| The Ultimate Fake Book - Third Edition (Bb version)
Instruments en Sib [Fake Book] Hal Leonard
Bb Edition. Fake Book (Includes melody line and chords). Size 9x12 inches. 816 p...(+)
Bb Edition. Fake Book
(Includes melody line and
chords). Size 9x12
inches. 816 pages.
Published by Hal Leonard.
(8)$49.95 - Voir plus => AcheterDélais: 3 to 5 business days | | |
| The Collected Works of John Carter
Piano seul [Partition] Hope Publishing Company
By Various. Arranged by John Carter. For Piano. John Carter Piano Series. Devoti...(+)
By Various. Arranged by
John Carter. For Piano.
John Carter Piano Series.
Devotion, Hymntune,
Sacred. Piano Collection.
166 pages
$69.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| For the Mystic Harmony [Conducteur] 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 | | |
| Bethlehem Promise, Bethlehem Joy (from Season of Wonders) Shawnee Press
Choral (Studiotrax CD) SKU: HL.35028411 Composed by Joseph M. Martin. Har...(+)
Choral (Studiotrax CD)
SKU: HL.35028411
Composed by Joseph M.
Martin. Harold Flammer
Christmas. Advent,
Christmas, Christmas
Sacred. CD only.
Published by Shawnee
Press (HL.35028411).
UPC: 884088653545. 5x5
inches. Uses: Advent,
Christmas
Scrip
ture: John 7:42;
Micah 5:2; Luke
2:4-6
Twirling
like a Hebrew dance and
leaping from the pages of
prophecy, this
celebratory combination
of folk song and carol is
a jovial shout of praise
for Advent. Unmistakable
in its impact, the anthem
sings itself while the
rollicking accompaniment
creates an engine of joy
propelling this piece
into the heart of the
listener. Two well know
melodies join in a ballet
of sound celebrating the
anticipation of the
coming Messiah.
StudioTrax CD contains
Accompaniment,
Split-track, & Full
Performance tracks.
Available separately:
SATB, StudioTrax CD,
Orchestration CDrom
(Flute 1&2 (Flt 2 dbl
Piccolo), Oboe, Clarinet
1&2, Bassoon, Horn 1&2,
Trumpet 1, Trumpet 2&3,
Trombone 1&2, Bass
Trombone/Tuba, Timp, Perc
1&2, Harp, Violin 1,
Violin 2, Viola, Cello,
Double Bass). Duration:
ca. 3:56. $26.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| 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 | | |
| Twenty-six (26) Hymn Descants for One, Two, or Three Bb Trumpets Trompette GIA Publications
By Various. Arranged by Harold Owen. For Instruments: 1, 2, or 3 B trumpets (var...(+)
By Various. Arranged by
Harold Owen. For
Instruments: 1, 2, or 3 B
trumpets (varies). Inst;
Coll; Org Ens; Brass Ens
Sacred. 30 pages.
Published by GIA
Publications.
$12.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Praise and Exaltation [Conducteur et Parties séparées] Shawnee Press
Choral (orchestration on CD-rom) SKU: HL.35027321 (Incorporating Prais...(+)
Choral (orchestration on
CD-rom) SKU:
HL.35027321
(Incorporating Praise
to the Lord the
Almighty). Composed
by David Angerman and
Joseph M. Martin. Shawnee
Sacred. General Worship,
Thanksgiving. CD-ROM,
Score and Parts.
Published by Shawnee
Press (HL.35027321).
UPC: 884088501129. 5x5
inches. Words by Joseph
M. Martin; Music by
Joseph M. Martin, David
Angerman. Uses:<
/b> General,
Thanksgiving
Sc
ripture: Psalm
150:1-2; Psalm
41
Let there be
praise and thanksgiving
with this driving paean
of joy. The hymn
Praise to the Lord the
Almighty is the
centerpiece of this
amazing anthem.
Deceptively learnable,
the mixed meter is so
natural your choir will
learn it in an instant. A
festive orchestration
completes the package.
Score and Parts for flute
1&2, oboe, clarinet 1&2,
bassoon, horn 1&2,
trumpet 1, trumpet 2&3,
trombone 1&2, bass
trombone/tuba, timpani,
perc 1&2, piano, violin
1, violin 2, viola,
cello, double bass. $60.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Invitation to the Partsong Book 8 Stainer and Bell
3 to 11 voices SKU: ST.B945 Composed by Thomas Ravenscroft. Edited by Joh...(+)
3 to 11 voices SKU:
ST.B945 Composed by
Thomas Ravenscroft.
Edited by John Morehen. A
selection for three to
eleven voices. Edited
John Morehen. .  .
Vocal Score. Stainer &
Bell Ltd. #B945.
Published by Stainer &
Bell Ltd. (ST.B945).
ISBN
9790220224393. Roun
ds and Canons from Thomas
Ravenscroft's
Collections
Sacred and secular rounds
and canons in Latin and
in English from the
collections of the
17th-century editor and
theorist Thomas
Ravenscroft, on a variety
of subjects such as
drinking, hunting and
street cries: thirty-five
pieces for three to
eleven voices.
CONTENTS For
Three Voices
Follow me quickly Hey
ho! To the greenwood now
let us go I am
a-thirst, what should I
say? I pray you, good
mother New
oysters Now God be
with old Simeon Now
kiss the cup, cousin,
with courtesy O
praise the Lord, ye that
fear Him Pietas
omnium virtutum The
merry nightingale
Well fare the
nightingale
For Four
Voices Ascendit
Christus in coelum
Blow thy horn, thou jolly
hunter Descendit
Christus de coelo Fa,
mi, fa, re, la, mi
Farewell, mine own sweet
heart Hey, down a
down Miserere mei
Deus To Portsmouth it
is a gallant town
For Five
Voices Keep well
your ray, my lads
Sing you now after me
Universa transeunt
Verbum Domini manet in
aeternum Vias tuas
Domine demonstra mihi
White wine and sugar is
good drink for me
For Six
Voices Benedic,
Domine, nobis his donis
tuis Domine Fili Dei
vivi miserere nostri
Joy in the gates of
Jerusalem Laudate
nomen Domini (I) Now
thanked be the great god
Pan For
Seven Voices
Laudate nomen Domini
(II) For
Eight Voices
Let's have a peal for
John Cook's soul
For Nine
Voices Delicta
quis intelligit? Hey
ho, what shall I say?
For Ten or
Eleven Voices
Sing we now merrily. $10.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
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