PARTITIONS GRATUITES :
- Haunting  

Concert Band Concert Band - Grade 2.5

SKU: XC.ICB2014

Composed by Ed Kiefer. Intermezzo Band Series. Concert and Contest. Concert and contest. Set of parts. Excelcia Music Publishing #ICB2014. Published by Excelcia Music Publishing (XC.ICB2014).

UPC: 812598033717. 9 x 12 inches.

This hauntingly beautiful work will stretch the musicianship of your ensemble. Ed’s harmonic palette is strikingly refreshing and fits perfectly with this old mountain melody.

Concert Band - Grade 2.5

SKU: XC.ICB2014FS

Composed by Ed Kiefer. Intermezzo Band Series. Concert and Contest. Concert and contest. Score. Excelcia Music Publishing #ICB2014FS. Published by Excelcia Music Publishing (XC.ICB2014FS).

UPC: 812598033632. 9 x 12 inches.

This hauntingly beautiful work will stretch the musicianship of your ensemble. Ed’s harmonic palette is strikingly refreshing and fits perfectly with this old mountain melody.

12 inch. x 16 inch.

SKU: HL.1298845

12″ x 16″. Abysse America Music. Gift Item. Hal Leonard #GBYDCO312. Published by Hal Leonard (HL.1298845).

UPC: 810066353725. 14.0x18.0x0.665 inches.

Pay tribute to Slayer's 1984 EP Haunting the Chapel with this framed print by GB Eye! Printed on photographic paper. Dimensions: 30.5 x 40.6cm. Frame width: 25mm. Shatter proof styrene. Packaging: plastic film with protective plastic on the corners.

By Wynn-anne Rossi. For Piano. Spotlight Solo Sheets. The insistent hoofbeats and wailing chromatic scales create a haunting effect. Halloween. Level: Intermediate. Solo Sheet. Published by The FJH Music Company Inc.

Composed by Travis J. Weller. Concert Grade 3-3.5. Score and parts. Wingert-Jones Publications #CBW2305. Published by Wingert-Jones Publications

Choral Cello, Contrabass voice, Piano, Viola, Violin 1, Violin 2, Violin 3, SATB chorus

SKU: CF.CM9734

Composed by Basque Carol. Arranged by Christopher Thomas. 12 pages. Duration 2 minutes, 37 seconds. Carl Fischer Music #CM9734. Published by Carl Fischer Music (CF.CM9734).

ISBN 9781491161142. UPC: 680160919734. Key: A minor. English. Basque Carol.

A Basque Carol (also known as Gabriel's Message) holds a special place in Western music. The carol originates from Basque country around the 13th century, based on the Latin hymn, Angelus ad Virginem (likely of Franciscan origin). The tune quickly spread throughout Europe, finding popularity in Britain where it was even referenced in Chaucer's Canterbury Tales: Playing so sweetly that the chamber rang; / and Angelus ad virginem he sang. . .. Interestingly, the melody we know and love today is derived from the original Basque version. In my view, this tune is a perfect example of melody-crafting. It is at once hauntingly beautiful, yet warm and joyous. Its contours are complex, dramatic, yet singable. I believe this melodic accessibility is the key to the song's lasting popularity. I would also attribute A Basque Carol's continued popularity to its elegant translation into English (by Sabine Baring-Gould, who rediscovered the original Basque tune). Translations often risk sounding unimaginative, coarse, and blunt. This translation is strikingly different. It was graced with an especially poetic translation including lines such as his wings as drifted snow, his eyes as flame. I am very excited to offer a new perspective on this classic carol, joining the tradition of composers preserving and reimagining a priceless medieval melody. My first goal was to create a flowing, richly-textured, even cinematic string accompaniment for the choir. This approach was very much inspired by the dense, string-writing style of English composer Ralph Vaughan Williams. My second goal was to make the arrangement flexible enough to be performed with only choir, only strings, or (best of all) both ensembles combined. To further complement this approach, I've added an obligato line for a solo recorder (solo flute or violin work just as well). If you listen carefully, you will hear a quote from my other favorite holiday carol, Jesu Bambino. I hope you enjoy performing A Basque Carol. I especially hope that you sense the ancient magic cast into this tune, hearing the ineffable qualities that have compelled us to sustain it for nearly a millennium. Whether you're a choir, a string orchestra, or a combined ensemble, this arrangement of A Basque Carol will surely be a haunting and lovely addition to your next holiday program!.
A Basque Carol (also known as Gabriel’s Message) holds a special place in Western music. The carol originates from Basque country around the 13th century, based on the Latin hymn, Angelus ad Virginem (likely of Franciscan origin). The tune quickly spread throughout Europe, finding popularity in Britain where it was even referenced in Chaucer’s Canterbury Tales:  “Playing so sweetly that the chamber rang; / and Angelus ad virginem he sang. . .”.Interestingly, the melody we know and love today is derived from the original Basque version. In my view, this tune is a perfect example of melody-crafting. It is at once hauntingly beautiful, yet warm and joyous. Its contours are complex, dramatic, yet singable. I believe this melodic accessibility is the key to the song’s lasting popularity. I would also attribute A Basque Carol’s continued popularity to its elegant translation into English (by Sabine Baring-Gould, who rediscovered the original Basque tune). Translations often risk sounding unimaginative, coarse, and blunt. This translation is strikingly different. It was graced with an especially poetic translation including lines such as “his wings as drifted snow, his eyes as flame.”I am very excited to offer a new perspective on this classic carol, joining the tradition of composers preserving and reimagining a priceless medieval melody. My first goal was to create a flowing, richly-textured, even cinematic string accompaniment for the choir. This approach was very much inspired by the dense, string-writing style of English composer Ralph Vaughan Williams. My second goal was to make the arrangement flexible enough to be performed with only choir, only strings, or (best of all) both ensembles combined. To further complement this approach, I’ve added an obligato line for a solo recorder (solo flute or violin work just as well). If you listen carefully, you will hear a quote from my other favorite holiday carol, Jesu Bambino.I hope you enjoy performing A Basque Carol. I especially hope that you sense the ancient magic cast into this tune, hearing the ineffable qualities that have compelled us to sustain it for nearly a millennium. Whether you’re a choir, a string orchestra, or a combined ensemble, this arrangement of A Basque Carol will surely be a haunting and lovely addition to your next holiday program!

Clarinet, bass clarinet, piano

SKU: P2.30141

Composed by Noah D. Taylor. Concerto. Published by Potenza Music (P2.30141).

The Concerto for Clarinet and Bass Clarinet was commissioned by a Potenza Music Publications Consortium and was written for Dr. Robert Spring and Dr. Mathew Miracle. The work was premiered by the duo at the 2014 International Clarinetfest. As a composer, Taylor has always sought to capture the exciting and sweeping qualities of orchestral and film music in his own works and the double concerto is no exception. Cast in three movements, thiswork not only showcases and challenges the soloists, but also provides the listener a captivating a memorable experience. The first movement of the work opens quietly and calmly as each of the clarinets are introduced. After the haunting introduction, a fun and quirky dance ensues, marked by flashy melodic lines and asymmetrical rhythms. This work allows the clarinetist to show off the fun character of the clarinet. The second movement starts with a slow and haunting treatment of the theme, but soon gives way to a passages that become more flowing and expressive version. This middle part of the concerto allowed Taylor to writepassionately and romantically, and unbound by traditional form. As the movement fades away, it is meant to lead the listener to the fiery third movement. The third movement bursts into the exhilarating and vigorous first subject, which features a thrilling rhythmic motif and interchange between the two soloists and accompaniment. As this scherzo-like movement develops, Taylor transforms the theme rhythmically driven passages followed by hauntingly lyric sections. As the piece builds, themes from the first movement return to tie the work together. At it's climax the Double Concerto ends with fiery virtuosity and powerful harmonic drive.