SKU: CF.PPS51
ISBN 9781491151952. UPC: 680160909452.
The march style is important to the heritage of the modern concert band. Why not get beginners off to a great start by teaching them this essential band style as early as possible? Achieve uses only the first six notes of the Bb-major scale and utilizes two repeated eighth notes as the most difficult rhythm. It is written in traditional march form and style, but without modulation in the trio.The march style is important to the heritage of the modern concert band, and it is my opinion that even the youngest of students should be taught the march style and form as early as possible. This march sets out to give these students that opportunity. It uses only the first six notes of the Bb-major scale, and the most difficult rhythm is two repeated eighth notes. Yet it has all of the traditional march form and style. The form of this easy march is the traditional intro, first strain, second strain and trio. The only difference from more challenge marches is that the key does not change to the subdominant at the trio. Most everything else is the same as you would find in the American marches of Sousa, Fillmore or King.The march begins forte with a quote from the end of the second strain, something that is common in many marches. This is followed by the first strain at a softer dynamic level. Additional voices are added on the repeat for variety. The second strain has tradition changes in dynamics, first starting out loud, then getting soft with crescendos to the end of the strain. The trio following again in typical fashion with the first time being very soft and legato. There are some suggestions for changing the orchestration, but you can use your creativity to tailor the instrumentation to your musical taste. The repeat of the trio should then be back to a more marcato march style. This should start with the last note of the first ending in m. 70. The march then ends with the traditional stinger.It is my opinion that in marches with this form that the repeats should not be eliminated. By doing so, it changes the form and makes the march lopsided, with the first half of the marching being too short compared to the trio section.It has been my pleasure to have the opportunity to write this piece. I hope you and your students enjoy it and find it useful for your program.??Larry ClarkLakeland, FL 2018.
SKU: AP.41928S
UPC: 038081482521. English.
A bold concert or graduation march! Minimal eighth notes, careful doubling, and only six pitches help beginners and ensembles with incomplete instrumentation sound their best. Give your aspiring musicians something exciting to achieve! (2:35) This title is available in MakeMusic Cloud.
SKU: CF.PPS51F
ISBN 9781491152638. UPC: 680160910137.
The march style is important to the heritage of the modern concert band. Why not get beginners off to a great start by teaching them this essential band style as early as possible? Achieve u ses only the first six notes of the Bb-major scale and utilizes two repeated eighth notes as the most difficult rhythm. It is written in traditional march form and style, but without modulation in the trio.The march style is important to the heritage of the modern concert band, and it is my opinion that even the youngest of students should be taught the march style and form as early as possible. This march sets out to give these students that opportunity. It uses only the first six notes of the Bb-major scale, and the most difficult rhythm is two repeated eighth notes. Yet it has all of the traditional march form and style. The form of this easy march is the traditional intro, first strain, second strain and trio. The only difference from more challenge marches is that the key does not change to the subdominant at the trio. Most everything else is the same as you would find in the American marches of Sousa, Fillmore or King.The march begins forte with a quote from the end of the second strain, something that is common in many marches. This is followed by the first strain at a softer dynamic level. Additional voices are added on the repeat for variety. The second strain has tradition changes in dynamics, first starting out loud, then getting soft with crescendos to the end of the strain. The trio following again in typical fashion with the first time being very soft and legato. There are some suggestions for changing the orchestration, but you can use your creativity to tailor the instrumentation to your musical taste. The repeat of the trio should then be back to a more marcato march style. This should start with the last note of the first ending in m. 70. The march then ends with the traditional stinger.It is my opinion that in marches with this form that the repeats should not be eliminated. By doing so, it changes the form and makes the march lopsided, with the first half of the marching being too short compared to the trio section.It has been my pleasure to have the opportunity to write this piece. I hope you and your students enjoy it and find it useful for your program.—Larry ClarkLakeland, FL 2018.
SKU: HL.1141413
UPC: 097855175052. 7.0x18.0x2.75 inches.
Built for streaming, the Logitech Litra Beam desktop key light with TrueSoft technology makes it easy to achieve professional lighting effects. Direct light where you want it for a cinematic look. Easily swap between lighting techniques to express different moods. Whether you're shooting a YouTube video, streaming on Twitch or just working from home, Litra Beam ensures you always look your best. Natural Skin Tones, Radiant Look Logitech's TrueSoft technology delivers balanced full-spectrum LED light with cinematic color accuracy for a natural, radiant look across all skin tones. The Ultimate Desktop Fit Litra Beam is packed with features that make it easier than ever t oachieve professional lighting effects in any space. Its slim, elegant design can snuggle up to your monitor and fit into your desktop in ways other lights can't. Built-in cable management in the base keeps your setup looking sleek. And three 1/4-20 thread fittings allow you to attach Litra Beam to its desktop stand in multiple ways to achieve your desired lighting setup. Safe for All-Day Streaming Litra Beam has cleared even the strictest testing guidelines to ensure safe all-day streaming. So, whether you're creating a new video for YouTube of kicking off a marathon streaming session, Litra Beam helps you stay comfortable and confident on-camera – all day long. Fine-Tune Your Look On Camera Litra Beam features 5 brightness and 5 color temperature settings (2700K-6500K) to dial in the look you want. Or, you can hold down the buttons for continuous, stepless adjustment. Quick Access to Your Favorite Settings Download Logitech's free G HUB desktop app and connect via USB or Bluetooth® to control brightness and color temperature, save presets, turn light on/off, and more right from your desktop. And, if you have a Logitech G keyboard or mouse, you can use G-Keys to easily turn your light on/off, change brightness and color temperature, and more. Logitech TrueSoft Technology TrueSoft was designed to solve common challenges for today's content creator including quality of light, harsh shadows, and eye fatigue from long hours of streaming. Litra Beam was purpose-built for streaming and uses TrueSoft technology to wrap the subject in soft and diffused, accurate LED light that is gentle on the eyes for all-day professional content creation.
SKU: CF.CM9608
ISBN 9781491154304. UPC: 680160912803. 6.875 x 10.5 inches. Key: E major. English. Alfred, Lord Tennyson (1809-1892).
The beauty in Alfred, Lord Tennysons poem is reflected by the music with the use of text painting. The piano creates the sound of moving water in m. 19, providing the first instance of text painting. When the men enter, they continue this idea of the ocean tide while the descent into the word deep in m. 27 gives another instance of text painting. Take advantage of the minor second suspension on the word dark in m. 38 in order to achieve a feeling of suspense. The entrance at m. 41 is full, and while still minor, the text gives us hope for a change. The change comes in m. 45 with the staggered entrances creating a sense of building and ascent until the climax of this moment at m. 47 on the word embark, which is to be an ascent to Heaven. The melody moves between voice parts, even as early as m. 14 where the altos have the melody for only a single measure; it is then handed back to the sopranos. From mm. 5764, the altos trade the melody back and forth with the sopranos. Take note that the alto melody should be brought out, but the line does not actually begin until the word when. Lastly, be intentional with syllabic stress (no two eighth notes or quarter notes alike) and to give direction to any note longer than a quarter. I hope you enjoy learning and performing Crossing the Bar as much as I enjoyed writing it. ~Jamey Ray.The beauty in Alfred, Lord Tennysonas poem is reflected by the music with the use of text painting. The piano creates the sound of moving water in m.A 19, providing the first instance of text painting. When the men enter, they continue this idea of the ocean tide while the descent into the word adeepa in m. 27 gives another instance of text painting. Take advantage of the minor second suspension on the word adarka in m. 38 in order to achieve a feeling of suspense. The entrance at m. 41 is full, and while still minor, the text gives us hope for a change. The change comes in m. 45 with the staggered entrances creating a sense of building and ascent until the climax of this moment at m. 47 on the word aembark,a which is to be an ascent to Heaven. The melody moves between voice parts, even as early as m. 14 where the altos have the melody for only a single measure; it is then handed back to the sopranos. From mm. 57a64, the altos trade the melody back and forth with the sopranos. Take note that the alto melody should be brought out, but the line does not actually begin until the word awhen.a Lastly, be intentional with syllabic stress (no two eighth notes or quarter notes alike) and to give direction to any note longer than a quarter. I hope you enjoy learning and performing Crossing the Bar as much as I enjoyed writing it. ~Jamey Ray.The beauty in Alfred, Lord Tennyson's poem is reflected by the music with the use of text painting. The piano creates the sound of moving water in m. 19, providing the first instance of text painting. When the men enter, they continue this idea of the ocean tide while the descent into the word deep in m. 27 gives another instance of text painting. Take advantage of the minor second suspension on the word dark in m. 38 in order to achieve a feeling of suspense. The entrance at m. 41 is full, and while still minor, the text gives us hope for a change. The change comes in m. 45 with the staggered entrances creating a sense of building and ascent until the climax of this moment at m. 47 on the word embark, which is to be an ascent to Heaven. The melody moves between voice parts, even as early as m. 14 where the altos have the melody for only a single measure; it is then handed back to the sopranos. From mm. 57-64, the altos trade the melody back and forth with the sopranos. Take note that the alto melody should be brought out, but the line does not actually begin until the word when. Lastly, be intentional with syllabic stress (no two eighth notes or quarter notes alike) and to give direction to any note longer than a quarter. I hope you enjoy learning and performing Crossing the Bar as much as I enjoyed writing it. ~Jamey Ray.The beauty in Alfred, Lord Tennyson's poem is reflected by the music with the use of text painting. The piano creates the sound of moving water in m. 19, providing the first instance of text painting. When the men enter, they continue this idea of the ocean tide while the descent into the word deep in m. 27 gives another instance of text painting. Take advantage of the minor second suspension on the word dark in m. 38 in order to achieve a feeling of suspense. The entrance at m. 41 is full, and while still minor, the text gives us hope for a change. The change comes in m. 45 with the staggered entrances creating a sense of building and ascent until the climax of this moment at m. 47 on the word embark, which is to be an ascent to Heaven. The melody moves between voice parts, even as early as m. 14 where the altos have the melody for only a single measure; it is then handed back to the sopranos. From mm. 57-64, the altos trade the melody back and forth with the sopranos. Take note that the alto melody should be brought out, but the line does not actually begin until the word when. Lastly, be intentional with syllabic stress (no two eighth notes or quarter notes alike) and to give direction to any note longer than a quarter. I hope you enjoy learning and performing Crossing the Bar as much as I enjoyed writing it. ~Jamey Ray.The beauty in Alfred, Lord Tennyson’s poem is reflected by the music with the use of text painting. The piano creates the sound of moving water in m. 19, providing the first instance of text painting. When the men enter, they continue this idea of the ocean tide while the descent into the word “deep†in m. 27 gives another instance of text painting.Take advantage of the minor second suspension on the word “dark†in m. 38 in order to achieve a feeling of suspense. The entrance at m. 41 is full, and while still minor, the text gives us hope for a change. The change comes in m. 45 with the staggered entrances creating a sense of building and ascent until the climax of this moment at m. 47 on the word “embark,†which is to be an ascent to Heaven.The melody moves between voice parts, even as early as m. 14 where the altos have the melody for only a single measure; it is then handed back to the sopranos. From mm. 57–64, the altos trade the melody back and forth with the sopranos. Take note that the alto melody should be brought out, but the line does not actually begin until the word “when.â€Lastly , be intentional with syllabic stress (no two eighth notes or quarter notes alike) and to give direction to any note longer than a quarter.I hope you enjoy learning and performing Crossing the Bar as much as I enjoyed writing it.~Jamey Ray.
SKU: GI.G-8651
ISBN 9781622770656.
Visi t 2013 Midwest Clinic Page 2013 marks the 20th anniversary of the passing of Dizzy Gillespie, a master entertainer and one of the greatest jazz musicians of all time. This book celebrates the relationship and influence Dizzy had with Arturo and his family. Through amazing photographs and stories, this book tracks the remarkable story of how the two met in Cuba during a very restrictive period and the eventual role Dizzy would play in Arturo’s flight to freedom. It also recounts the modest start and parallels that exist between the two musicians as well as their career developments. Throughout his career Dizzy Gillespie faced a huge challenge to achieve success as a black man born in the South with limited education. He endured the hardship of the Great Depression as well as the humiliation and restrictions of the deep-rooted racism and segregation of the time. Decades later, Arturo Sandoval suffered his own bonds of tyranny when he was forbidden the freedom to perform the music he loved. While serving his three years of obligatory military service in Cuba, he was jailed for three months for listening to the “Voice of America†program hosted by Willis Conover on a short wave radio. Both Dizzy and Arturo were angered and demoralized by their individual circumstances, yet both found ways to persevere no matter the political or social consequences of the times. One does not have to look far to realize the level of affection that quickly grew between Dizzy Gillespie and Arturo Sandoval. Their relationship was not only one of mentor-proteÌgeÌ, but also a father-son type of kinship. Dizzy never had a son until he met Arturo. In Arturo’s words, were it not for Dizzy “ maybe I would have ended up in jail, or worse, because nothing good could have happened to me if I stayed there.†One of Dizzy’s greatest achievements and contributions to music was not only the discovery, but the encouragement and promotion of Arturo Sandoval. Arturo Sandoval's life was the subject of the film For Love or Country.
SKU: BT.MUSAM11429
ISBN 9781846090325. English.
Since if first appeared in the 1930s, the concise, clear content of the best-selling A Tune A Day series has revolutionised music-making in the classroom and the home. Now, for the first time, C Paul Herfurth’soriginal books have been completely rewritten with new music and the latest in instrumental technique for a new generation of musicians. The A New Tune A Day books have the same logical, gentle pace, and keen attention todetail,but with a host of innovations: the inclusion of an audio CD with actual performances and backing tracks will make practice even more fun and exciting, and the explanatory diagrams and photographs will help the studenttoachieve the perfect technique and tone. The book contains: Advice on equipmentInstructions for an effective technique and a comfortable postureExplanatory section on reading drum notationEasy-to-follow lessonsonclear, uncluttered pagesAudio CD with a virtuoso performance, backing tracks and audio examplesCompatible with A New Tune A Day for Electric Guitar and A New Tune A Day for Bass GuitarTests to check progressandcomprehensionU seful pull-out library of drum grooves. An all-round drummer Chris Baker played jazz in his early years in the English Midlands, before relocating to Los Angeles to study under some of the legends ofmoderndrumming: Steve Houghton (Woody Herman), Ralph Humphries (Frank Zappa) and Joe Porcaro (Frank Sinatra). Chris has toured internationally and records with a wide range of important ensembles. He continues todevelopheadhandsfeet, a successful teaching practice. Chris currently divides his time between London and the Midlands.
About A New Tune A Day
Since it first appeared in the 1930s, the concise, clear content of the best-selling A Tune A Day series has revolutionized music-making in the classroom and the home. Now, for the first time, C. Paul Herfurth's original books have been completely rewritten with new music and the latest in instrumental technique for a new generation of musicians. The A New Tune A Day books have the same logical, gentle pace and keen attention to detail, but with a host of innovations: the inclusion of an audio CD-with actual performances and backing tracks-will make practice even more fun and exciting, and the explanatory diagrams and photographs will help the student to achieve the perfect technique and tone. This book contains: easy-to-follow lessons on clear, uncluttered pages; tips for technique; improvising hints; audio CD with a virtuoso performance, backing tracks, and audio examples; great music, including duets and ensemble pieces; useful pull-out fingering chart
SKU: PR.114419980
UPC: 680160681723. 9 x 12 inches.
The ancient Egyptian empire began around 3100 B.C. and continued for over 3000 years until Alexander the Great conquered the country in 332 B.C. Over the centuries, the Egyptian empire grew and flourished into a highly developed society. They invented hieroglyphics, built towering pyramids (including the Great Pyramid of Giza, the oldest of the Seven Wonders of the World), and the created many household items we still use today, including toothbrushes, toothpaste, eyeliner, black ink, and the forerunner of modern-day paper. Included among their achievements were a series of highly developed funerary practices and beliefs in the Afterlife. As the average lifespan of an Egyptian hovered around 30 years, living past the death of oneAs physical body was a legitimate concern. Egyptians believed that upon death, their souls would undertake a harrowing journey through the Netherworld. If they survived the horrific creatures and arduous trials that awaited them, then their souls would be reunified with their bodies (hence the need to preserve the body through mummification) and live forever in a perfect version of the life they had lived in Egypt. To achieve this, Egyptians devised around 200 magical spells and incantations to aid souls on the path to the Afterlife. These spells are collectively called The Book of the Dead. Particular spells would be chosen by the family of the deceased and inscribed on the tombAs walls and scrolls of papyrus, as well as on a stone scarab placed over the deceasedAs heart. Subsequent collections of spells and mortuary texts, such as The Book of Gates, assisted a soul in navigating the twelve stages of the Netherworld. Not only did these spells protect and guide the soul on this dangerous path, but they also served as a safeguard against any unbecoming behavior an Egyptian did while alive. For instance, if a person had robbed another while alive, there was a spell that would prevent the soulAs heart from revealing the truth when in the Hall of Judgment. Rites for the Afterlife follows the path of a soul to the Afterlife. In Inscriptions from the Book of the Dead (movement 1), the soul leaves the body and begins the journey, protected by spells and incantations written on the tombAs walls. In Passage though the Netherworld (movement 2), the soul is now on a funerary barque, being towed through the Netherworld by four of the regionAs inhabitants. We hear the soul slowly chanting incantations as the barque encounters demons, serpents, crocodiles, lakes of fire, and other terrors. The soul arrives at The Hall of Judgment in movement 3. Standing before forty-two divine judges, the soul addresses each by name and gives a A!negative confessionA(r) connected to each judge (i.e. A!I did not rob,A(r) A!I did not do violence,A(r) and so on). Afterwards, the soulAs heart is put on a scale to be weighed against a feather of MaAat, the goddess of truth. If the heart weighs more than the feather, it will be eaten by Ammut, a hideous creature that lies in wait below the scale, and the soul will die a second and permanent death (this was the worst fear of the Egyptians). But if the heart is in balance with the feather, the soul proceeds onward. The final stage of the journey is the arrival at The Field of Reeds (movement 4), which is a perfect mirror image of the soulAs life in ancient Egypt. The soul reunites with deceased family members, makes sacrifices to the Egyptian gods and goddess, harvests crops from plentiful fields of wheat under a brilliant blue sky, and lives forever next to the abundant and nourishing waters of the Nile. Rites for the Afterlife was commissioned by the Barlow Endowment on behalf of the Akropolis Reed Quintet, Calefax Reed Quintet, and the Brigham Young University Reed Quintet. -S.G.
SKU: BR.EB-9378
ISBN 9790004188484. 9 x 12 inches.
Each piece is based on a motive characteristic of the respective style. For all its simplicity, the composer achieves to keep the musical curiosity alive by little variants in melody and accompaniment. This makes engaging with this music both motivating and instructive. The markings for articulation and dynamic help to achieve a profiled, expressive playing. The fingering, kept to the basics, supports each intended playing gesture and helps with the phrasing. In short: ideal food for piano players of all ages with a little experience.Each piece represents a different dance type, from Boogie and Blues via Tango through to Techno, but also including ballad-like music.
SKU: CL.012-2183-00
The 13th in this now classic series of transcriptions and adaptations of the music of Bach for winds by one of the masters of this highly sensitive art. Featuring the woodwind and saxophone choirs throughout this noble setting of an earlier Bach chorale tune achieves a beautiful sonority and will delight both player and audience.
About Bach Series arranged by Alfred Reed
Maste rful settings for concert band by the venerable Alfred Reed, these works have been scored to achieve richness and beauty without detracting from the textural construction created by Bach himself. Marvelous educational and program material!
SKU: PR.11441998S
UPC: 680160681730. 9 x 12 inches.
SKU: GI.G-10054
ISBN 9781622774548.
We all need creativity in our lives. It is key to our happiness. Music, according to author Clint Randles, is one of the best ways to feed our longing for self-growth through engagement in creative processes. And music brings us together for the purpose of making beauty with sound. It provides us with a pathway to the good life. In To Create, Randles answers the critical question: What can I do with my time that will give me the best chance at achieving daily happiness? This amazing book unpacks what it means to engage in creative processes. Since story is the best way of feeding our imagination, the book unfolds by way of life stories that express the author’s unique perspective of the hero’s journey. Along the way, Randles inspires us to think about creativity and music as a pursuit that is not only truly worthy, but accessible. He addresses rules for creative performance, what we can learn from exceptional musicians and teachers, the link between spirituality and creativity, understanding our own stories in light of the meta-story, and the art of trust and starting small. To Create is a book that is unlike anything written on the topic—entertaining , wise, inspiring, and layered. It is for anyone who is interested in pursuing creativity through music but can’t quite figure out how or where to start. States Randles: “It is my hope that you will be able to imagine the good life through music, that you will be inspired To Create!†Clint Randles, PhD, is Associate Professor of Music Education at the University of South Florida, husband, father, multi-instrumentalist, and passionate lover of music.  Full of resonating stories, To Create is a profoundly pedagogical book about potential pathways into life’s learnings through and in music. To Create seeks and embraces the value embodied in the multiple, individual, and sociocultural authoring of diverse creativities. By analogising the good life (‘eidaimonia†), with lived-through experiences by which our desire (and drive) to create, to grow, to navigate, and to achieve extraordinary things in life is inextricably linked, Clint Randles stories his own journey of being awakened ‘To Create,’ by creating and living ‘the good life’ in and through the symbiotic domains of music and music education. —Pamela Burnard, Professor of Arts, Creativities and Educations   University of Cambridge, UK To Create is the rare achievement that seamlessly blends how-to curriculum with why-so philosophy, making the case that creative activity is an essential right that all children deserve from an education in music. Randles’ vivid illustrations prod us to think differently about teaching when well-being—when the good life—is both destination and design. —Randall Everett Allsup, Professor of Music Education   Teachers College Columbia University Randles takes readers on a real and figurative road trip during which he demonstrates how to live life to its fullest by embracing creativity and repeating a mantra of possibility. He shows us how the good life is achievable, walking readers through deeply personal accounts of creativity in everyday situations over a lifetime. This book binds the individual and cultural, imaginative and practical, tangible and intangible, light and dark, yin and yang. It’s all about the power of three, weaving through everything the vital, intangible element of spirituality, energy, chi to achieve eudaimonia. Through the lens of his experiences as a musician and teacher, the author celebrates relentlessness and hard work, providing a window into what it means to engage in the good life. Open that window to hear life’s call to adventure! —Gareth Dylan Smith, Assistant Professor of Music Education   Boston University Professor Randles’ stimulating book prompts memory of the seminal work of Joseph Schumpeter who suggested the importance of creative deconstruction in a democracy. Both authors focus on attaining the good life through a fuller understanding of the logic of the process of change—change that is driven by knowledgeable and innovative entrepreneurs. The immediate application of Randles’ suggested dynamic creativity processes applies to both teacher education and professional development, although both he and Schumpeter advance general ideas in creativity designed to achieve the highest level of human growth. —Richard Colwell, Professor Emeritus of Music Education   University of Illinois at Urbana-Champaign In recent years, Aristotle’s concept of ‘Eudaimonia’ —meaning Happiness in the robust sense of full human flourishing (a life of joy, fellowship, self-growth, meaningfulness, ethical ‘good work,’ and more)—has entered and transformed the philosophy and practice of music education. To Create: Imagining the Good Life through Music is a highly original, emotional, practical, and exciting journey through the natures and values of creativity in/for music education and life itself. —David J. Elliott, Professor of Music and Music Education   New York University.
SKU: CF.YPS257F
ISBN 9781491161968. UPC: 680160920648.
Break Through is my musical representation of one's struggle to pass through a barrier or move beyond an obstacle. This could be a literal breakthrough or a metaphorical achievement. The composition is centered around the key of G minor to achieve a dark, resonant emotion. The percussion is the heartbeat and pulse for the introduction and should follow all dynamics to match the winds. Soft rolling mallets should be used for the bass drum and gong rolls, creating a dark timbre without overpowering the ensemble. At Rehearsal 13, work to have a balanced section where the clarinets can be heard on the melody and the tenor sax and horn on the countermelody. Rehearsal 21 provides a fully scored variation of the theme and should continue to be as dark as possible. Rehearsal 29 is the final musical struggle before the Rehearsal 38 'break through' climax of the composition. The resolution of the relative major of Bb should be majestic and triumphant. Finally, rehearsal 48 transitions to a recapitulation of the opening theme, moving towards a contemplative ending back to G minor. I hope you and your ensemble enjoy perforinming Break Through.Break Through is my musical representation of one’s struggle to pass through a barrier or move beyond an obstacle. This could be a literal breakthrough or a metaphorical achievement. The composition is centered around the key of G minor to achieve a dark, resonant emotion. The percussion is the heartbeat and pulse for the introduction and should follow all dynamics to match the winds. Soft rolling mallets should be used for the bass drum and gong rolls, creating a dark timbre without overpowering the ensemble. At Rehearsal 13, work to have a balanced section where the clarinets can be heard on the melody and the tenor sax and horn on the countermelody. Rehearsal 21 provides a fully scored variation of the theme and should continue to be as dark as possible. Rehearsal 29 is the final musical struggle before the Rehearsal 38 ‘break through’ climax of the composition. The resolution of the relative major of Bb should be majestic and triumphant. Finally, rehearsal 48 transitions to a recapitulation of the opening theme, moving towards a contemplative ending back to G minor.I hope you and your ensemble enjoy perforinming Break Through.
SKU: CF.CPS261
ISBN 9781491161272. UPC: 680160919864.
Sahar a is an exciting programmatic work for concert band that musically paints a picture of a fantastical desert crossing in three contrasting sections. The first section depicts a large caravan moving across the giant dunes. The second section describes a visit to a palace in a mystical oasis city. The third section brings the piece to an epic close as the caravan outruns a sandstorm to reach their final destination. Performance Notes You may use a set of congas in addition to or in lieu of the dumbek part to bring out that pitched drum sound. At m. 4, emphasize the accented quarter notes in the horns and euphonium. Measures 17-26, make sure that the sixteenth note marimba part is heard clearly. In measures 48-92, this entire middle section may be played in a rubato style at the director's discretion to achieve maximum musical expression. Be sure to emphasize the crescendo-decrescendo dynamics in this entire section. In measures 56-61, be sure that the syncopated flute and clarinet parts are heard clearly. and the flute and oboe are heard as well mm. 76-81. The descending eighth notes in the bass clarinet and tuba part should be brought out in mm. 76-81. Measures 109-112, make sure to bring out the trills in the Flute and oboe parts and sustain them all the way through the measure with a release immediately on beat 1 of the following measure. And finally, mm. 125-126, emphasize the F Horn and Alto Saxophone parts.Sahara is an exciting programmatic work for concert band that musically paints a picture of a fantastical desert crossing in three contrasting sections. The first section depicts a large caravan moving across the giant dunes. The second section describes a visit to a palace in a mystical oasis city. The third section brings the piece to an epic close as the caravan outruns a sandstorm to reach their final destination.Performance NotesYou may use a set of congas in addition to or in lieu of the dumbek part to bring out that pitched drum sound. At m. 4, emphasize the accented quarter notes in the horns and euphonium. Measures 17-26, make sure that the sixteenth note marimba part is heard clearly. In measures 48-92, this entire middle section may be played in a rubato style at the director’s discretion to achieve maximum musical expression. Be sure to emphasize the crescendo-decrescendo dynamics in this entire section. In measures 56-61, be sure that the syncopated flute and clarinet parts are heard clearly. and the flute and oboe are heard as well mm. 76-81. The descending eighth notes in the bass clarinet and tuba part should be brought out in mm. 76-81.Measures 109-112, make sure to bring out the trills in the Flute and oboe parts and sustain them all the way through the measure with a release immediately on beat 1 of the following measure. And finally, mm. 125-126, emphasize the F Horn and Alto Saxophone parts.
SKU: PR.11641737S
ISBN 9781491136133. UPC: 680160688432.
Son et lumière (“sound and light,†a kind of show staged for tourists at historic sites or famous buildings) is an orchestral entertainment whose subject is the play of colors, bright surfaces, and shimmery textures. I have tried in this music to recapture the élan and immediacy that regular meters and repetitive rhythms make possible—something forbidden during the modernist regime but recently restored in the post-modern work of composers like John Adams, Steve Reich, and others. Throughout its brief nine-minute span, then, the piece is built almost exclusively of short, busy ostinato figures—my attempt, I suppose, to achieve the rhythmic vitality of minimalism, but without giving in to the over-simple harmonic language that usually comes with it.Surprisingly, the musical materials seemed determined to shape themselves into an approximation of nineteenth-century sonata form. We hear an introduction, a first theme (based on triadic broken chords), a second theme (beginning with the flute solo), and a closing theme (led by two piccolos). In a sort of development section, these materials are recombined in new ways; in a recapitulation, both the first and second themes are recalled more or less intact (part of the second is actually repeated quite literally).Then, in the coda, a second surprise: as if another, different music has been lurking all the while behind the shiny surface, the strings now unexpectedly split off from the rest of the orchestra to assert a new, more passionate, more “serious†voice, transcending the external show of sound and light.Son et lumière, commissioned by the Baltimore Symphony Orchestra, was composed between June and December 1988 in Ithaca (N.Y.), in Los Angeles, and at the artists’ colony Yaddo, in Saratoga Springs (N.Y.). David Zinman conducted the first performance in Baltimore on 18 May 1989; André Previn gave the West Coast premiere with the Los Angeles Philharmonic on 18 January, 1990.Son et lumière (“sound and light,†a kind of show staged for tourists at historic sites or famous buildings) is an orchestral entertainment whose subject is the play of colors, bright surfaces, and shimmery textures. I have tried in this music to recapture the élan and immediacy that regular meters and repetitive rhythms make possible—something forbidden during the modernist regime but recently restored in the post-modern work of composers like John Adams, Steve Reich, and others. Throughout its brief nine-minute span, then, the piece is built almost exclusively of short, busy ostinato figures—my attempt, I suppose, to achieve the rhythmic vitality of minimalism, but without giving in to the over-simple harmonic language that usually comes with it.Surprisingly, the musical materials seemed determined to shape themselves into an approximation of nineteenth-century sonata form. We hear an introduction, a first theme (based on triadic broken chords), a second theme (beginning with the flute solo), and a closing theme (led by two piccolos). In a sort of development section, these materials are recombined in new ways; in a recapitulation, both the first and second themes are recalled more or less intact (part of the second is actually repeated quite literally).Then, in the coda, a second surprise: as if another, different music has been lurking all the while behind the shiny surface, the strings now unexpectedly split off from the rest of the orchestra to assert a new, more passionate, more “serious†voice, transcending the external show of sound and light.Son et lumière, commissioned by the Baltimore Symphony Orchestra, was composed between June and December 1988 in Ithaca (N.Y.), in Los Angeles, and at the artists’ colony Yaddo, in Saratoga Springs (N.Y.). David Zinman conducted the first performance in Baltimore on 18 May 1989; André Previn gave the West Coast premiere with the Los Angeles Philharmonic on 18 January, 1990.
SKU: PR.14440265S
UPC: 680160027910.
The Second and Third Quartets were conceived at the same time; indeed, their composition intermingled, over half of No. 3 being sketched before No. 2 was completed. Accordingly, they share similar material but, like the intertwining blood of cousins, their natures differ: No. 2 being somewhat acerbic and declamatory, No. 3 more lyric and gentler. An annunicatory 'leaping motive' (derived from a motto generated by my name) opens Quartet No. 2 and inhabits the course of the piece as a cyclical binding-force. A five-note motive, usually very deliberate, also keeps recurring like an insistent caller. All three movements are based on tonal centers (I on B and E, II on D, III on C) and the harmonic 'grammar' spoken tends to recall the jazz world of my youth. To hopefully achieve a certain classical ambience was one of the goals of this piece, and all three movements have traditional forms. The first movement is a modified Sonata-Allegro design, with a severely-truncated recapitulation balanced by a lengthy, and decaying Coda. The second movement is a set of strophic variants and an epilogue interspersed with both solo ritornelli and first-movement material (the motto and the five-note motive) in the nature of a fantasia-like 'call-and-response.' It is dedicated to the memory of the American mezzo-soprano Jan DeGaetani. The third movement is a modified Rondo (ABACBA) which evolves out of the opening motto. All three movements make much use of canonic stretti, similar gestures, and repetition. For example, the climax of movement III's Rondo throws the first movement back at us again, as if the players were reluctant to let it go, so that the entire piece could perhaps be viewed as a single large, extended, Sonata movement, with introduction and Coda.The Second and Third Quartets were conceived at the same time; indeed, their composition intermingled, over half of No. 3 being sketched before No. 2 was completed. Accordingly, they share similar material but, like the intertwining blood of cousins, their natures differ: No. 2 being somewhat acerbic and declamatory, No. 3 more lyric and gentler.An annunicatory ‘leaping motive’ (derived from a motto generated by my name) opens Quartet No. 2 and inhabits the course of the piece as a cyclical binding-force. A five-note motive, usually very deliberate, also keeps recurring like an insistent caller. All three movements are based on tonal centers (I on B and E, II on D, III on C) and the harmonic ‘grammar’ spoken tends to recall the jazz world of my youth.To hopefully achieve a certain classical ambience was one of the goals of this piece, and all three movements have traditional forms. The first movement is a modified Sonata-Allegro design, with a severely-truncated recapitulation balanced by a lengthy, and decaying Coda. The second movement is a set of strophic variants and an epilogue interspersed with both solo ritornelli and first-movement material (the motto and the five-note motive) in the nature of a fantasia-like ‘call-and-response. ’ It is dedicated to the memory of the American mezzo-soprano Jan DeGaetani. The third movement is a modified Rondo (ABACBA) which evolves out of the opening motto.All three movements make much use of canonic stretti, similar gestures, and repetition. For example, the climax of movement III’s Rondo throws the first movement back at us again, as if the players were reluctant to let it go, so that the entire piece could perhaps be viewed as a single large, extended, Sonata movement, with introduction and Coda.
SKU: CF.YPS239
ISBN 9781491159613. UPC: 680160918201.
This piece is about a journey unlike any other in 2020. We have all been touched by the devastating effects of COVID-19, and we have seen friends, family, and many others succumb to it. For the people who are left behind this piece is dedicated to you, the brave warriors that have survived this pandemic. The piece is set in Eb major with a 4/4 time signature. The beginning starts off robust and full, with the tempo at quarter note= 150. Measure 25 presents many opportunities for shaping to move the melody and counter melody lines around as the ostinato is being played in the percussion and low brass. I wrote mm. 43-51 as a percussion feature. I felt in my eighteen years of experience as an educator that we always have plenty of percussionists! Double students on parts if you have way too many. Overall, this piece has many places for beautiful phrasing and shaping. You will need to assign the students places to breathe in order to achieve maximum effort from the group. I hope you enjoy my new piece The Brave Warrior.This piece is about a journey unlike any other in 2020. We have all been touched by the devastating effects of COVID-19, and we have seen friends, family, and many others succumb to it. For the people who are left behind this piece is dedicated to you, the brave warriors that have survived this pandemic. The piece is set in Eb major with a 4/4 time signature. The beginning starts off robust and full, with the tempo at quarter note= 150. Measure 25 presents many opportunities for shaping to move the melody and counter melody lines around as the ostinato is being played in the percussion and low brass. I wrote mm. 43–51 as a “percussion†feature. I felt in my eighteen years of experience as an educator that we always have plenty of percussionists! Double students on parts if you have way too many. Overall, this piece has many places for beautiful phrasing and shaping. You will need to assign the students places to breathe in order to achieve maximum effort from the group. I hope you enjoy my new piece The Brave Warrior.
SKU: 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 “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.
SKU: CF.CPS251F
ISBN 9781491159880. UPC: 680160918478.
About the Music Semper Gratus is Latin for always grateful. The piece was written in honor of James E. Champion, who taught band for thirty-eight years, twenty-five of which were spent in Florence, Alabama, where he was my elementary school and high school band director. His bands consistently achieved superior ratings throughout his career. He holds multi-decade-spanning memberships in professional music education organizations, continues to serve in helping with Alabama Bandmasters Association events, and conducts and performs in various community bands and ensembles. As my band director at Bradshaw High School, Mr. Champion encouraged me to perform one of my first compositions, a clarinet quartet, at solo/ensemble festival. He taught his students the fundamentals of music, the technical aspects of performance, and exposed them to the great standards of band literature. But in doing so, he also modeled leadership, work-ethic, good character, and fostered the love of the activity of band that led me to choose music education as a career. And for that, I will always be grateful. Performance Notes Measures 1-12: The beginning of the piece should be performed in a majestic, fanfare-like style. The woodwind cues should only be used if absolutely needed during this section. Measures 41-58: The concert toms should establish a presence, but not overpower the winds. The triangle and woodblock parts should be heard distinctly over the concert toms. A higher pitched woodblock should be used for this section. (A set of claves could be used in place of the woodblock if desired.) Measures 59-94: The entirety of the middle section should be played in a rubato style to maximize musical expression, exaggerating dynamics and ritardando sections. The quarter-note triplets in the middle and low winds should be emphasized at m. 70. The molto ritardando that begins at m. 70 should be allowed to build as long as possible in m. 71 before reaching the musical apex of the middle section at m. 72. At mm. 92-94, depending on the size of the ensemble, you may want to limit the number of players (or put one per part) to achieve the most delicate sound possible. Measures 95-End: In mm. 99-107, be sure that the eighth-note running mallet parts are heard as a background texture, but do not overpower the winds. In mm. 114-115, the accents on beats 2 and 4 in the lower winds should be exaggerated to contrast the feel of the previous four measures. In m. 118, all winds should cut off and breathe on beat two for maximum impact on the next three measures.About the MusicSemper Gratus is Latin for “always grateful.†The piece was written in honor of James E. Champion, who taught band for thirty-eight years, twenty-five of which were spent in Florence, Alabama, where he was my elementary school and high school band director. His bands consistently achieved superior ratings throughout his career. He holds multi-decade-spanning memberships in professional music education organizations, continues to serve in helping with Alabama Bandmasters Association events, and conducts and performs in various community bands and ensembles. As my band director at Bradshaw High School, Mr. Champion encouraged me to perform one of my first compositions, a clarinet quartet, at solo/ensemble festival. He taught his students the fundamentals of music, the technical aspects of performance, and exposed them to the great standards of band literature. But in doing so, he also modeled leadership, work-ethic, good character, and fostered the love of the activity of band that led me to choose music education as a career. And for that, I will always be grateful.Performance NotesMeasures 1-12:  The beginning of the piece should be performed in a majestic, fanfare-like style. The woodwind cues should only be used if absolutely needed during this section.Measures 41-58:  The concert toms should establish a presence, but not overpower the winds.  The triangle and woodblock parts should be heard distinctly over the concert toms. A higher pitched woodblock should be used for this section. (A set of claves could be used in place of the woodblock if desired.) Measures 59-94:  The entirety of the middle section should be played in a rubato style to maximize musical expression, exaggerating dynamics and ritardando sections.  The quarter-note triplets in the middle and low winds should be emphasized at m. 70.  The molto ritardando that begins at m. 70 should be allowed to build as long as possible in m. 71 before reaching the musical apex of the middle section at m. 72. At mm. 92–94, depending on the size of the ensemble, you may want to limit the number of players (or put one per part) to achieve the most delicate sound possible.Measures 95-End:  In mm. 99–107, be sure that the eighth-note running mallet parts are heard as a background texture, but do not overpower the winds. In mm. 114–115, the accents on beats 2 and 4 in the lower winds should be exaggerated to contrast the feel of the previous four measures.  In m. 118, all winds should cut off and breathe on beat two for maximum impact on the next three measures.
SKU: CF.WF229
ISBN 9781491153789. UPC: 680160911288.
Intro duction Gustave Vogt's Musical Paris Gustave Vogt (1781-1870) was born into the Age of Enlightenment, at the apex of the Enlightenment's outreach. During his lifetime he would observe its effect on the world. Over the course of his life he lived through many changes in musical style. When he was born, composers such as Mozart and Haydn were still writing masterworks revered today, and eighty-nine years later, as he departed the world, the new realm of Romanticism was beginning to emerge with Mahler, Richard Strauss and Debussy, who were soon to make their respective marks on the musical world. Vogt himself left a huge mark on the musical world, with critics referring to him as the grandfather of the modern oboe and the premier oboist of Europe. Through his eighty-nine years, Vogt would live through what was perhaps the most turbulent period of French history. He witnessed the French Revolution of 1789, followed by the many newly established governments, only to die just months before the establishment of the Third Republic in 1870, which would be the longest lasting government since the beginning of the revolution. He also witnessed the transformation of the French musical world from one in which opera reigned supreme, to one in which virtuosi, chamber music, and symphonic music ruled. Additionally, he experienced the development of the oboe right before his eyes. When he began playing in the late eighteenth century, the standard oboe had two keys (E and Eb) and at the time of his death in 1870, the System Six Triebert oboe (the instrument adopted by Conservatoire professor, Georges Gillet, in 1882) was only five years from being developed. Vogt was born March 18, 1781 in the ancient town of Strasbourg, part of the Alsace region along the German border. At the time of his birth, Strasbourg had been annexed by Louis XIV, and while heavily influenced by Germanic culture, had been loosely governed by the French for a hundred years. Although it is unclear when Vogt began studying the oboe and when his family made its move to the French capital, the Vogts may have fled Strasbourg in 1792 after much of the city was destroyed during the French Revolution. He was without question living in Paris by 1798, as he enrolled on June 8 at the newly established Conservatoire national de Musique to study oboe with the school's first oboe professor, Alexandre-Antoine Sallantin (1775-1830). Vogt's relationship with the Conservatoire would span over half a century, moving seamlessly from the role of student to professor. In 1799, just a year after enrolling, he was awarded the premier prix, becoming the fourth oboist to achieve this award. By 1802 he had been appointed repetiteur, which involved teaching the younger students and filling in for Sallantin in exchange for a free education. He maintained this rank until 1809, when he was promoted to professor adjoint and finally to professor titulaire in 1816 when Sallantin retired. This was a position he held for thirty-seven years, retiring in 1853, making him the longest serving oboe professor in the school's history. During his tenure, he became the most influential oboist in France, teaching eighty-nine students, plus sixteen he taught while he was professor adjoint and professor titulaire. Many of these students went on to be famous in their own right, such as Henri Brod (1799-1839), Apollon Marie-Rose Barret (1804-1879), Charles Triebert (1810-1867), Stanislas Verroust (1814-1863), and Charles Colin (1832-1881). His influence stretches from French to American oboe playing in a direct line from Charles Colin to Georges Gillet (1854-1920), and then to Marcel Tabuteau (1887-1966), the oboist Americans lovingly describe as the father of American oboe playing. Opera was an important part of Vogt's life. His first performing position was with the Theatre-Montansier while he was still studying at the Conservatoire. Shortly after, he moved to the Ambigu-Comique and, in 1801 was appointed as first oboist with the Theatre-Italien in Paris. He had been in this position for only a year, when he began playing first oboe at the Opera-Comique. He remained there until 1814, when he succeeded his teacher, Alexandre-Antoine Sallantin, as soloist with the Paris Opera, the top orchestra in Paris at the time. He played with the Paris Opera until 1834, all the while bringing in his current and past students to fill out the section. In this position, he began to make a name for himself; so much so that specific performances were immortalized in memoirs and letters. One comes from a young Hector Berlioz (1803-1865) after having just arrived in Paris in 1822 and attended the Paris Opera's performance of Mehul's Stratonice and Persuis' ballet Nina. It was in response to the song Quand le bien-amie reviendra that Berlioz wrote: I find it difficult to believe that that song as sung by her could ever have made as true and touching an effect as the combination of Vogt's instrument... Shortly after this, Berlioz gave up studying medicine and focused on music. Vogt frequently made solo and chamber appearances throughout Europe. His busiest period of solo work was during the 1820s. In 1825 and 1828 he went to London to perform as a soloist with the London Philharmonic Society. Vogt also traveled to Northern France in 1826 for concerts, and then in 1830 traveled to Munich and Stuttgart, visiting his hometown of Strasbourg on the way. While on tour, Vogt performed Luigi Cherubini's (1760-1842) Ave Maria, with soprano Anna (Nanette) Schechner (1806-1860), and a Concertino, presumably written by himself. As a virtuoso performer in pursuit of repertoire to play, Vogt found himself writing much of his own music. His catalog includes chamber music, variation sets, vocal music, concerted works, religious music, wind band arrangements, and pedagogical material. He most frequently performed his variation sets, which were largely based on themes from popular operas he had, presumably played while he was at the Opera. He made his final tour in 1839, traveling to Tours and Bordeaux. During this tour he appeared with the singer Caroline Naldi, Countess de Sparre, and the violinist Joseph Artot (1815-1845). This ended his active career as a soloist. His performance was described in the Revue et gazette musicale de Paris as having lost none of his superiority over the oboe.... It's always the same grace, the same sweetness. We made a trip to Switzerland, just by closing your eyes and listening to Vogt's oboe. Vogt was also active performing in Paris as a chamber and orchestral musician. He was one of the founding members of the Societe des Concerts du Conservatoire, a group established in 1828 by violinist and conductor Francois-Antoine Habeneck (1781-1849). The group featured faculty and students performing alongside each other and works such as Beethoven symphonies, which had never been heard in France. He also premiered the groundbreaking woodwind quintets of Antonin Reicha (1770-1836). After his retirement from the Opera in 1834 and from the Societe des Concerts du Conservatoire in 1842, Vogt began to slow down. His final known performance was of Cherubini's Ave Maria on English horn with tenor Alexis Dupont (1796-1874) in 1843. He then began to reflect on his life and the people he had known. When he reached his 60s, he began gathering entries for his Musical Album of Autographs. Autograph Albums Vogt's Musical Album of Autographs is part of a larger practice of keeping autograph albums, also commonly known as Stammbuch or Album Amicorum (meaning book of friendship or friendship book), which date back to the time of the Reformation and the University of Wittenberg. It was during the mid-sixteenth century that students at the University of Wittenberg began passing around bibles for their fellow students and professors to sign, leaving messages to remember them by as they moved on to the next part of their lives. The things people wrote were mottos, quotes, and even drawings of their family coat of arms or some other scene that meant something to the owner. These albums became the way these young students remembered their school family once they had moved on to another school or town. It was also common for the entrants to comment on other entries and for the owner to amend entries when they learned of important life details such as marriage or death. As the practice continued, bibles were set aside for emblem books, which was a popular book genre that featured allegorical illustrations (emblems) in a tripartite form: image, motto, epigram. The first emblem book used for autographs was published in 1531 by Andrea Alciato (1492-1550), a collection of 212 Latin emblem poems. In 1558, the first book conceived for the purpose of the album amicorum was published by Lyon de Tournes (1504-1564) called the Thesaurus Amicorum. These books continued to evolve, and spread to wider circles away from universities. Albums could be found being kept by noblemen, physicians, lawyers, teachers, painters, musicians, and artisans. The albums eventually became more specialized, leading to Musical Autograph Albums (or Notestammbucher). Before this specialization, musicians contributed in one form or another, but our knowledge of them in these albums is mostly limited to individual people or events. Some would simply sign their name while others would insert a fragment of music, usually a canon (titled fuga) with text in Latin. Canons were popular because they displayed the craftsmanship of the composer in a limited space. Composers well-known today, including J. S. Bach, Telemann, Mozart, Beethoven, Dowland, and Brahms, all participated in the practice, with Beethoven being the first to indicate an interest in creating an album only of music. This interest came around 1815. In an 1845 letter from Johann Friedrich Naue to Heinrich Carl Breidenstein, Naue recalled an 1813 visit with Beethoven, who presented a book suggesting Naue to collect entries from celebrated musicians as he traveled. Shortly after we find Louis Spohr speaking about leaving on his grand tour through Europe in 1815 and of his desire to carry an album with entries from the many artists he would come across. He wrote in his autobiography that his most valuable contribution came from Beethoven in 1815. Spohr's Notenstammbuch, comprised only of musical entries, is groundbreaking because it was coupled with a concert tour, allowing him to reach beyond the Germanic world, where the creation of these books had been nearly exclusive. Spohr brought the practice of Notenstammbucher to France, and in turn indirectly inspired Vogt to create a book of his own some fifteen years later. Vogt's Musical Album of Autographs Vogt's Musical Album of Autographs acts as a form of a memoir, displaying mementos of musicians who held special meaning in his life as well as showing those with whom he was enamored from the younger generation. The anonymous Pie Jesu submitted to Vogt in 1831 marks the beginning of an album that would span nearly three decades by the time the final entry, an excerpt from Charles Gounod's (1818-1893) Faust, which premiered in 1859, was submitted. Within this album we find sixty-two entries from musicians whom he must have known very well because they were colleagues at the Conservatoire, or composers of opera whose works he was performing with the Paris Opera. Other entries came from performers with whom he had performed and some who were simply passing through Paris, such as Joseph Joachim (1831-1907). Of the sixty-three total entries, some are original, unpublished works, while others came from well-known existing works. Nineteen of these works are for solo piano, sixteen utilize the oboe or English horn, thirteen feature the voice (in many different combinations, including vocal solos with piano, and small choral settings up to one with double choir), two feature violin as a solo instrument, and one even features the now obscure ophicleide. The connections among the sixty-two contributors to Vogt's album are virtually never-ending. All were acquainted with Vogt in some capacity, from long-time friendships to relationships that were created when Vogt requested their entry. Thus, while Vogt is the person who is central to each of these musicians, the web can be greatly expanded. In general, the connections are centered around the Conservatoire, teacher lineages, the Opera, and performing circles. The relationships between all the contributors in the album parallel the current musical world, as many of these kinds of relationships still exist, and permit us to fantasize who might be found in an album created today by a musician of the same standing. Also important, is what sort of entries the contributors chose to pen. The sixty-three entries are varied, but can be divided into published and unpublished works. Within the published works, we find opera excerpts, symphony excerpts, mass excerpts, and canons, while the unpublished works include music for solo piano, oboe or English horn, string instruments (violin and cello), and voice (voice with piano and choral). The music for oboe and English horn works largely belong in the unpublished works of the album. These entries were most likely written to honor Vogt. Seven are for oboe and piano and were contributed by Joseph Joachim, Pauline Garcia Viardot (1821-1910), Joseph Artot, Anton Bohrer (1783-1852), Georges Onslow (1784-1853), Desire Beaulieu (1791-1863), and Narcisse Girard (1797-1860). The common thread between these entries is the simplicity of the melody and structure. Many are repetitive, especially Beaulieu's entry, which features a two-note ostinato throughout the work, which he even included in his signature. Two composers contributed pieces for English horn and piano, and like the previous oboe entries, are simple and repetitive. These were written by Michele Carafa (1787-1872) and Louis Clapisson (1808-1866). There are two other entries that were unpublished works and are chamber music. One is an oboe trio by Jacques Halevy (1799-1862) and the other is for oboe and strings (string trio) by J. B. Cramer (1771-1858). There are five published works in the album for oboe and English horn. There are three from operas and the other two from symphonic works. Ambroise Thomas (1811-1896) contributed an excerpt from the Entr'acte of his opera La Guerillero, and was likely chosen because the oboe was featured at this moment. Hippolyte Chelard (1789-1861) also chose to honor Vogt by writing for English horn. His entry, for English horn and piano, is taken from his biggest success, Macbeth. The English horn part was actually taken from Lady Macbeth's solo in the sleepwalking scene. Vogt's own entry also falls into this category, as he entered an excerpt from Donizetti's Maria di Rohan. The excerpt he chose is a duet between soprano and English horn. There are two entries featuring oboe that are excerpted from symphonic repertoire. One is a familiar oboe melody from Beethoven's Pastoral Symphony entered by his first biographer, Anton Schindler (1796-1864). The other is an excerpt from Berlioz's choral symphony, Romeo et Juliette. He entered an oboe solo from the Grand Fete section of the piece. Pedagogical benefit All of these works are lovely, and fit within the album wonderfully, but these works also are great oboe and English horn music for young students. The common thread between these entries is the simplicity of the melody and structure. Many are repetitive, especially Beaulieu's entry, which features a two-note ostinato throughout the work in the piano. This repetitive structure is beneficial for young students for searching for a short solo to present at a studio recital, or simply to learn. They also work many technical issues a young player may encounter, such as mastering the rolling finger to uncover and recover the half hole. This is true of Bealieu's Pensee as well as Onslow's Andantino. Berlioz's entry from Romeo et Juliette features very long phrases, which helps with endurance and helps keep the air spinning through the oboe. Some of the pieces also use various levels of ornamentation, from trills to grace notes, and short cadenzas. This allows the student to learn appropriate ways to phrase with these added notes. The chamber music is a valuable way to start younger students with chamber music, especially the short quartet by Cramer for oboe and string trio. All of these pieces will not tax the student to learn a work that is more advanced, as well as give them a full piece that they can work on from beginning to end in a couple weeks, instead of months. Editorial Policy The works found in this edition are based on the manuscript housed at the Morgan Library in New York City (call number Cary 348, V886. A3). When possible, published scores were consulted and compared to clarify pitch and text. The general difficulties in creating an edition of these works stem from entries that appear to be hastily written, and thus omit complete articulations and dynamic indications for all passages and parts. The manuscript has been modernized into a performance edition. The score order from the manuscript has been retained. If an entry also exists in a published work, and this was not indicated on the manuscript, appropriate titles and subtitles have been added tacitly. For entries that were untitled, the beginning tempo marking or expressive directive has been added as its title tacitly. Part names have been changed from the original language to English. If no part name was present, it was added tacitly. All scores are transposing where applicable. Measure numbers have been added at the beginning of every system. Written directives have been retained in the original language and are placed relative to where they appear in the manuscript. Tempo markings from the manuscript have been retained, even if they were abbreviated, i.e., Andte. The barlines, braces, brackets, and clefs are modernized. The beaming and stem direction has been modernized. Key signatures have been modernized as some of the flats/sharps do not appear on the correct lines or spaces. Time signatures have been modernized. In a few cases, when a time signature was missing in the manuscript, it has been added tacitly. Triplet and rhythmic groupings have been modernized. Slurs, ties, and articulations (staccato and accent) have been modernized. Slurs, ties, and articulations have been added to parallel passages tacitly. Courtesy accidentals found in the manuscript have been removed, unless it appeared to be helpful to the performer. Dynamic indications from the manuscript have been retained, except where noted. --Kristin Leitterman.Introducti onGustave Vogt’s Musical ParisGustave Vogt (1781–1870) was born into the “Age of Enlightenment,†at the apex of the Enlightenment’s outreach. During his lifetime he would observe its effect on the world. Over the course of his life he lived through many changes in musical style. When he was born, composers such as Mozart and Haydn were still writing masterworks revered today, and eighty-nine years later, as he departed the world, the new realm of Romanticism was beginning to emerge with Mahler, Richard Strauss and Debussy, who were soon to make their respective marks on the musical world. Vogt himself left a huge mark on the musical world, with critics referring to him as the “grandfather of the modern oboe†and the “premier oboist of Europe.â€Through his eighty-nine years, Vogt would live through what was perhaps the most turbulent period of French history. He witnessed the French Revolution of 1789, followed by the many newly established governments, only to die just months before the establishment of the Third Republic in 1870, which would be the longest lasting government since the beginning of the revolution. He also witnessed the transformation of the French musical world from one in which opera reigned supreme, to one in which virtuosi, chamber music, and symphonic music ruled. Additionally, he experienced the development of the oboe right before his eyes. When he began playing in the late eighteenth century, the standard oboe had two keys (E and Eb) and at the time of his death in 1870, the “System Six†Triébert oboe (the instrument adopted by Conservatoire professor, Georges Gillet, in 1882) was only five years from being developed.Vogt was born March 18, 1781 in the ancient town of Strasbourg, part of the Alsace region along the German border. At the time of his birth, Strasbourg had been annexed by Louis XIV, and while heavily influenced by Germanic culture, had been loosely governed by the French for a hundred years. Although it is unclear when Vogt began studying the oboe and when his family made its move to the French capital, the Vogts may have fled Strasbourg in 1792 after much of the city was destroyed during the French Revolution. He was without question living in Paris by 1798, as he enrolled on June 8 at the newly established Conservatoire national de Musique to study oboe with the school’s first oboe professor, Alexandre-Antoine Sallantin (1775–1830).Vogtâ €™s relationship with the Conservatoire would span over half a century, moving seamlessly from the role of student to professor. In 1799, just a year after enrolling, he was awarded the premier prix, becoming the fourth oboist to achieve this award. By 1802 he had been appointed répétiteur, which involved teaching the younger students and filling in for Sallantin in exchange for a free education. He maintained this rank until 1809, when he was promoted to professor adjoint and finally to professor titulaire in 1816 when Sallantin retired. This was a position he held for thirty-seven years, retiring in 1853, making him the longest serving oboe professor in the school’s history. During his tenure, he became the most influential oboist in France, teaching eighty-nine students, plus sixteen he taught while he was professor adjoint and professor titulaire. Many of these students went on to be famous in their own right, such as Henri Brod (1799–1839), Apollon Marie-Rose Barret (1804–1879), Charles Triebert (1810–1867), Stanislas Verroust (1814–1863), and Charles Colin (1832–1881). His influence stretches from French to American oboe playing in a direct line from Charles Colin to Georges Gillet (1854–1920), and then to Marcel Tabuteau (1887–1966), the oboist Americans lovingly describe as the “father of American oboe playing.â€Opera was an important part of Vogt’s life. His first performing position was with the Théâtre-Montansier while he was still studying at the Conservatoire. Shortly after, he moved to the Ambigu-Comique and, in 1801 was appointed as first oboist with the Théâtre-Italien in Paris. He had been in this position for only a year, when he began playing first oboe at the Opéra-Comique. He remained there until 1814, when he succeeded his teacher, Alexandre-Antoine Sallantin, as soloist with the Paris Opéra, the top orchestra in Paris at the time. He played with the Paris Opéra until 1834, all the while bringing in his current and past students to fill out the section. In this position, he began to make a name for himself; so much so that specific performances were immortalized in memoirs and letters. One comes from a young Hector Berlioz (1803–1865) after having just arrived in Paris in 1822 and attended the Paris Opéra’s performance of Mehul’s Stratonice and Persuis’ ballet Nina. It was in response to the song Quand le bien-amié reviendra that Berlioz wrote: “I find it difficult to believe that that song as sung by her could ever have made as true and touching an effect as the combination of Vogt’s instrument…†Shortly after this, Berlioz gave up studying medicine and focused on music.Vogt frequently made solo and chamber appearances throughout Europe. His busiest period of solo work was during the 1820s. In 1825 and 1828 he went to London to perform as a soloist with the London Philharmonic Society. Vogt also traveled to Northern France in 1826 for concerts, and then in 1830 traveled to Munich and Stuttgart, visiting his hometown of Strasbourg on the way. While on tour, Vogt performed Luigi Cherubini’s (1760–1842) Ave Maria, with soprano Anna (Nanette) Schechner (1806–1860), and a Concertino, presumably written by himself. As a virtuoso performer in pursuit of repertoire to play, Vogt found himself writing much of his own music. His catalog includes chamber music, variation sets, vocal music, concerted works, religious music, wind band arrangements, and pedagogical material. He most frequently performed his variation sets, which were largely based on themes from popular operas he had, presumably played while he was at the Opéra.He made his final tour in 1839, traveling to Tours and Bordeaux. During this tour he appeared with the singer Caroline Naldi, Countess de Sparre, and the violinist Joseph Artôt (1815–1845). This ended his active career as a soloist. His performance was described in the Revue et gazette musicale de Paris as having “lost none of his superiority over the oboe…. It’s always the same grace, the same sweetness. We made a trip to Switzerland, just by closing your eyes and listening to Vogt’s oboe.â€Vogt was also active performing in Paris as a chamber and orchestral musician. He was one of the founding members of the Société des Concerts du Conservatoire, a group established in 1828 by violinist and conductor François-Antoine Habeneck (1781–1849). The group featured faculty and students performing alongside each other and works such as Beethoven symphonies, which had never been heard in France. He also premiered the groundbreaking woodwind quintets of Antonin Reicha (1770–1836).After his retirement from the Opéra in 1834 and from the Société des Concerts du Conservatoire in 1842, Vogt began to slow down. His final known performance was of Cherubini’s Ave Maria on English horn with tenor Alexis Dupont (1796–1874) in 1843. He then began to reflect on his life and the people he had known. When he reached his 60s, he began gathering entries for his Musical Album of Autographs.Autograph AlbumsVogt’s Musical Album of Autographs is part of a larger practice of keeping autograph albums, also commonly known as Stammbuch or Album Amicorum (meaning book of friendship or friendship book), which date back to the time of the Reformation and the University of Wittenberg. It was during the mid-sixteenth century that students at the University of Wittenberg began passing around bibles for their fellow students and professors to sign, leaving messages to remember them by as they moved on to the next part of their lives. The things people wrote were mottos, quotes, and even drawings of their family coat of arms or some other scene that meant something to the owner. These albums became the way these young students remembered their school family once they had moved on to another school or town. It was also common for the entrants to comment on other entries and for the owner to amend entries when they learned of important life details such as marriage or death.As the practice continued, bibles were set aside for emblem books, which was a popular book genre that featured allegorical illustrations (emblems) in a tripartite form: image, motto, epigram. The first emblem book used for autographs was published in 1531 by Andrea Alciato (1492–1550), a collection of 212 Latin emblem poems. In 1558, the first book conceived for the purpose of the album amicorum was published by Lyon de Tournes (1504–1564) called the Thesaurus Amicorum. These books continued to evolve, and spread to wider circles away from universities. Albums could be found being kept by noblemen, physicians, lawyers, teachers, painters, musicians, and artisans.The albums eventually became more specialized, leading to Musical Autograph Albums (or Notestammbücher). Before this specialization, musicians contributed in one form or another, but our knowledge of them in these albums is mostly limited to individual people or events. Some would simply sign their name while others would insert a fragment of music, usually a canon (titled fuga) with text in Latin. Canons were popular because they displayed the craftsmanship of the composer in a limited space. Composers well-known today, including J. S. Bach, Telemann, Mozart, Beethoven, Dowland, and Brahms, all participated in the practice, with Beethoven being the first to indicate an interest in creating an album only of music.This interest came around 1815. In an 1845 letter from Johann Friedrich Naue to Heinrich Carl Breidenstein, Naue recalled an 1813 visit with Beethoven, who presented a book suggesting Naue to collect entries from celebrated musicians as he traveled. Shortly after we find Louis Spohr speaking about leaving on his “grand tour†through Europe in 1815 and of his desire to carry an album with entries from the many artists he would come across. He wrote in his autobiography that his “most valuable contribution†came from Beethoven in 1815. Spohr’s Notenstammbuch, comprised only of musical entries, is groundbreaking because it was coupled with a concert tour, allowing him to reach beyond the Germanic world, where the creation of these books had been nearly exclusive. Spohr brought the practice of Notenstammbücher to France, and in turn indirectly inspired Vogt to create a book of his own some fifteen years later.Vogt’s Musical Album of AutographsVogt’s Musical Album of Autographs acts as a form of a memoir, displaying mementos of musicians who held special meaning in his life as well as showing those with whom he was enamored from the younger generation. The anonymous Pie Jesu submitted to Vogt in 1831 marks the beginning of an album that would span nearly three decades by the time the final entry, an excerpt from Charles Gounod’s (1818–1893) Faust, which premiered in 1859, was submitted.Within this album ...
SKU: HL.1308752
COREpar Q60 ILS is a 60-watt quad-color (RGBW) COB (Chip-on-Board) LED that produces a full spectrum of light with unsurpassed color mixing. Its robust housing withstands the harshness of traveling from gig to gig and its sit-flat housing design hugs the floor and features power and DMX outlets on the side of the unit for easy connections. Among the powerful features of the COREpar Q60 is ILS compatibility for use in the Integrated Lighting System (ILS) ecosystem that makes creating coordinated light shows across different fixture types easy. D-Fi USB compatibility is also board for wireless Master/Slave or DMX control. Achieve flicker-free video operation with high-frequency LED dimming and the included magnetic Fresnel lens allows the flexibility to go from ultra-wide to narrow beam in seconds. Create customized colors using the built-in LED display and achieve smooth LED fading with built-in dimming curves.
SKU: CF.CPS262
ISBN 9781491161401. UPC: 680160919994.
Carl Strommen, an alumnus of the Bellmore-Merrick CHSD, composed A Walk in the Park for Walter Avenllaneda's John F. Kennedy High School Band. This composition features dynamic brass and sweeping & energetic woodwind lines. Adhere to natural phrases for which the music of Carl Strommen is known, especially in the beginning and end of the piece, to achieve the full sustained chords that are written. Make sure to bring out the three- note motif as it is orchestrated throughout the piece even in the beginning. The fast sections should be vibrant, energetic and with exaggerated dynamics that follow the line shapes. The Waltz in the middle requires a complete change of style and adds a wonderful contrast to the energy of the piece. The transition out of the Waltz into the new tempo will take some time but is well worth the effort to pull it off. The energy returns until we get a wonderful dramatic and bold ending.Carl Strommen, an alumnus of the Bellmore-Merrick CHSD, composed A Walk in the Park for Walter Avenllaneda’s John F. Kennedy High School Band. This composition features dynamic brass and sweeping & energetic woodwind lines. Adhere to natural phrases for which the music of Carl Strommen is known, especially in the beginning and end of the piece, to achieve the full sustained chords that are written. Make sure to bring out the three- note motif as it is orchestrated throughout the piece even in the beginning. The fast sections should be vibrant, energetic and with exaggerated dynamics that follow the line shapes. The Waltz in the middle requires a complete change of style and adds a wonderful contrast to the energy of the piece. The transition out of the Waltz into the new tempo will take some time but is well worth the effort to pull it off. The energy returns until we get a wonderful dramatic and bold ending.
SKU: CF.CPS250F
ISBN 9781491159583. UPC: 680160918171.
SKU: GI.G-9607
ISBN 9781622772865. English.
Emotion in Choral Singing explores what it truly takes to experience the transcendent power of choral music and achieve genuine emotional connection between composer, performer, and listener. With unmatched detail and authority, legendary conductor Jameson Marvin surveys the history of singing, effective rehearsal, score study, repertoire selection, and the relationship between a composer’s intentions, music notation, and expression. Specifically, this book looks at six complementary areas: Musical Gesture and Emotion: A Guide to Teaching and Performing The Historical Roots of Singing: Notation and Expression Performing Polyphony in the 21st Century Style and Expression in Renaissance Choral Performance The Conductor's Process Mastery of Choral Ensemble A particularly noteworthy feature of this book is its emphasis on polyphony, which, Marvin reminds us, encourages an individual expressivity and musicality in singers that can be applied to all styles of choral music, making it as relevant and vital today as ever. Links to recordings included within this book provide a range of examples from throughout Marvin’s career. Emotion in Choral Singing offers a new perspective on the choral art. It is chock-full of practical ideas, tips, and wisdom that will empower and inspire choral directors and musicians of all levels to achieve authentic emotional connection in their work. Jameson Marvin is Emeritus Director of Choral Activities and Senior Lecturer at Harvard University. Under his leadership, the Harvard-Radcliffe Collegium Musicum, Harvard Glee Club, and Radcliffe Choral Society rose to be among the premier collegiate choruses in America. Dr. Marvin’s choral artistry is mirrored by his knowledge of style and performance practice of historical eras and his insightful, communicative, and inspiring performances.  Click Here to Download FREE MP3's by Harvard University Ensembles!
SKU: CF.CPS262F
ISBN 9781491161722. UPC: 680160920419.