SKU: HL.14020088
SKU: CA.4020420
ISBN 9790007065096.
SKU: HL.14020090
SKU: HL.14020089
6.75x9.75x0.045 inches.
SKU: HL.49026617
ISBN 9790001019644.
SKU: HL.49003107
ISBN 9790220115066. UPC: 073999934557. 9.0x12.0x0.096 inches.
2 descant and 1 treble recorder.
SKU: CF.YAS137
ISBN 9780825894732. UPC: 798408094737. 9 x 12 inches. Key: G major.
A high quality setting of the Thomas Morley hymn, Sing We and Chant It, by popular writer Deborah Baker Monday. Deborah understands the idiomatic nature of the string orchestra and always provides teachers with music that can be used to teach as well as inspire musicality.Thomas Morley (ca. 1557-1602) lived in England during the Elizabethan period. It was a time during the reign of Queen Elizabeth when the arts, and especially music, flourished.Morley studied serious music with William Byrd and attempted to compose in his style while holding an organ post at St. Paul's Cathedral. He was inspired by a new vocal publication brought to England from Italy. These madrigals were where Morley finally found his compositional direction. He took aspects of the Italian style, which suited his personality and anglicized them by applying the English language and musical tradition. His works are considered to show a wider variety of emotional color, form and technique than other English composers of this period.
About Carl Fischer Young String Orchestra Series
This series of Grade 2/Grade 2.5 pieces is designed for second and third year ensembles. The pieces in this series are characterized by:--Occasionally extending to third position--Keys carefully considered for appropriate difficulty--Addition of separate 2nd violin and viola parts--Viola T.C. part included--Increase in independence of parts over beginning levels
SKU: ST.LS19
ISBN 9790220215209.
CONTENTS ALISON, Richard O Lord, turn not away thy face (AATB or AAT) When we sat in Babylon (AATB or AAT) ANONYMOUS But this, and then no more (C - C) How can the tree but waste (B - B) Sweet are the thoughts that savour of content (D - F) Those eyes that set my fancy on a fire (A - B) CAMPION, Thomas More now with measur'd sound (Duet: D - E and G - A) Now hath Flora robb'd her bow'rs (Duet: D - E and D - G) Woo her and win her (F - E) GILES, Thomas Triumph now with joy and mirth (D - D) HUME, Tobias Cease, leaden slumber, dreaming (F sharp - F) Fain would I change that note (D - G) Soldier's Song: I sing the praise of honour'd wars (G - G) Tobacco! Tobacco! Sing sweetly for tobacco! (D - F) What greater grief (D - F) LANIER, Nicholas Bring away this sacred tree (D - F) LUPO, Thomas Shows and nightly revels (D - E flat) Time that leads the fatal round (D - E) MORLEY, Thomas O grief! e'en on the bud (F - E flat) ROBINSON, Thomas Now, Cupid, look about thee (D - G).
SKU: CA.316910
ISBN 9790007154639. Key: G major. Language: English. Text: Morley, Thomas. Text: Thomas Morley.
SKU: MH.1-59913-070-X
ISBN 9781599130705.
Program Notes: Stylistically diverse -- tranquil, spirited pastoral, sensitive, energetic -- exhibiting a remarkable palette, the five movements of SINFONIA IX form a unique symphonic statement. Movement I, Prelude, is about contrasts: A lazy, smooth, motive in brasses alternates with, and then joins, an active and detached motive in woodwinds. The spirited Movement II, Morley's Ghost, is an intricate canonic collage and homage to that venerable theoretician & composer, Thomas Morley. By contrast, movement III, Dialog, speaks in a relaxed, lyrical, and pastoral language as it develops its gently rising and falling motives. Movement IV, Waltz, innocently celebrates the joys of childhood with a lilting melody and rondo form. For the rousing Finale, Movement V begins with a martial call of repeated-notes, heralding a headstrong journey of power and excitement. Like a number of the composer's other works, SINFONIA IX is based on earlier material: A brass sextet, written in 1966 when the composer was nineteen years old, forms the raw material for the first, third and fifth movements, while a later work, Martin's Waltz (a children's piece for flutes and clarinets composed in 1975) is the basis of the fourth movement. The second movement, however, is a fanciful contrapuntal commentary on Thomas Morley's 16th-century canzonet, Fire and Lightning. SINFONIA IX is dedicated to John Raforth, a distinguished band director and music educator at West High School in Madison, Wisconsin. The work was commissioned by his friends and former students, and was completed in 1977. Its first publication some twenty years later is a result of the increasing attention paid by university band directors to the earlier Sinfonias, particularly Sinfonia III (Hymns and Dances); Sinfonia V (Sinfonia Sacra et Profana); and now, Sinfonia IX. Whereas the first two works are wind ensemble compositions that have been championed equally by the concert band, Sinfonia IX is the composer's first college-level Sinfonia written especially for concert band. Ensemble instrumentation: 1 Piccolo, 8 Flute 1-2, 2 Oboe, 1 Eb Clarinet, 4 Bb Clarinet 1, 4 Bb Clarinet 2, 4 Bb Clarinet 3, 3 Bb Bass Clarinet, 2 Bassoon, 4 Eb Alto Saxophone, 2 Bb Tenor Saxophone, 1 Eb Baritone Saxophone, 3 Bb Trumpet 1, 3 Bb Trumpet 2, 3 Bb Trumpet 3, 2 F Horn 1-2, 2 F Horn 3-4, 3 Trombone 1, 3 Trombone 2, 3 Baritone B.C., 2 Baritone T.C., 4 Tuba, 3 String Bass, 2 Timpani, 5 Percussion.
SKU: MH.1-59913-071-8
ISBN 9781599130712.
SKU: CF.CM9638
ISBN 9781491157107. UPC: 680160915668. 6.875 x 10.5 inches. Key: A minor. English, English. Original.
Robinson's TBB arrangement of this beloved Bennett madrigal, originally published for four voices in 1599, has been changed from the original key of A minor to the key of D minor, making the ranges and texture more characteristic for TBB voices. A wonderful concert or festival staple piece!.Weep, O Mine Eyes is a classic madrigal from the Renaissance period (circa 1400-1650). Although John Bennet's exact birth and death dates are unknown, we know that he was English and composed madrigals (non-sacred a cappella pieces) in the late 16th - early 17th centuries. Although, Bennet was not as prolific as other madrigal writers of the time, such as Thomas Morley, Weep, O Mine Eyes has certainly stood the test of time. Originally published in a book of 17 madrigals for four voices in 1599, this arrangement for TBB voices has been changed from the original key of A minor to the key of D minor, making the ranges and texture more characteristic for TBB voices. The original flavor of Bennet's four-part setting has been preserved, including the counterpoint (independent voices) where each voice is of equal importance. In Renaissance style no parts should over sing; the beauty of the melodic lines and text should come through and over singing will take away from the beauty. The EE vowel is sometimes problematic in the word weep. I suggest that you produce the EE vowel with OO on the lips and EE inside the mouth for better blend and to avoid a horizontal spreading of the vowel. Enjoy this wonderful madrigal!.Weep, O Mine Eyes is a classic madrigal from the Renaissance period (circa 1400-1650). Although John Bennet's exact birth and death dates are unknown, we know that he was English and composed madrigals (non-sacred a cappella pieces) in the late 16th - early 17th centuries. Although, Bennet was not as prolific as other madrigal writers of the time, such as Thomas Morley, Weep, O Mine Eyes has certainly stood the test of time.Originally published in a book of 17 madrigals for four voices in 1599, this arrangement for TBB voices has been changed from the original key of A minor to the key of D minor, making the ranges and texture more characteristic for TBB voices.The original flavor of Bennet's four-part setting has been preserved, including the counterpoint (independent voices) where each voice is of equal importance. In Renaissance style no parts should over sing; the beauty of the melodic lines and text should come through and over singing will take away from the beauty.The EE vowel is sometimes problematic in the word weep. I suggest that you produce the EE vowel with OO on the lips and EE inside the mouth for better blend and to avoid a horizontal spreading of the vowel.Enjoy this wonderful madrigal!
SKU: ST.EC41
ISBN 9790220218873.
This volume completes the publication in a scholarly edition of Thomas Morley's Anglican sacred music, and initiates a new, larger format for the EECM series.
SKU: KN.09053S
UPC: 822795090536.
Written during the Elizabethan era, this Thomas Morley madrigal was one of the most popular of its time. In this masterful setting, high and low instruments take turns playing the beautiful melody while accompanying parts use a variety of devices - pizzicato, imitation, counterpoint - to keep the sound fresh. Duration 2:20.
SKU: GI.G-7026
UPC: 785147702603. English. Text Source: No. IV from The First Booke of Balletts to Five Voyces, 1595. Text by Thomas Morley.
Text Source: No. IV from The First Booke of Balletts to Five Voyces, 1595.
SKU: HL.50511055
ISBN 9790080129852. UPC: 073999088410. 6.75x9.5x0.09 inches. English. Thomas Morley; Janos Dobra.
SKU: GH.N05867
ISBN 9790070032452. A4 inches. Text: Orazio Vecchi / Thomas Morley.
SKU: OU.9780193954397
ISBN 9780193954397.
For SAATB/SATB In addition to Shaw's classic editions of the 'Tudor' Preces & Responses by Byrd, Morley, Smith & Tomkins for SAATB, this revised volume also contains the Preces & Responses by Thomas Tallis and settings of the Lord's Prayer by Robert Stone and Thomas Morley for SATB.
SKU: HL.50487662
ISBN 9790080135709. B/5 (17x24) inches. Hungarian, English. Thomas Morley; Laszlo Lukin; Miklos Forrai.
