PARTITIONS GRATUITES :
- MUSIC BOX for 4 flutes - LIADOV

By Marks. Arranged by Christensen. For 4 flutes. Flute Quartet. Level: Grade 4. Published by Kendor Music Inc.

By Traditional. Arranged by Christensen. For 4 flutes. Flute Quartet. Level: Grade 3. Published by Kendor Music Inc.

Score and Parts. By Louis Moyse. (Flute). Woodwind Ensemble. 32 pages. Published by G. Schirmer, Inc.

Orchestra Bass Clarinet, Bass Drum, Bassoon 1, Bassoon 2, Bassoon 3, Celesta, Cello, Chimes, Clarinet, Clarinet 1, Clarinet 2, Clarinet 3, Contrabass, Contrabassoon, Cymbal, Glockenspiel, Gong, Harp, Horn, Horn 1, Horn 2, Horn 3, Horn 4, Piano, Piccolo 1 and more.

SKU: CF.O5445

Composed by Henry Brant. SWS. Large Score. With Standard notation. Composed 1983. Duration 15 minutes. Carl Fischer Music #O5445. Published by Carl Fischer Music (CF.O5445).

ISBN 9780825840449. UPC: 798408040444. 9 X 14 inches.

Written for the late Robert Shaw and the Atlanta Symphony Orchestra in 1983, Desert Forests is one of the most successful of Brant's spatial works for conventional-sized symphony orchestra. The score mandates that the higher woodwinds (piccolos, flutes, oboes, clarinets) be stationed in a balcony at the back of the hall and the trumpets and trombones in boxes or balconies on opposite sides of the hall. There is also an optional improvised piano-obbligato. A recommended seating diagram for the stage instruments (also unusually arranged) is included in the score and was used to great effect in the performances conducted by Kurt Masur with the New York Philharmonic in May 1994. This extraordinary work expands the idea of bitonality and spatiality as a structural device to create a fifteen minute exercise in ecstatic polyphony, inspired, according to the composer by a visit to a forest of saguro cactus in Saguro National Monument, near Tucson, Arizona. Complete performance materials are available on rental.

Chamber Music Bass Flute 1, Bass Flute 2, Contrabass Flute, Flute 1, Flute 2, Flute 3, Flute 4, Piccolo 1, Piccolo 2, alto Flute 1, alto Flute 2

SKU: PR.114417700

For Flute Orchestra. Composed by Daniel Dorff. Folder, .2inch white spine. Premiered by the Mid-Atlantic Flute Convention festival flute choir, conducted by George Pope, Beston, VA. Contemporary. Set of Score and Parts. With Standard notation. Composed 2015. 24+4+4+4+4+4+4+4+4+4+4+2+ 2 pages. Duration 5 minutes. Theodore Presser Company #114-41770. Published by Theodore Presser Company (PR.114417700).

ISBN 9781491108000. UPC: 680160636259. 9x12 inches.

To mark its 50th anniversary, the Flute Society of Washington commissioned Daniel Dorff to compose a celebratory work for large flute ensemble, to premiere en masse at its 2016 convention. Dorff responded with Fireworks, a 5-minute dazzler scored for 2 piccolos, 4 C flutes, 2 altos, 2 basses, and 1 contrabass. In describing performance of Fireworks, Dorff says: Real pyrotechnic fireworks typically shoot upward quickly and neatly, pop at the top, and then cascade downward slowly in a beautifully out-of-sync descent. Fireworks has many passages musically depicting this crisp upward whoosh exploding into downward sprinkles, often punctuated by a pop at the top.
PERFORMANCE SUGGESTIONS1) FIREWORKS may be performed by any size ensemble ranging from 11 soloists up to a large festival choir. It may be preferable to keep the piccolos at one player per part even when the other parts have multiple players.2) Real pyrotechnic fireworks typically shoot upward quickly and neatly, pop at the top, and then cascade downward slowly in a beautifully out-of-sync descent. FIREWORKS has many passages musically depicting this crisp upward whoosh exploding into downward sprinkles, often punctuated by a pop at the top.3) All dynamics are relative to the whole blend, and some performance situations may require attention and adjustments to keep the balance as notated.4) The “puh” effect with x-shaped noteheads in the Bass and Contrabass parts is a beatbox technique sounding similar to pizzicato. There is naturally-produced flute pitch along with the percussive attack.5) “Like tolling bells” (bar 191 onward) indicates a rapid decay of each note, like church bells.This will help the antiphonal echo beginning in bar 195, and the seating placement may also enhance the antiphonal effect.

Orchestra Bassoon 1, Bassoon 2, Bassoon 3, Clarinet 1, Clarinet 2, Clarinet 3, Contrabass, Flute 1, Flute 2, Flute 3, Harp, Horn 1, Horn 3, Horn 4, Oboe 1, Oboe 2, Oboe 3, Percussion 1, Percussion 2, Percussion 3, Percussion 4, Piano, Timpani, Trombone 1 and more.

SKU: PR.466000470

Composed by Dan Welcher. Spiral. Large Score. With Standard notation. Duration 10 minutes. Theodore Presser Company #466-00047. Published by Theodore Presser Company (PR.466000470).

UPC: 680160099405. 11 x 17 inches.

This is the second incarnation of a work I first composed in 1994 for symphonic wind ensemble. The earlier version was intended to be the summation of three-part suite, each part being named for a different national park in the Western United States. This orchestral version, commissioned in 1999 by the Utah Symphony and dedicated to the memory of Aaron Copland, is more than a re-scoring of the earlier piece; it is a re-thinking of all its elements. Zion is a place with unrivaled natural grandeur, being a sort of huge box canyon in which the traveler is constantly overwhelmed by towering rock walls on every side of him -- but it is also a place with a human history, having been inhabited by several tribes of native Americans before the arrival of the Mormon settlers in the mid-19th century. By the time the Mormons reached Utah, they had been driven all the way from New York State through Ohio and, with tragic losses, through Missouri. They saw Utah in general as a place nobody wanted, but they were nonetheless determined to keep it to themselves. Although Zion Canyon was never a Mormon Stronghold, the people who reached it and claimed it (and gave it its present name) had been through extreme trials. It is the religious fervor of these persecuted people that I was able to draw upon in creating Zion as a piece of music. There are two quoted hymns in the work: Zion's Walls (which Aaron Copland adapted to his own purposes in both his Old American Songs and the opera The Tender Land) and Zion's Security, which I found in the same volume in which Copland found Zion's Walls -- that inexhaustible storehouse of 19th-century hymnody called The Sacred Harp. My work opens with a three-verse setting of Zion's Security, a stern tune in F-sharp minor which is full of resolve. (The words of this hymn are resolute and strong, rallying the faithful to be firm, and describing the city of our God they hope to establish). This melody alternates with a fanfare tune, whose origins will be revealed in later music, until the second half of the piece begins: a driving rhythmic ostinato based on a 3/4-4/4 alternating meter scheme. This pauses at its height to restate Zion's Security one more time, in a rather obscure setting surrounded by freely shifting patterns in the flutes, clarinets, and percussion -- until the sun warms the ground sufficiently for the second hymn to appear. Zion's Walls is set in 7/8, unlike Copland's 9/8-6/8 meters (the original is quite strange, and doesn't really fit any constant meter), and is introduced by a warm horn solo. The two hymns vie for attention from here to the end of the piece, with the glowingly optimistic Zion's Walls finally achieving prominence. The work ends with a sense of triumph.

Concert Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clarinet 3, Contrabassoon, English Horn, Euphonium, Flute 1, Flute 2, Flute 3, Horn 1, Horn 2, Horn 3, Horn 4, Oboe 1, Oboe 2, Percussion 1, Percussion 2, Percussion 3 and more.

SKU: PR.16500092L

For Concert Band. Composed by Dan Welcher. Spiral. Contemporary. Large Full Score. With Standard notation. Composed 1994. 76 pages. Duration 10 minutes. Theodore Presser Company #165-00092L. Published by Theodore Presser Company (PR.16500092L).

UPC: 680160039531. 11 x 17 inches.

Zion is the third and final installment of a series of works for Wind Ensemble inspired by national parks in the western United States, collectively called Three Places in the West. As in the other two works (The Yellowstone Fires and Arches), it is my intention to convey more an impression of the feelings I've had in Zion National Park in Utah than an attempt at pictorial description. Zion is a place with unrivalled natural grandeur, being a sort of huge box canyon in which the traveler is constantly overwhelmed by towering rock walls on every side of him -- but it is also a place with a human history, having been inhabited by several tribes of native Americans before the arrival of the Mormon settlers in the mid-19th century. By the time the Mormons reached Utah, they had been driven all the way from New York State through Ohio and, with tragic losses, through Missouri. They saw Utah in general as a place nobody wanted, but they were nonetheless determined to keep it to themselves. Although Zion Canyon was never a Mormon Stronghold, the people who reached it and claimed it (and gave it its present name) had been through extreme trials. It is the religious fervor of these persecuted people that I was able to draw upon in creating Zion as a piece of music. There are two quoted hymns in the work: Zion's Walls (which Aaron Copland adapted to his own purposes in both is Old American Songs and the opera The Tender Land) and Zion's Security, which I found in the same volume in which Copland found Zion's Walls -- that inexhaustible storehouse of 19th-century hymnody called The Sacred Harp. My work opens with a three-verse setting of Zion's Security, a stern tune in F-sharp minor which is full of resolve. (The words of this hymn are resolute and strong, rallying the faithful to be firm, and describing the city of our God they hope to establish). This melody alternates with a fanfare tune, whose origins will be revealed in later music, until the second half of the piece begins: a driving rhythmic ostinato based on a 3/4-4/4 alternating meter scheme. This pauses at its height to restate Zion's Security one more time, in a rather obscure setting surrounded by freely shifting patterns in the flutes, clarinets, and percussion -- until the sun warms the ground sufficiently for the second hymn to appear. Zion's Walls is set in 7/8, unlike Copland's 9/8-6/8 meters (the original is quite strange, and doesn't really fit any constant meter), and is introduced by a warm horn solo. The two hymns vie for attention from here to the end of the piece, with the glowingly optimistic Zion's Walls finally achieving prominence. The work ends with a sense of triumph and unbreakable spirit. Zion was commissioned in 1994 by the wind ensembles of the University of Texas at Arlington, the University of Texas at Austin, and the University of Oklahoma. It is dedicated to the memory of Aaron Copland.