people,
and recalling their zeal
upon finding the one
great river that will, in
fact, take them to the
Pacific. When the men
finally roar through the
Columbia Gorge in their
boats (a feat that even
the Indians had not
attempted), the
magnificent river
combines its theme with
the chorale of
Jefferson’s
Promise. The Dream is
fulfilled: not quite the
one Jefferson had
imagined (there is no
navigable water passage
from the Missouri to the
Pacific), but the dream
of a continental
destiny. $45.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
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