| If I Can Sing, I Will Be Free Chorale SSAA - Facile Hampton Roads Music Group
SSAA chorus - early intermediate SKU: XC.HRMG1932 Composed by Michael Joh...(+)
SSAA chorus - early
intermediate SKU:
XC.HRMG1932 Composed
by Michael John Trotta.
Michael John Trotta.
Music Education. Octavo.
16 pages. Hampton Roads
Music Group LLC
#HRMG1932. Published by
Hampton Roads Music Group
LLC (XC.HRMG1932).
UPC: 785147103356.
English. A stirring
testament to the power of
music, Sara Teasdale's
text is set to a
captivating melody, with
careful use of
suspensions, and optional
parts for violin and
cello. A flowing piano
accompaniment and
optional solo or descant
line bring beauty and
depth to the gentle
setting. For with my
singing, I can make a
refuge for my spirit's
sake. Â . $3.20 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Canzonette a tre Chorale 3 parties SSA [Octavo] - Intermédiaire Treble Clef Music Press
By Claudio Monteverdi. For SSA. Other Secular. Level: Medium. Published by Trebl...(+)
By Claudio Monteverdi.
For SSA. Other Secular.
Level: Medium. Published
by Treble Clef Music
Press.
$2.85 $2.7075 (- 5%) Voir plus => AcheterDélais: 2 to 3 weeks | | |
| We Are United (Split Track Accompaniment CD) CD Chorale [CD d'accompagnement] Brentwood-Benson
We Are United (Split Track Accompaniment CD) by Meredith Graham. Arranged by Pam...(+)
We Are United (Split
Track Accompaniment CD)
by Meredith Graham.
Arranged by Pam Andrews.
For Unison/2-part choir.
Brentwoood Kids Music.
Sacred, Modern Christian.
Easy. Accompaniment CD
(split track). Published
by Brentwood-Benson Music
Publishing
$90.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Kaleidoscope Sky Orchestre d'harmonie - Intermédiaire Carl Fischer
Band concert band - Grade 3 SKU: CF.CPS250 Composed by Peter Sciaino. Set...(+)
Band concert band - Grade
3 SKU: CF.CPS250
Composed by Peter
Sciaino. Set of Score and
Parts.
27+12+12+6+12+12+12+6+6+6
+6+4+4+8+8+8+4+4+6+6+6+4+
12+4+2+6+10 pages.
Duration 4 minutes, 40
seconds. Carl Fischer
Music #CPS250. Published
by Carl Fischer Music
(CF.CPS250). ISBN
9781491159576. UPC:
680160918164. Kalei
doscope Sky is inspired
by the breathtaking
pastime of hot-air
ballooning and the
glorious festivals around
the world that honor the
practice. A sky full of
colorful spheres
elegantly floating at the
Albuquerque International
Balloon Fiesta,
International Balloon
Festival of
Saint-Jean-sur-Richelieu,
Bristol International
Balloon Fiesta, Mondial
Air Ballons and more draw
thousands of people to
witness awe-inspiring
scenes full of passionate
balloonists. Traditional
hot-air balloons mix with
creatively designed
balloons to thrill the
tens of thousands of
spectators below. While I
personally am not a
person who dreams of
taking my own
flight--heights are not
my thing--I have to
marvel at how gently and
easily these vessels
float among the clouds.
It truly is an image of
exquisite freedom. This
piece reflects the view
and experience of the
onlooker taking in an
elegantly shifting scene
reminiscent of
kaleidoscope patterns.
Spectators like me can
appreciate the beauty and
vibrancy associated with
a horizon full of
adventurous balloonists
and their wondrous
aircrafts. Kaleidoscope
Sky starts in a
triumphant and
celebratory fashion and
continues to conjure
images reminiscent of the
wide variety of soaring
colors on display at a
hot-air balloon event.
Ultimately, the piece
appropriately concludes
with a suspenseful, yet
graceful, run to the
finish line. Melodic
lines should soar with
attention being paid to
phrase markings and
assigned articulations.
Encourage musicians to
allow room for the
melodic material to be
heard in thicker textures
where supporting
harmonies are often
rhythmic in nature. These
harmonies should support,
and not cloud the
melodies. The meter
changes should sound
effortless, and the
continuous figures in the
percussion will help to
achieve this effect. The
snare drum, in
particular, should bring
accented notes to the
foreground while
maintaining a steady
textural effect with
non-accented notes as a
rhythmic background. This
will go a long way in
finding a cohesive
subdivision and ensemble
pulse. Kaleidoscope
Sky is inspired by the
breathtaking pastime of
hot-air ballooning and
the glorious festivals
around the world that
honor the practice. A sky
full of colorful spheres
elegantly floating at the
Albuquerque International
Balloon Fiesta,
International Balloon
Festival of
Saint-Jean-sur-Richelieu,
Bristol International
Balloon Fiesta, Mondial
Air Ballons and more draw
thousands of people to
witness awe-inspiring
scenes full of passionate
balloonists. Traditional
hot-air balloons mix with
creatively designed
balloons to thrill the
tens of thousands of
spectators below. While I
personally am not a
person who dreams of
taking my own
flight—heights are
not my thing—I
have to marvel at how
gently and easily these
vessels float among the
clouds. It truly is an
image of exquisite
freedom. This piece
reflects the view and
experience of the
onlooker taking in an
elegantly shifting scene
reminiscent of
kaleidoscope patterns.
Spectators like me can
appreciate the beauty and
vibrancy associated with
a horizon full of
adventurous balloonists
and their wondrous
aircrafts. Kaleidoscope
Sky starts in a
triumphant and
celebratory fashion and
continues to conjure
images reminiscent of the
wide variety of soaring
colors on display at a
hot-air balloon event.
Ultimately, the piece
appropriately concludes
with a suspenseful, yet
graceful, run to the
finish line.Melodic lines
should “soarâ€
with attention being paid
to phrase markings and
assigned articulations.
Encourage musicians to
allow room for the
melodic material to be
heard in thicker textures
where supporting
harmonies are often
rhythmic in nature. These
harmonies should support,
and not
“cloud†the
melodies. The meter
changes should sound
effortless, and the
continuous figures in the
percussion will help to
achieve this effect. The
snare drum, in
particular, should bring
accented notes to the
foreground while
maintaining a steady
textural effect with
non-accented notes as a
rhythmic background. This
will go a long way in
finding a cohesive
subdivision and ensemble
pulse. $95.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Kaleidoscope Sky Orchestre d'harmonie - Intermédiaire Carl Fischer
Band concert band - Grade 3 SKU: CF.CPS250F Composed by Peter Sciaino. Fu...(+)
Band concert band - Grade
3 SKU: CF.CPS250F
Composed by Peter
Sciaino. Full score. 27
pages. Carl Fischer Music
#CPS250F. Published by
Carl Fischer Music
(CF.CPS250F). ISBN
9781491159583. UPC:
680160918171. Kalei
doscope Sky is inspired
by the breathtaking
pastime of hot-air
ballooning and the
glorious festivals around
the world that honor the
practice. A sky full of
colorful spheres
elegantly floating at the
Albuquerque International
Balloon Fiesta,
International Balloon
Festival of
Saint-Jean-sur-Richelieu,
Bristol International
Balloon Fiesta, Mondial
Air Ballons and more draw
thousands of people to
witness awe-inspiring
scenes full of passionate
balloonists. Traditional
hot-air balloons mix with
creatively designed
balloons to thrill the
tens of thousands of
spectators below. While I
personally am not a
person who dreams of
taking my own
flight--heights are not
my thing--I have to
marvel at how gently and
easily these vessels
float among the clouds.
It truly is an image of
exquisite freedom. This
piece reflects the view
and experience of the
onlooker taking in an
elegantly shifting scene
reminiscent of
kaleidoscope patterns.
Spectators like me can
appreciate the beauty and
vibrancy associated with
a horizon full of
adventurous balloonists
and their wondrous
aircrafts. Kaleidoscope
Sky starts in a
triumphant and
celebratory fashion and
continues to conjure
images reminiscent of the
wide variety of soaring
colors on display at a
hot-air balloon event.
Ultimately, the piece
appropriately concludes
with a suspenseful, yet
graceful, run to the
finish line. Melodic
lines should soar with
attention being paid to
phrase markings and
assigned articulations.
Encourage musicians to
allow room for the
melodic material to be
heard in thicker textures
where supporting
harmonies are often
rhythmic in nature. These
harmonies should support,
and not cloud the
melodies. The meter
changes should sound
effortless, and the
continuous figures in the
percussion will help to
achieve this effect. The
snare drum, in
particular, should bring
accented notes to the
foreground while
maintaining a steady
textural effect with
non-accented notes as a
rhythmic background. This
will go a long way in
finding a cohesive
subdivision and ensemble
pulse. Kaleidoscope
Sky is inspired by the
breathtaking pastime of
hot-air ballooning and
the glorious festivals
around the world that
honor the practice. A sky
full of colorful spheres
elegantly floating at the
Albuquerque International
Balloon Fiesta,
International Balloon
Festival of
Saint-Jean-sur-Richelieu,
Bristol International
Balloon Fiesta, Mondial
Air Ballons and more draw
thousands of people to
witness awe-inspiring
scenes full of passionate
balloonists. Traditional
hot-air balloons mix with
creatively designed
balloons to thrill the
tens of thousands of
spectators below. While I
personally am not a
person who dreams of
taking my own
flight—heights are
not my thing—I
have to marvel at how
gently and easily these
vessels float among the
clouds. It truly is an
image of exquisite
freedom. This piece
reflects the view and
experience of the
onlooker taking in an
elegantly shifting scene
reminiscent of
kaleidoscope patterns.
Spectators like me can
appreciate the beauty and
vibrancy associated with
a horizon full of
adventurous balloonists
and their wondrous
aircrafts. Kaleidoscope
Sky starts in a
triumphant and
celebratory fashion and
continues to conjure
images reminiscent of the
wide variety of soaring
colors on display at a
hot-air balloon event.
Ultimately, the piece
appropriately concludes
with a suspenseful, yet
graceful, run to the
finish line.Melodic lines
should “soarâ€
with attention being paid
to phrase markings and
assigned articulations.
Encourage musicians to
allow room for the
melodic material to be
heard in thicker textures
where supporting
harmonies are often
rhythmic in nature. These
harmonies should support,
and not
“cloud†the
melodies. The meter
changes should sound
effortless, and the
continuous figures in the
percussion will help to
achieve this effect. The
snare drum, in
particular, should bring
accented notes to the
foreground while
maintaining a steady
textural effect with
non-accented notes as a
rhythmic background. This
will go a long way in
finding a cohesive
subdivision and ensemble
pulse. $14.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Ulterior Motifs Orchestre d'harmonie - Débutant Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Brake Drum, Cabasa, Chimes, Clari...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bells,
Brake Drum, Cabasa,
Chimes, Clarinet 1,
Clarinet 2, Crash
Cymbals, Euphonium,
Euphonium T.C., Flute,
Flute 2, Hi-hat Cymbal,
Horn, Mallet Percussion,
Oboe, Percussion 1,
Percussion 2, Ride Cymbal
and more. - Grade 1.5
SKU: CF.FPS150
Composed by Matthew R.
Putnam. First Plus Band
(FPS). Set of Score and
Parts. With Standard
notation.
8+2+4+4+2+5+2+2+4+4+4+6+3
+2+1+3+8+16+2 pages.
Duration 2 minutes, 6
seconds. Carl Fischer
Music #FPS150. Published
by Carl Fischer Music
(CF.FPS150). ISBN
9781491152102. UPC:
680160909605. The
title is a play on words,
but the composer had his
own ulterior motives in
mind when composing this
piece. He wanted a piece
that was fun to play, but
that helped developing
musicians work on their
rhythmic skills. Matt
Putnam uses the feel of
action film soundtracks
to create the mood of
this interesting new
piece. Interesting
grooves in the percussion
throughout add to the
piece’s feel of
mystery and thrill. To
understand my thoughts in
writing this piece, I
thought it best to define
the two ideas that give
the piece its title:
ulterior motives and
musical motifs. Ulterior
motives occur when you
believe that a person is
doing something for some
unknown or hidden reason.
Often, they are used in
action films or
literature to increase
the drama and tension of
the story. Musically, a
motif is a short rhythmic
and/or melodic idea. When
I wrote this piece, I
must confess that I had
my own ulterior motives:
I wanted to create a
piece that was fun to
play, but I also wanted a
piece that would help
students develop their
rhythmic counting skills.
In this piece, I use a
motif of a two
eighth-note pattern which
jumps from section to
section to help me
achieve my ulterior
motive.Mimicking the mood
of action films whose
characters often have
ulterior motives, the
mood of the piece is
suspenseful and exciting
as the motif jumps from
section to section
throughout the ensemble.
The motif keeps you
guessing as it occurs on
all four different beats
of the measure sometimes
ascending, sometimes
descending, and occurs
sometimes in the interval
of a second and sometimes
the interval of a third.
Interesting grooves in
the percussion throughout
add to the piece’s
feel of mystery and
thrill.I have no ulterior
motives when I say that I
hope you enjoy playing
Ulterior Motifs. $60.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Ulterior Motifs Orchestre d'harmonie - Débutant Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Brake Drum, Cabasa, Chimes, Clari...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bells,
Brake Drum, Cabasa,
Chimes, Clarinet 1,
Clarinet 2, Crash
Cymbals, Euphonium,
Euphonium T.C., Flute,
Flute 2, Hi-hat Cymbal,
Horn, Mallet Percussion,
Oboe, Percussion 1,
Percussion 2, Ride Cymbal
and more. - Grade 1.5
SKU: CF.FPS150F
Composed by Matthew R.
Putnam. First Plus Band
(FPS). Full score. With
Standard notation. 16
pages. Carl Fischer Music
#FPS150F. Published by
Carl Fischer Music
(CF.FPS150F). ISBN
9781491152782. UPC:
680160910281. The
title is a play on words,
but the composer had his
own ulterior motives in
mind when composing this
piece. He wanted a piece
that was fun to play, but
that helped developing
musicians work on their
rhythmic skills. Matt
Putnam uses the feel of
action film soundtracks
to create the mood of
this interesting new
piece. Interesting
grooves in the percussion
throughout add to the
piece’s feel of
mystery and thrill. To
understand my thoughts in
writing this piece, I
thought it best to define
the two ideas that give
the piece its title:
ulterior motives and
musical motifs. Ulterior
motives occur when you
believe that a person is
doing something for some
unknown or hidden reason.
Often, they are used in
action films or
literature to increase
the drama and tension of
the story. Musically, a
motif is a short rhythmic
and/or melodic idea. When
I wrote this piece, I
must confess that I had
my own ulterior motives:
I wanted to create a
piece that was fun to
play, but I also wanted a
piece that would help
students develop their
rhythmic counting skills.
In this piece, I use a
motif of a two
eighth-note pattern which
jumps from section to
section to help me
achieve my ulterior
motive.Mimicking the mood
of action films whose
characters often have
ulterior motives, the
mood of the piece is
suspenseful and exciting
as the motif jumps from
section to section
throughout the ensemble.
The motif keeps you
guessing as it occurs on
all four different beats
of the measure sometimes
ascending, sometimes
descending, and occurs
sometimes in the interval
of a second and sometimes
the interval of a third.
Interesting grooves in
the percussion throughout
add to the piece’s
feel of mystery and
thrill.I have no ulterior
motives when I say that I
hope you enjoy playing
Ulterior Motifs. $9.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Violin - Concerto Orchestre, Violon SATB, Orchestre Editorial de Musica Boileau
Violin and orchestra SKU: BO.B.3340 Composed by Jordi Cervello. Instrumen...(+)
Violin and orchestra
SKU: BO.B.3340
Composed by Jordi
Cervello. Instrumental
Sets. Duration 29:00.
Published by Editorial de
Musica Boileau
(BO.B.3340). ISBN
9788480207591. Engl
ish comments: My
dedication to the string
instruments has been a
constant throughout my
compositional career and
I knew that sooner or
later the time would come
to compose a concerto for
violin and orchestra.
That moment came in the
autumn of 2002 and after
ten months of
uninterrupted work I
finished it in August of
2003. It is a work
structured similarly to
the traditional
concertos. An important
impetus for the
elaboration of my
concerto was due to the
ill-fated violinist
Ginette Neveu. Her
version of Sibelius'
Concerto has always
stayed with me. For this
reason the first
movement,
Moderato-Allegro, begins
with a contemplative
atmosphere similar to
that of Sibelius'
Concerto in which the
principal thematic ideas
appear tentatively. These
ideas, two rhythmic and
two melodic, are
reaffirmed through a
broad development that
culminates in an
orchestral fullness. A
calm, mysterious passage
recalls the introduction
and after becoming
blurred, three bars burst
in leading to the rapid
section of the movement.
Soloist and orchestra
engage in a dialectic
struggle of a dramatic
nature. The agitation
subsides leaving only a
tranquil and suggestive
clarinet phrase. This
will be taken up by the
soloist who leads up to
the movement's most
dramatic moment playing
an accelerating triplet
figure supported by an
orchestral pedal in
crescendo. From here the
soloist's cadenza emerges
beginning with soft
double notes. It finishes
with an ascending
progression and the
soloist settles into the
high register to elicit
the orchestra's
intervention in a soft
and transfigured
atmosphere. Once
internalised the second
movement, Adagio poco
sostenuto e leggero
begins. It has a solemn
character and opens with
two trumpet calls
answered by the
violoncellos and the
contrabasses. The violin
soloist introduces and
plays two nostalgic
themes, the first in the
low register and the
second, more extensive,
in the middle register.
The soft and delicate
Misterioso e leggero
begins with the violin
singing on high. The
rhythm of the constant
quaver figures gradually
accelerates until the
soloist provokes a
dramatic full orchestra
as in a cadenza. Once
again, the Calmo, in
which the soloist with
less and less orchestral
attire serenely bids
farewell. A rising series
of double stops by the
soloist serves to
initiate the
Finale-Scherzo. In 6/8
rhythm and with the
character of a rondo it
carries us along in a
carefree, virtuosic
ambiance. The principal
motives, brief and
concise, emerge from the
happy, playful theme
presented by the soloist.
With an intricate
progression of rapid
sixths in double stops it
reaches a tense and
somewhat combative
moment. However this
resolves itself in a
diminuendo that the
soloist peacefully takes
up with the notes re-la
to commence the cadenza.
This culminates in a
series of tied notes to
reintroduce the principal
theme. A moment of
melodic suspension serves
as a farewell before the
brief and jovial final
coda. --The
author
Comentari
os del Espanol: A lo
largo de mi carrera
compositiva mi dedicacion
a los instrumentos de
cuerda ha sido constante
y sabia que, tarde o
temprano, llegaria el
momento de componer un
concierto para violin y
orquesta. Este llego en
otono de 2002 y, tras
diez meses de trabajo
ininterrumpido, lo
termine en agosto de
2003. Se trata de una
obra estructurada de
manera similar a los
conciertos tradicionales.
Un importante impulso a
la elaboracion de mi
concierto lo debo al
recuerdo de la malograda
violinista Ginette Neveu.
Su version del concierto
de Sibelius ha
permanecido siempre
dentro de mi. Por ese
motivo, el primer
movimiento
Moderato-Allegro se
inicia con una atmosfera
contemplativa cercana a
la del mencionado
Concierto, en la que
aparecen cautamente las
principales ideas
tematicas. Con un amplio
desarrollo se llega a un
lleno orquestal en el que
estas ideas -dos ritmicas
y dos melodicas- quedan
reafirmadas. Un pasaje
calmo y misterioso
rememora la introduccion.
Tras desdibujarse,
irrumpen tres compases
que nos llevan a la parte
rapida del movimiento.
Solista y orquesta
establecen un combate
dialectico de caracter
dramatico. La inquietud
desaparece hasta una
tranquila e insinuante
frase del clarinete. Esta
sera recogida por el
solista, quien, a base de
una figuracion de
tresillos cada vez mas
rapidos apoyada por un
pedal de la orquesta in
crescendo, conduce hacia
el momento mas dramatico
del movimiento. De aqui
nace la cadenza del
solista, que se incia con
suaves notas dobles.
Finaliza con una
progresion ascendente y
el solista se coloca en
el registro agudo para
llamar la intervencion de
la orquesta dentro de una
atmosfera suave y
transfigurada.
Interiorizado es el
segundo movimiento Adagio
poco sostenuto e leggero.
Con dos llamadas de las
trompas respondidas por
los violonchelos y
contrabajos inicia el
Adagio de caracter grave.
El violin solista
introduce y canta dos
temas nostalgicos. El
primero en el registro
grave y el segundo, mas
amplio, en el medio.
Inicia el Misterioso e
leggero, de caracter
suave y delicado. Con el
violin cantando en agudo.
La constante figuracion
de corcheas acelerara
poco a poco el ritmo
hasta que el solista a
modo de cadenza provocara
un dramatico lleno
orquestal. De nuevo el
Calmo, donde el solista,
cada vez con menos ropaje
orquestal, se despide
serenamente. Una subida
de dobles cuerdas a cargo
del solista sirve para
iniciar el
Finale-Scherzo. Este, en
ritmo de 6/8 y con
caracter de rondo, nos
transporta en un clima
virtuosistico y
despreocupado. Del tema
alegre y jugueton
presentado por el solista
nacen los principales
motivos, breves y
concisos. Con una
intrincada sucesion de
rapidas sextas en doble
cuerda se llega a un
momento crispado y algo
combativo que, sin
embargo, se resolvera en
un diminuendo que el
solista recoge
apaciblemente con las
notas re-la para inciar
la cadenza. Esta culmina
con un suave rosario de
notas en ligado para
introducir de nuevo el
tema principal. Un
momento de suspension
melodica sirve como
despido antes de la breve
y jovial coda final. La
obra fue estrenada el 23
de septiembre de 2005 en
el Teatre Monumental de
Madrid por la Orquesta
Sinfonica de RTVE con
Markus Placci de solista
y Uwe Mund de director.
Gravacion: RNE y Canal
Clasico de TVE. --El
Autor. $42.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
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