| Mister Rogers' Neighborhood (Choral Highlights) CD Chorale Hal Leonard
Choral (ShowTrax CD) SKU: HL.287188 Composed by Fred Rogers. Arranged by ...(+)
Choral (ShowTrax CD)
SKU: HL.287188
Composed by Fred Rogers.
Arranged by Roger
Emerson. Festival Choral.
Inspirational, Medley,
Movies. CD. Duration 315
seconds. Published by Hal
Leonard (HL.287188).
UPC: 888680902506.
5.0x5.0x0.15
inches. Fred Rogers
and his television
neighborhood were a
familiar and comforting
companion to countless
generations of young
people. The music was an
important part of each
episode and helped
re-enforce the lesson
being taught. Lyrics and
melodies were written and
sung by Rogers himself
who created more than 200
original songs. Won't You
Be My Neighbor?,
Tomorrow, It's Such a
Good Feeling, It's You I
Like, The Weekend Song,
and many more are a part
of our consciousness and
still hold valuable
lessons to be
learned. $54.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Odd Feelings Batterie [Partition + CD] Alfred Publishing
A Guide to Odd-Meter Drumset Grooves. Composed by Massimo Russo with Dom Famular...(+)
A Guide to Odd-Meter
Drumset Grooves. Composed
by Massimo Russo with Dom
Famularo.
Method/Instruction;
Percussion - Drumset
Method or Collection;
Play-Along. Wizdom Media.
Book and CD. 76 pages.
Alfred Music #00-40943.
Published by Alfred Music
$16.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Lament Of Familiar Ruins Orchestre d'harmonie - Intermédiaire/avancé RWS Music Company
Grade 4 SKU: CL.RWS-2240-00 Composed by Green. Concert Band. Score and se...(+)
Grade 4 SKU:
CL.RWS-2240-00
Composed by Green.
Concert Band. Score and
set of parts. Composed
2022. RWS Music Company
#RWS-2240-00. Published
by RWS Music Company
(CL.RWS-2240-00).
The artistic
impact of Christopher
Kyle Green continues to
grow. The Lament of
Familiar Ruins is a
musical depiction of a
personal trauma based on
a house fire. Inspired
and influenced by
feelings that words
cannot explain, the
ensemble is given an
opportunity to convey
true grief, longing,
fear, and emptiness. This
symbolic work captivates
the performers and
audience and creates an
atmosphere of
experiencing
life’s unexpected
hardships. With gorgeous
yet haunting harmonies
and melodies, the concert
hall will fill with
emotion as the piece
encourages individual
vulnerability.
Appropriate for concert
festivals and
assessments. $150.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Lament Of Familiar Ruins Orchestre d'harmonie - Intermédiaire/avancé RWS Music Company
Grade 4 SKU: CL.RWS-2240-01 Composed by Green. Concert Band. Extra full s...(+)
Grade 4 SKU:
CL.RWS-2240-01
Composed by Green.
Concert Band. Extra full
score. Composed 2022. RWS
Music Company
#RWS-2240-01. Published
by RWS Music Company
(CL.RWS-2240-01).
The artistic
impact of Christopher
Kyle Green continues to
grow. The Lament of
Familiar Ruins is a
musical depiction of a
personal trauma based on
a house fire. Inspired
and influenced by
feelings that words
cannot explain, the
ensemble is given an
opportunity to convey
true grief, longing,
fear, and emptiness. This
symbolic work captivates
the performers and
audience and creates an
atmosphere of
experiencing
life’s unexpected
hardships. With gorgeous
yet haunting harmonies
and melodies, the concert
hall will fill with
emotion as the piece
encourages individual
vulnerability.
Appropriate for concert
festivals and
assessments. $15.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Buskers Fake Book All Time Hit Piano seul Music Sales
| | |
| For the Mystic Harmony Theodore Presser Co.
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clar...(+)
Band Bass Clarinet,
Bassoon 1, Bassoon 2,
Clarinet, Clarinet 1,
Clarinet 2, Clarinet 3,
Contrabass Clarinet,
Contrabassoon, English
Horn, Flute 1, Flute 2,
Oboe 1, Oboe 2, Piccolo,
alto Saxophone, soprano
Saxophone, tenor
Saxophone SKU:
PR.165001000 Hymns
for Wind Ensemble.
Composed by Dan Welcher.
Folio. Set of Score and
Parts.
4+24+24+16+8+4+4+24+12+12
+8+4+4+4+4+8+8+8+8+4+4+4+
4+8+8+8+8+8+8+8+8+4+16+4+
8+4+8+8+4+4+4+48 pages.
Duration 10 minutes, 41
seconds. Theodore Presser
Company #165-00100.
Published by Theodore
Presser Company
(PR.165001000). ISBN
9781491129241. UPC:
680160669776. 9 x 12
inches. Commissione
d for a consortium of
high school and college
bands in the north Dallas
region, FOR THEMYSTIC
HARMONY is a 10-minute
inspirational work in
homage to Norwood and
Elizabeth Dixon,patrons
of the Fort Worth
Symphony and the Van
Cliburn Competition.
Welcher draws melodic
flavorfrom five American
hymns, spirituals, and
folk tunes of the 19th
century. The last of
these sources toappear is
the hymn tune For the
Beauty of the Earth,
whose third stanza is the
quatrain: “For the
joy of earand eye, For
the heart and
mind’s delight,
For the mystic harmony,
Linking sense to sound
and sight,â€giving
rise to the work’s
title. This work,
commissioned for a
consortium of high school
bands in the north Dallas
area, is my fifteenth
maturework for wind
ensemble (not counting
transcriptions). When I
asked Todd Dixon, the
band director
whospearheaded this
project, what kind of a
work he most wanted, he
first said
“something
that’s basically
slow,†butwanted to
leave the details to me.
During a long subsequent
conversation, he
mentioned that his
grandparents,Norwood and
Elizabeth Dixon, were
prime supporters of the
Fort Worth Symphony,
going so far as to
purchase anumber of high
quality instruments for
that orchestra. This
intrigued me, so I asked
more about his
grandparentsand was
provided an 80-page
biographical sketch.
Reading that article,
including a long section
about theirdevotion to
supporting a young man
through the rigors of the
Van Cliburn International
Piano Competition fora
number of years, moved me
very much. Norwood and
Elizabeth Dixon
weren’t just
supporters of the arts;
theywere passionate
lovers of music and
musicians. I determined
to make this work a
testament to that love,
and tothe religious faith
that sustained them both.
The idea of using extant
hymns was also suggested
by Todd Dixon,and this
10-minute work is the
result.I have employed
existing melodies in
several works, delving
into certain kinds of
religious music more than
a fewtimes. In seeking
new sounds, new ways of
harmonizing old tunes,
and the contrapuntal
overlaying of one
tunewith another, I was
able to make works like
ZION (using 19th-century
Revivalist hymns) and
LABORING SONGS(using
Shaker melodies) reflect
the spirit of the
composers who created
these melodies, without
sounding likepastiches or
medleys. I determined to
do the same with this new
work, with the added
problem of
employingmelodies that
were more familiar. I
chose five tunes from the
19th century: hymns,
spirituals, and
folk-tunes.Some of these
are known by differing
titles, but they all
appear in hymnals of
various Christian
denominations(with
various titles and
texts). My idea was to
employ the tunes without
altering their notes,
instead using aconstantly
modulating sense of
harmony —
sometimes leading to
polytonal harmonizations
of what are
normallysimple four-chord
hymns.The work begins and
ends with a repeated
chime on the note C: a
reminder of steeples,
white clapboard
churchesin the country,
and small church organs.
Beginning with a
Mixolydian folk tune of
Caribbean origin
presentedtwice with
layered entrances, the
work starts with a
feeling of mystery and
gentle sorrow. It
proceeds, after along
transition, into a second
hymn that is sometimes
connected to the sea
(hence the sensation of
water andwaves throughout
it). This tune, by John
B. Dykes (1823-1876), is
a bit more chromatic and
“shifty†than
mosthymn-tunes, so I
chose to play with the
constant sensation of
modulation even more than
the original does. Atthe
climax, the familiar
spiritual “Were you
there?†takes over,
with a double-time
polytonal feeling
propelling itforward at
“Sometimes it
causes me to
tremble.â€Trumpets
in counterpoint raise the
temperature, and the
tempo as well, leading
the music into a third
tune (ofunknown
provenance, though it
appears with different
texts in various hymnals)
that is presented in a
sprightlymanner. Bassoons
introduce the melody, but
it is quickly taken up by
other instruments over
three
“verses,â€cons
tantly growing in
orchestration and volume.
A mysterious second tune,
unrelated to this one,
interrupts it inall three
verses, sending the
melody into unknown
regions.The final melody
is “For the Beauty
of the Earth.†This
tune by Conrad Kocher
(1786-1872) is commonly
sung atThanksgiving
— the perfect
choice to end this work
celebrating two people
known for their
generosity.Keeping the
sense of constant
modulation that has been
present throughout, I
chose to present this
hymn in threegrowing
verses, but with a twist:
every four bars, the
“key†of the
hymn seems to shift
— until the
“Lord of all,
toThee we praiseâ€
melody bursts out in a
surprising compound
meter. This, as it turns
out, was the
“mystery
tuneâ€heard earlier
in the piece. After an
Ivesian, almost polytonal
climax, the Coda begins
over a long B( pedal. At
first,it seems to be a
restatement of the first
two phrases of “For
the Beauty†with
long spaces between them,
but it soonchanges to a
series of
“Amenâ€
cadences, widely
separated by range and
color. These, too, do not
conform to anykey, but
instead overlay each
other in ways that are
unpredictable but
strangely comforting.The
third verse of “For
the Beauty of the
Earth†contains
this quatrain:“For
the joy of ear and eye,
–For the heart and
mind’s delightFor
the mystic harmonyLinking
sense to sound and
sightâ€and it was
from this poetry that I
drew the title for the
present work. It is my
hope that audiences and
performerswill find
within it a sense of
grace: more than a little
familiar, but also quite
new and unexpected. $150.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| For the Mystic Harmony Theodore Presser Co.
Band Bass Clarinet, Bass Drum, Bassoon 1, Bassoon 2, Bongos, Castanets, Celesta,...(+)
Band Bass Clarinet, Bass
Drum, Bassoon 1, Bassoon
2, Bongos, Castanets,
Celesta, Clarinet,
Clarinet 1, Clarinet 2,
Clarinet 3, Contrabass
Clarinet, Contrabassoon,
English Horn, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Horn 1, Horn 2,
Horn 3 and more. SKU:
PR.16500100F Hymns
for Wind Ensemble.
Composed by Dan Welcher.
Sws. Full score. 48
pages. Duration 10
minutes, 41 seconds.
Theodore Presser Company
#165-00100F. Published by
Theodore Presser Company
(PR.16500100F). ISBN
9781491114421. UPC:
680160669783. 9 x 12
inches. Commissione
d for a consortium of
high school and college
bands in the north Dallas
region, FOR THEMYSTIC
HARMONY is a 10-minute
inspirational work in
homage to Norwood and
Elizabeth Dixon,patrons
of the Fort Worth
Symphony and the Van
Cliburn Competition.
Welcher draws melodic
flavorfrom five American
hymns, spirituals, and
folk tunes of the 19th
century. The last of
these sources toappear is
the hymn tune For the
Beauty of the Earth,
whose third stanza is the
quatrain: “For the
joy of earand eye, For
the heart and
mind’s delight,
For the mystic harmony,
Linking sense to sound
and sight,â€giving
rise to the work’s
title. This work,
commissioned for a
consortium of high school
bands in the north Dallas
area, is my fifteenth
maturework for wind
ensemble (not counting
transcriptions). When I
asked Todd Dixon, the
band director
whospearheaded this
project, what kind of a
work he most wanted, he
first said
“something
that’s basically
slow,†butwanted to
leave the details to me.
During a long subsequent
conversation, he
mentioned that his
grandparents,Norwood and
Elizabeth Dixon, were
prime supporters of the
Fort Worth Symphony,
going so far as to
purchase anumber of high
quality instruments for
that orchestra. This
intrigued me, so I asked
more about his
grandparentsand was
provided an 80-page
biographical sketch.
Reading that article,
including a long section
about theirdevotion to
supporting a young man
through the rigors of the
Van Cliburn International
Piano Competition fora
number of years, moved me
very much. Norwood and
Elizabeth Dixon
weren’t just
supporters of the arts;
theywere passionate
lovers of music and
musicians. I determined
to make this work a
testament to that love,
and tothe religious faith
that sustained them both.
The idea of using extant
hymns was also suggested
by Todd Dixon,and this
10-minute work is the
result.I have employed
existing melodies in
several works, delving
into certain kinds of
religious music more than
a fewtimes. In seeking
new sounds, new ways of
harmonizing old tunes,
and the contrapuntal
overlaying of one
tunewith another, I was
able to make works like
ZION (using 19th-century
Revivalist hymns) and
LABORING SONGS(using
Shaker melodies) reflect
the spirit of the
composers who created
these melodies, without
sounding likepastiches or
medleys. I determined to
do the same with this new
work, with the added
problem of
employingmelodies that
were more familiar. I
chose five tunes from the
19th century: hymns,
spirituals, and
folk-tunes.Some of these
are known by differing
titles, but they all
appear in hymnals of
various Christian
denominations(with
various titles and
texts). My idea was to
employ the tunes without
altering their notes,
instead using aconstantly
modulating sense of
harmony —
sometimes leading to
polytonal harmonizations
of what are
normallysimple four-chord
hymns.The work begins and
ends with a repeated
chime on the note C: a
reminder of steeples,
white clapboard
churchesin the country,
and small church organs.
Beginning with a
Mixolydian folk tune of
Caribbean origin
presentedtwice with
layered entrances, the
work starts with a
feeling of mystery and
gentle sorrow. It
proceeds, after along
transition, into a second
hymn that is sometimes
connected to the sea
(hence the sensation of
water andwaves throughout
it). This tune, by John
B. Dykes (1823-1876), is
a bit more chromatic and
“shifty†than
mosthymn-tunes, so I
chose to play with the
constant sensation of
modulation even more than
the original does. Atthe
climax, the familiar
spiritual “Were you
there?†takes over,
with a double-time
polytonal feeling
propelling itforward at
“Sometimes it
causes me to
tremble.â€Trumpets
in counterpoint raise the
temperature, and the
tempo as well, leading
the music into a third
tune (ofunknown
provenance, though it
appears with different
texts in various hymnals)
that is presented in a
sprightlymanner. Bassoons
introduce the melody, but
it is quickly taken up by
other instruments over
three
“verses,â€cons
tantly growing in
orchestration and volume.
A mysterious second tune,
unrelated to this one,
interrupts it inall three
verses, sending the
melody into unknown
regions.The final melody
is “For the Beauty
of the Earth.†This
tune by Conrad Kocher
(1786-1872) is commonly
sung atThanksgiving
— the perfect
choice to end this work
celebrating two people
known for their
generosity.Keeping the
sense of constant
modulation that has been
present throughout, I
chose to present this
hymn in threegrowing
verses, but with a twist:
every four bars, the
“key†of the
hymn seems to shift
— until the
“Lord of all,
toThee we praiseâ€
melody bursts out in a
surprising compound
meter. This, as it turns
out, was the
“mystery
tuneâ€heard earlier
in the piece. After an
Ivesian, almost polytonal
climax, the Coda begins
over a long B( pedal. At
first,it seems to be a
restatement of the first
two phrases of “For
the Beauty†with
long spaces between them,
but it soonchanges to a
series of
“Amenâ€
cadences, widely
separated by range and
color. These, too, do not
conform to anykey, but
instead overlay each
other in ways that are
unpredictable but
strangely comforting.The
third verse of “For
the Beauty of the
Earth†contains
this quatrain:“For
the joy of ear and eye,
–For the heart and
mind’s delightFor
the mystic harmonyLinking
sense to sound and
sightâ€and it was
from this poetry that I
drew the title for the
present work. It is my
hope that audiences and
performerswill find
within it a sense of
grace: more than a little
familiar, but also quite
new and unexpected. $25.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| A Caribbean Sailing Trip Orchestre d'harmonie - Intermédiaire De Haske Publications
Concert Band/Harmonie/Fanfare Band - Grade 3.5 SKU: BT.DHP-1216331-215 Co...(+)
Concert
Band/Harmonie/Fanfare
Band - Grade 3.5 SKU:
BT.DHP-1216331-215
Composed by Peter Kleine
Schaars. Peter's Compact
Collection. Original
Light Music. Score Only.
Composed 2021. 18 pages.
De Haske Publications
#DHP 1216331-215.
Published by De Haske
Publications
(BT.DHP-1216331-215).
English-German-French-
Dutch. With this
composition in a rumba
style, Peter Kleine
Schaars invites us to
enjoy a relaxed sailing
trip in the waters of the
Caribbean. The feeling of
freedom on the boat is
mirrored by an extensive
melody surrounded by a
palette of colourful
harmonies the shades of
the water while the
clever percussion sets
the course of the ship.
Who wouldn’t dream
of such an adventure?
Although the musical
themes and accompaniments
have been constructed
from combinations of
rhythmic cells that occur
less often, the
composition sounds very
natural and flowing.
Assuming the rhythmic
cells 1 to 8 are part of
the basic skills of your
band, in this
composition, the accent
rather lies on cells 9 to
13. The instrumentation
is created in such a way
that these ‘new
cells’ occur in
all parts, so that all
musicians of the band
become familiar with this
rhythmic development.
Met deze
compositie in rumbastijl
neemt Peter Kleine
Schaars ons voor een
relaxte zeiltocht mee
naar de Caribische
wateren. Het vrije gevoel
op de boot wordt
weerspiegeld door een
uitgestrekte melodie te
midden van een palet van
kleurrijke harmonieën
de schakeringen van het
water terwijl de
uitgekiende percussie de
rechte koers van het
schip bepaalt. Wie droomt
er nou niet van
zo’n avontuur?
Hoewel de muzikale
thema’s en
begeleidingen zijn
opgebouwd uit combinaties
van enkele minder vaak
voorkomende ritmische
cellen, klinkt de
compositie heel
natuurlijk en vloeiend.
Ervan uitgaande dat de
ritmische cellen 1 tot en
met 8 tot de
basisvaardigheden van uw
orkest behoren, ligt in
deze compositie de nadruk
vooral op de cellen 9 tot
en met 13. De
instrumentatie is
dusdanig dat deze
‘nieuwe
cellen’ voorkomen
in alle partijen, zodat
alle musici van het
orkest vertrouwd raken
met deze ritmische
ontwikkeling.
Mit
dieser Komposition im
Rumba-Stil lädt uns
Peter Kleine Schaars zu
einem entspannten
Segeltörn in der
Karibik ein. Das
Gefühl der Freiheit an
Bord spiegelt sich in
einer ausgedehnten
Melodie wider, die von
einer Reihe farbiger
Harmonien den Bewegungen
des Wassers umrahmt wird,
während das Schlagzeug
geschickt den Kurs des
Schiffes hält. Wer
träumt nicht von einem
solchen Abenteuer? Obwohl
die musikalischen Themen
und die Begleitung aus
einer Kombination
verschiedener
Rhythmus-Einheiten
bestehen, die nur
vereinzelt vorkommen,
klingt die Komposition
sehr natürlich und
fließend. Da die
Rhythmus-Einheiten 1 bis
8 sicher zu den
Grundfertigkeiten Ihres
Ensembles gehören,
liegt der Schwerpunkt
dieser Komposition eher
auf den
Rhythmus-Einheiten 9 bis
13. Die Instrumentierung
ist so angelegt, dass
diese neuen
Rhythmus-Einheiten“
in allen
Stimmenvorkommen, sodass
alle Orchestermitglieder
mit diesen Rhythmen
vertraut gemacht werden.
Avec cette
composition de style
rumba, Peter Kleine
Schaars nous invite un
voyage décontracté
en bateau sur les eaux
des Cara bes. Le
sentiment de liberté
qu’offre le
voilier est dépeint
par une ample mélodie
dans une palette
d’harmonies
colorées les teintes
de l’eau , tandis
que d’habilles
percussions tiennent le
cap. Qui ne rêverait
pas d’une telle
aventure ? Bien que les
thèmes et
accompagnements musicaux
aient été
élaborés partir de
combinaisons de cellules
rythmiques qui se
rencontrent moins
souvent, les sonorités
de l’œuvre
sont très naturelles
et fluides. En
présumant que les
cellules rythmiques 1 8
fassent partie des
compétences de base de
votre orchestre,
l’accent se trouve
plutôt sur les
cellules 9 13.
L’instrumentation
est arrangée de
manière ce que ces
« nouvelles cellules
» se trouvent dans
toutes les parties, afin
que tous les membres de
l’orchestre se
familiarisent avec cette
évolution
rythmique. $17.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
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