SKU: HL.4006690
UPC: 840126928532. 9.0x12.0x0.082 inches.
Combining a driving and rhythmic pulse, carefully paced mixed meters, and full band passages interspersed with percussion feature spots, Northwest Odyssey provides a rewarding and dynamic experience for young players. A brief slow middle section features a dialogue between three soloists (Clarinet, Flute, Alto Sax) before returning to the opening fast pace and exciting finish.
SKU: AP.18817S
ISBN 9781470650780. UPC: 038081174419. English.
Depicting the thrill of a hot-air balloon ride, Northwest Rising is yet another concert showstopper from Robert Sheldon. From the excitement of the initial liftoff to the quiet calm of floating in air, to the anticipation of the thrill of landing, this piece will take your band and audience on the musical balloon ride of a lifetime. Woodwind glissandi, refreshing harmonies and driving percussion help make Northwest Rising as fun to perform as it is to listen to. Another winner from Robert Sheldon!
SKU: CF.W2693
ISBN 9781491158586. UPC: 680160917198. 9 x 12 inches.
While unknown today, composer William Pettee (1839a1891) was clearly a remarkable musician and composer evidenced by the fact that he wrote funeral music for Abraham Lincoln and General Ulysses S. Grant. This funeral music survives to this day in a piano reduction format and is the basis of some of my most current arranging projects. This new edition of Olosabut was the culmination of years of research into the era commonly called The Golden Age of Bands, a period spanning 1880a1920. This project initially began when I played the solo part for Olosabut with a reading band when I was a guest artist at the Northwest Brass Festival in Seattle in 2010. For this new edition, I created a score with modern transpositions. Prior to this, there has been no score for this music. There is often no score for American band music from this era. I also adjusted the dynamics and articulations to allow the soloist to be heard and composed a handful of new musical lines to correct the problems stemming from inconsistent number of measures in the original edition. Finally, I created a reduction for tuba and piano as well as a new edition for solo tuba and orchestra. Olosabut (atuba soloa spelled backwards) from 1885 is possibly the oldest American tuba solo to survive to the twenty-first century. I have done extensive research in this area, and while there may be some earlier pieces with small obbligato solos for tuba, and perhaps even earlier full-fledged tuba solos, I believe this is the earliest music with a serious solo tuba part throughout that survives to this day. In the Tuba Source Book, several early solos are listed from the 1880s. In my research, I have attempted to obtain all of the music listed in the Tuba Source Book from the 1880s or earlier though the Library of Congress and various historic libraries in America. Most of this music for solo tuba and band is incomplete or entirely unavailable today though. The earliest of these is Southwellas Quickstep (Fun for Basses) from 1881. This is described as a novelty march for tuba section, however. A notable omission from the Tuba Source Book, though, is William Petteeas Olosabut, which is clearly marked 1885 on the original published sheet music. This piece is not listed in the Tuba Source Book. However, a different piece by Pettee called Osceola is listed from 1889.While unknown today, composer William Pettee (1839-1891) was clearly a remarkable musician and composer evidenced by the fact that he wrote funeral music for Abraham Lincoln and General Ulysses S. Grant. This funeral music survives to this day in a piano reduction format and is the basis of some of my most current arranging projects. This new edition of Olosabut was the culmination of years of research into the era commonly called The Golden Age of Bands, a period spanning 1880-1920. This project initially began when I played the solo part for Olosabut with a reading band when I was a guest artist at the Northwest Brass Festival in Seattle in 2010. For this new edition, I created a score with modern transpositions. Prior to this, there has been no score for this music. There is often no score for American band music from this era. I also adjusted the dynamics and articulations to allow the soloist to be heard and composed a handful of new musical lines to correct the problems stemming from inconsistent number of measures in the original edition. Finally, I created a reduction for tuba and piano as well as a new edition for solo tuba and orchestra. Olosabut (tuba solo spelled backwards) from 1885 is possibly the oldest American tuba solo to survive to the twenty-first century. I have done extensive research in this area, and while there may be some earlier pieces with small obbligato solos for tuba, and perhaps even earlier full-fledged tuba solos, I believe this is the earliest music with a serious solo tuba part throughout that survives to this day. In the Tuba Source Book, several early solos are listed from the 1880s. In my research, I have attempted to obtain all of the music listed in the Tuba Source Book from the 1880s or earlier though the Library of Congress and various historic libraries in America. Most of this music for solo tuba and band is incomplete or entirely unavailable today though. The earliest of these is Southwell's Quickstep (Fun for Basses) from 1881. This is described as a novelty march for tuba section, however. A notable omission from the Tuba Source Book, though, is William Pettee's Olosabut, which is clearly marked 1885 on the original published sheet music. This piece is not listed in the Tuba Source Book. However, a different piece by Pettee called Osceola is listed from 1889.While unknown today, composer William Pettee (1839–1891) was clearly a remarkable musician and composer evidenced by the fact that he wrote funeral music for Abraham Lincoln and General Ulysses S. Grant. This funeral music survives to this day in a piano reduction format and is the basis of some of my most current arranging projects. This new edition of Olosabut was the culmination of years of research into the era commonly called The Golden Age of Bands, a period spanning 1880–1920. This project initially began when I played the solo part for Olosabut with a reading band when I was a guest artist at the Northwest Brass Festival in Seattle in 2010. For this new edition, I created a score with modern transpositions. Prior to this, there has been no score for this music. There is often no score for American band music from this era. I also adjusted the dynamics and articulations to allow the soloist to be heard and composed a handful of new musical lines to correct the problems stemming from inconsistent number of measures in the original edition. Finally, I created a reduction for tuba and piano as well as a new edition for solo tuba and orchestra.Olosabut (“tuba solo†spelled backwards) from 1885 is possibly the oldest American tuba solo to survive to the twenty-first century. I have done extensive research in this area, and while there may be some earlier pieces with small obbligato solos for tuba, and perhaps even earlier full-fledged tuba solos, I believe this is the earliest music with a serious solo tuba part throughout that survives to this day. In the Tuba Source Book, several early solos are listed from the 1880s. In my research, I have attempted to obtain all of the music listed in the Tuba Source Book from the 1880s or earlier though the Library of Congress and various historic libraries in America. Most of this music for solo tuba and band is incomplete or entirely unavailable today though. The earliest of these is Southwell’s Quickstep (Fun for Basses) from 1881. This is described as a novelty march for tuba section, however. A notable omission from the Tuba Source Book, though, is William Pettee’s Olosabut, which is clearly marked 1885 on the original published sheet music. This piece is not listed in the Tuba Source Book. However, a different piece by Pettee called Osceola is listed from 1889.
SKU: CF.YAS184F
ISBN 9781491151860. UPC: 680160909360. 9 x 12 inches.
Alan Lee Silva's Northwestern Skies?is lyrical and fresh,? with his signature open and expressive style. Young string orchestras will sound rich and full with this sweeping composition.
From the opening fanfare to the final ensemble gesture, Northwestern Skies is an engaging musical journey with expressive ensemble phrases and challenging section features. The A theme at m. 9, a recurring heroic statement, provides an opportunity to develop solid tone production and intonation in sustained forte passages. The B theme at m. 17, enters quietly and features singing, legato lines and delicate accompaniment. The connected countermelodies in both the A and B sections should be balanced under the main melody. More instrtuments are added to the melody in m. 25, building to the return of the A theme in m. 33.
The lower strings carry the C theme in m. 49, supported by tutti figures in the upper strings. All sections come together in m. 56 to a ritardando into the Maestoso section, setting up a grand ensemble statement in m. 57-58. The moving legatolines at m. 59 and the aggressive figures at m. 61 propel the piece to its final build.
The Coda section at m. 65 begins with a variation of the B melody in the violas and then the violins over a dominant pedal point in the lower strings. Commanding tutti statements of the A theme at m. 69 end the piece with power and excitement.
From the opening fanfare to the final ensemble gesture, Northwestern Skies is an engaging musical journey with expressive ensemble phrases and challenging section features. The A theme at m. 9, a recurring heroic statement, provides an opportunity to develop solid tone production and intonation in sustained forte passages. The B theme at m. 17, enters quietly and features singing, legato lines and delicate accompaniment. The connected countermelodies in both the A and B sections should be balanced under the main melody. MoreA instrtuments areA added to the melody in m. 25, building to the return of the A theme in m. 33.
The lower stringsA carry the C theme in m. 49, supported byA tutti figures in the upper strings. All sections come together in m. 56 to a ritardando into the Maestoso section, setting up a grand ensemble statement in m. 57-58. The movingA legatolines at m. 59 and the aggressive figures at m. 61 propel the piece to its final build.
The Coda section at m. 65 begins with a variation of the B melody in theA violas and then the violinsA over a dominant pedal point in the lower strings. Commanding tutti statements of the A theme at m. 69 end the piece with power and excitement.
About Carl Fischer Young String Orchestra Series
Thi s 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: CF.YAS184
ISBN 9781491151495. UPC: 680160908998. 9 x 12 inches. Key: G major.
SKU: PR.46500013L
UPC: 680160600151. 11 x 14 inches.
I n 1803, President Thomas Jefferson sent Meriwether Lewis and William Clarks Corps of Discovery to find a water route to the Pacific and explore the uncharted West. He believed woolly mammoths, erupting volcanoes, and mountains of pure salt awaited them. What they found was no less mind-boggling: some 300 species unknown to science, nearly 50 Indian tribes, and the Rockies. I have been a student of the Lewis and Clark expedition, which Thomas Jefferson called the Voyage of Discovery, for as long as I can remember. This astonishing journey, lasting more than two-and-a-half years, began and ended in St. Louis, Missouri and took the travelers up more than a few rivers in their quest to find the Northwest Passage to the Pacific Ocean. In an age without speedy communication, this was akin to space travel out of radio range in our own time: no one knew if, indeed, the party had even survived the voyage for more than a year. Most of them were soldiers. A few were French-Canadian voyageurs hired trappers and explorers, who were fluent in French (spoken extensively in the region, due to earlier explorers from France) and in some of the Indian languages they might encounter. One of the voyageurs, a man named Pierre Cruzatte, also happened to be a better-than-average fiddle player. In many respects, the travelers were completely on their own for supplies and survival, yet, incredibly, only one of them died during the voyage. Jefferson had outfitted them with food, weapons, medicine, and clothing and along with other trinkets, a box of 200 jaw harps to be used in trading with the Indians. Their trip was long, perilous to the point of near catastrophe, and arduous. The dream of a Northwest Passage proved ephemeral, but the northwestern quarter of the continent had finally been explored, mapped, and described to an anxious world. When the party returned to St. Louis in 1806, and with the Louisiana Purchase now part of the United States, they were greeted as national heroes. I have written a sizeable number of works for wind ensemble that draw their inspiration from the monumental spaces found in the American West. Four of them (Arches, The Yellowstone Fires, Glacier, and Zion) take their names, and in large part their being, from actual national parks in Utah, Wyoming, and Montana. But Upriver, although it found its voice (and its finale) in the magnificent Columbia Gorge in Oregon, is about a much larger region. This piece, like its brother works about the national parks, doesnt try to tell a story. Instead, it captures the flavor of a certain time, and of a grand adventure. Cast in one continuous movement and lasting close to fourteen minutes, the piece falls into several subsections, each with its own heading: The Dream (in which Jeffersons vision of a vast expanse of western land is opened); The Promise, a chorale that re-appears several times in the course of the piece and represents the seriousness of the presidential mission; The River; The Voyageurs; The River II ; Death and Disappointment; Return to the Voyage; and The River III . The music includes several quoted melodies, one of which is familiar to everyone as the ultimate river song, and which becomes the through-stream of the work. All of the quoted tunes were either sung by the men on the voyage, or played by Cruzattes fiddle. From various journals and diaries, we know the men found enjoyment and solace in music, and almost every night encampment had at least a bit of music in it. In addition to Cruzatte, there were two other members of the party who played the fiddle, and others made do with singing, or playing upon sticks, bones, the ever-present jaw harps, and boat horns. From Lewis journals, I found all the tunes used in Upriver: Shenandoah (still popular after more than 200 years), Vla bon vent, Soldiers Joy, Johnny Has Gone for a Soldier, Come Ye Sinners Poor and Needy (a hymn sung to the tune Beech Spring) and Fishers Hornpipe. The work follows an emotional journey: not necessarily step-by-step with the Voyage of Discovery heroes, but a kind of grand arch. Beginning in the mists of history and myth, traversing peaks and valleys both real and emotional (and a solemn funeral scene), finding help from native people, and recalling their zeal upon finding the one great river that will, in fact, take them to the Pacific. When the men finally roar through the Columbia Gorge in their boats (a feat that even the Indians had not attempted), the magnificent river combines its theme with the chorale of Jeffersons Promise. The Dream is fulfilled: not quite the one Jefferson had imagined (there is no navigable water passage from the Missouri to the Pacific), but the dream of a continental destiny.
SKU: PR.465000130
ISBN 9781598064070. UPC: 680160600144. 9x12 inches.
Following a celebrated series of wind ensemble tone poems about national parks in the American West, Dan Welcher’s Upriver celebrates the Lewis & Clark Expedition from the Missouri River to Oregon’s Columbia Gorge, following the Louisiana Purchase of 1803. Welcher’s imaginative textures and inventiveness are freshly modern, evoking our American heritage, including references to Shenandoah and other folk songs known to have been sung on the expedition. For advanced players. Duration: 14’.In 1803, President Thomas Jefferson sent Meriwether Lewis and William Clark’s Corps of Discovery to find a water route to the Pacific and explore the uncharted West. He believed woolly mammoths, erupting volcanoes, and mountains of pure salt awaited them. What they found was no less mind-boggling: some 300 species unknown to science, nearly 50 Indian tribes, and the Rockies.Ihave been a student of the Lewis and Clark expedition, which Thomas Jefferson called the “Voyage of Discovery,†for as long as I can remember. This astonishing journey, lasting more than two-and-a-half years, began and ended in St. Louis, Missouri — and took the travelers up more than a few rivers in their quest to find the Northwest Passage to the Pacific Ocean. In an age without speedy communication, this was akin to space travel out of radio range in our own time: no one knew if, indeed, the party had even survived the voyage for more than a year. Most of them were soldiers. A few were French-Canadian voyageurs — hired trappers and explorers, who were fluent in French (spoken extensively in the region, due to earlier explorers from France) and in some of the Indian languages they might encounter. One of the voyageurs, a man named Pierre Cruzatte, also happened to be a better-than-average fiddle player. In many respects, the travelers were completely on their own for supplies and survival, yet, incredibly, only one of them died during the voyage. Jefferson had outfitted them with food, weapons, medicine, and clothing — and along with other trinkets, a box of 200 jaw harps to be used in trading with the Indians. Their trip was long, perilous to the point of near catastrophe, and arduous. The dream of a Northwest Passage proved ephemeral, but the northwestern quarter of the continent had finally been explored, mapped, and described to an anxious world. When the party returned to St. Louis in 1806, and with the Louisiana Purchase now part of the United States, they were greeted as national heroes.Ihave written a sizeable number of works for wind ensemble that draw their inspiration from the monumental spaces found in the American West. Four of them (Arches, The Yellowstone Fires, Glacier, and Zion) take their names, and in large part their being, from actual national parks in Utah, Wyoming, and Montana. But Upriver, although it found its voice (and its finale) in the magnificent Columbia Gorge in Oregon, is about a much larger region. This piece, like its brother works about the national parks, doesn’t try to tell a story. Instead, it captures the flavor of a certain time, and of a grand adventure. Cast in one continuous movement and lasting close to fourteen minutes, the piece falls into several subsections, each with its own heading: The Dream (in which Jefferson’s vision of a vast expanse of western land is opened); The Promise, a chorale that re-appears several times in the course of the piece and represents the seriousness of the presidential mission; The River; The Voyageurs; The River II ; Death and Disappointment; Return to the Voyage; and The River III .The music includes several quoted melodies, one of which is familiar to everyone as the ultimate “river song,†and which becomes the through-stream of the work. All of the quoted tunes were either sung by the men on the voyage, or played by Cruzatte’s fiddle. From various journals and diaries, we know the men found enjoyment and solace in music, and almost every night encampment had at least a bit of music in it. In addition to Cruzatte, there were two other members of the party who played the fiddle, and others made do with singing, or playing upon sticks, bones, the ever-present jaw harps, and boat horns. From Lewis’ journals, I found all the tunes used in Upriver: Shenandoah (still popular after more than 200 years), V’la bon vent, Soldier’s Joy, Johnny Has Gone for a Soldier, Come Ye Sinners Poor and Needy (a hymn sung to the tune “Beech Springâ€) and Fisher’s Hornpipe. The work follows an emotional journey: not necessarily step-by-step with the Voyage of Discovery heroes, but a kind of grand arch. Beginning in the mists of history and myth, traversing peaks and valleys both real and emotional (and a solemn funeral scene), finding help from native people, and recalling their zeal upon finding the one great river that will, in fact, take them to the Pacific. When the men finally roar through the Columbia Gorge in their boats (a feat that even the Indians had not attempted), the magnificent river combines its theme with the chorale of Jefferson’s Promise. The Dream is fulfilled: not quite the one Jefferson had imagined (there is no navigable water passage from the Missouri to the Pacific), but the dream of a continental destiny.
SKU: MB.30670
ISBN 9781513465296. 8.75 x 11.75 inches.
This unique collection celebrates the contemporary fiddle music of northeast Ireland, much of it for the first time in print. Not surprisingly, given its location and long history of traditional music, the fiddle music of this region shares some characteristics with Scottish music, yet it has its own distinct style. For those who are not familiar with this ruggedly attractive part of Ireland, this book will introduce you to some of its music and musicians. The tunes presented here, collected by County Antrim fiddler, Rowan Leslie, have all been written relatively recently by local musicians. Each tune is offered in two versions?one with the barebones melody and suggested accompaniment chords, and a second with ornamentation, articulation and bowing details. All tune types from northeast Ireland are represented, including jigs and reels, polkas and hornpipes, marches, barn dances and waltzes, plus set dances and slow airs. Moreover, the biographical sketches and backstories provided for each composer and tune demonstrate how the land itself, along with personal experiences and relationships, influence the fiddle music of northeast Ireland.
SKU: CL.012-4468-75
This Victor Lopez work evokes images of excitement, bravery and sorrow as Erebus and Terror: The Lost Ships retells the story of the Sir John Franklin expedition in search of the Northwest Passage. Beginning with anticipation as the explorers depart their homeland, the rousing melodic theme is written for clarinet, horn and alto saxophone. The excitement of the journey turns melancholic for a few moments, as the gravity of their journey sinks in, but their courage is again renewed as the trumpets tell the story. A haunting flute and oboe duet foreshadows the inevitable crash portrayed with strong chromatic dissonances, into the ice and the loss of both ships and their crews. The journey has ended for these men, but their story lives on and Sir John Franklin is remembered as a hero due to his valuable contributions to the development of Canada's north. Highly recommended!
SKU: CL.012-4468-01
This Victor López work evokes images of excitement, bravery and sorrow as Erebus and Terror: The Lost Ships retells the story of the Sir John Franklin expedition in search of the Northwest Passage. Beginning with anticipation as the explorers depart their homeland, the rousing melodic theme is written for clarinet, horn and alto saxophone. The excitement of the journey turns melancholic for a few moments, as the gravity of their journey sinks in, but their courage is again renewed as the trumpets tell the story. A haunting flute and oboe duet foreshadows the inevitable crash portrayed with strong chromatic dissonances, into the ice and the loss of both ships and their crews. The journey has ended for these men, but their story lives on and Sir John Franklin is remembered as a hero due to his valuable contributions to the development of Canada’s north. Highly recommended!
SKU: CL.012-4468-00
SKU: PR.114418820
ISBN 9781491113998. UPC: 680160667697.
Compo sed by Telemann as a double concerto for recorder and transverse flute, Zart Dombourian-Eby’s new edition is prepared for piccolo, flute, and piano — remaining compatible with available orchestral editions, and respectfully faithful to Telemann’s detailed nuances. Cast in the slow-fast, slow-fast four-movement mold typical of Baroque concert works, the CONCERTO IN E MINOR is at once among the most beautiful and exhilarating works of Telemann’s formidable output.__________________ ____________________Text from the scanned back cover:ZART DOMBOURIAN-EBY is the Principal Piccoloist of the SeattleSymphony and is regularly featured as both a soloist and clinician in Seattle and across the world. Her performances consistently receive highest praise from both critics and audiences. A native of New Orleans, she received B.A. and M.M. degrees from Louisiana State University. After a year of study with Albert Tipton she attended Northwestern University earning a Doctor of Music degree under the tutelage of Walfrid Kujala. She has been a member of the New Orleans Pops, Baton Rouge Symphony, Colorado Philharmonic, and the Civic Orchestra of Chicago. She has performed with the Chicago Symphony and served on the faculties of the University of Washington and Pacific Lutheran University. She was the founding editor of Flute Talk and ison the Editorial Board for The Flutist Quarterly. Zart is the immediate past president of the National Flute Association, and been a featured soloist and presenter at numerous NFA conventions. Zart has commissioned numerous works, including two for piccolo and piano by Martin Amlin, sonatas by Gary Schocker and Levente Gyongyosi, and a chamber work by Ken Benshoof. She can be heard in over 100 recordings by the Seattle Symphony, and her solo CD, in shadow, light, is available on Crystal Records. Her award-winning edition of the three Vivaldi piccolo concertos is published by Theodore Presser.A native of Seattle, VALERIE SHIELDS received her B.M. summa cum laude in organ and violin from St. Olaf College. While completing her M.M. from Northwestern University, she became increasingly interested and skilled in the art of improvisation. She served as Director of Music at St. Luke’s Lutheran Church in Park Ridge, Illinois, where she developed a music program involving over 150 participants in choirs and chamber music groups.Upon her return to Seattle, she served for 12 years as director of adivision of the Northwest Girlchoir. She became organist and developed a vibrant Youth Choir at Phinney Ridge Lutheran Church, where she served for over 30 years, as well as enjoying a 20-year tenure as Music Director and Composer-in-Residence of Temple De Hirsch Sinai. Valerie’s work with children’s choirs,churches, and synagogues has inspired over 100 published compositions.When I was invited to perform a Vivaldi piccolo concerto in Italy a few years ago, my host, Luisa Sello, wrote that Carol Wincenc was going to be on the same concert, and was there any piece that we could play together? I looked and asked around, and my colleague Joanna Bassett recommended the Telemann Concerto in E Minor for Traverso and Recorder. I didn’t know the piece, but as I listened to a recording of it, I immediately loved it and could easily envision how beautifully it could work, with a few “adjustments,†for flute and piccolo. I got to work, and the current publication is the result. I have performed it many times, and enjoy it even more every time. It fits a unique place in our repertoire, and works equally well with piano as with the string orchestra setting.According to Steven D. Zohn, pre-eminent Telemann scholar, and author of Music for a Mixed Taste: Style, Genre, and Meaning in Telemann’s Instrumental Works, much is unknown about the concerto itself; it likely dates from the 1720s, soon after Telemann moved to Hamburg. Only an eighteenth-century copyist’s set of parts is extant, that of Johann Samuel Endler, who was engaged at the Darmstadt court as a singer and violinist, later becoming Vice-Kapellmeister and Kapellmeister, and who had a large collection of Telemann’s works.As in my Vivaldi concertos edition (Presser 414-41190), I have added virtually all of the articulations and dynamics that appear here, and have inserted quite a bit of ornamentation. Unlike the Vivaldi edition, I have not included any indication of the original Telemann in those passages, nor have I included any pedagogical markings, such as fingerings.Finally, I would like to acknowledge, with gratitude, Joanna Bassett, Daniel Dorff, Benton Gordon, Evan Pengra-Sult, Sandra Saathoff, Valerie Shields, Carol Wincenc, and Steven Zohn, for the various roles they played in the making of this publication.— Zart Dombourian-EbyJune 2018.
SKU: PR.114418620
ISBN 9781491109991. UPC: 680160642649. 9x12 inches.
A sprightly Allegro movement from Mozart's Divertimento No. 4 for three basset horns has enjoyed several trio arrangements, primarily in the woodwind repertoire. Freshner brings a lifetime as educator, arranger, even music engraving, to produce a solid brass trio arrangement of the Allegro. The result is quintessential Mozart and suitable for high school programs and festivals._______________ ________________________T ext from the scanned back cover:Allegro from Divertimento IV, K. 439bfor B-Flat Trumpet, Horn, and TromboneTravis Freshner is a trumpeter, arranger, and educator whohas created a large body of brass chamber music, includingoriginal works and arrangements of standard repertoire.The ALLEGRO is adapted from Mozart’s Divertimento for3 Basset Horns, and scored here for Trumpet, Horn, andTrombone. The transcription has all of Mozart’s authenticcharm, while staying within intermediate difficulty. Perfect forschool ensembles, and for professional recitals and gigs. Equally at home in the concert hall or in a nightclub, TRAVIS FRESHNER is one of the most versatile trumpet artists in the Pacific Northwest. He has performed in venues across the countryin ensembles ranging from symphony orchestras to big band jazz; from contemporary chamber music to soul & hip-hop bands, and he brings a unique energy to his performances. He has been a featured soloist with the Aspen Contemporary Ensemble, performing works by HK Gruber. Truly a man of a thousand musical hats, he is also an experienced music engraver, editor, andorchestrator.Freshner €™s orchestrations have been performed by ensembles such as the Chicago Symphony Orchestra and the Brass Band of Battle Creek, and he has collaborated on projects for The TonightShow Starring Jimmy Fallon. Travis holds degrees from the University of Oregon (BM) and Western Michigan University (MM).
SKU: PR.16400276S
UPC: 680160590438.
Schic kele's new piano quartet was written for the Orcas Island Chamber Music Festival (northwest of Seattle), and would have been his very first piano quartet - except that he had forgotten an earlier, unfinished composition. Happily, an unrelated search uncovered the earlier quartet, and Schickele set about cutting, reworking, and re-composing to create Music for Orcas Island. The quartet consists of four complementary movements: I. Spring Sunshine; II. Rainy, with Fog; III. Lively; and IV. Low-lying Clouds. For intermediate to advanced performers. Duration: 13'.
SKU: CF.YAS226F
ISBN 9781491163085. UPC: 680160921836. Key: D major.
Chen Yi’s original A Set of Chinese Folk Songs included ten songs, first arranged for the vocal ensemble Chanticleer to perform with students in the “Singing-in-the-Sch ools†programs in the 1990's. Taken from a wide range of geographic regions in China, with rich characteristics and expressive contrast, the set has been sung by many choirs around the world in the past thirty years. Three songs from that collection have been thoughtfully arranged into a three-movement suite for intermediate string orchestras, bringing this beautiful Chinese folk music to even more young musicians. The celebratory Fengyang Song is from Anhui province which is popular in the whole country. The lyrical love song Flowing Stream is from Yunnan province in the southwest, and the passionate and vivid Mayila is from the ethnic group known as Kazakhs in the northwest.
SKU: GI.G-8657
ISBN 9781622770649.
Edit ed and Photographed by Michael Stillwater  Waldron Island Reflections offers images and words from Shining Night, the award-winning documentary film about the life and music of Morten Lauridsen. Morten Lauridsen, among the leading American composers of the late 20th and early 21st centuries, draws his inspiration from the serenity of nature. In his summer residence on remote Waldron Island in the San Juan Archipelago many of his greatest works are composed. For anyone who appreciates nature as inspiration for creativity, Waldron Island Reflections provides a glimpse into a unique Pacific Northwest haven where timeless words are given a musical voice through Lauridsen’s sublime artistry. About the music of Morten Lauridsen: In 2007 Morten Lauridsen received the National Medal of Arts, the highest artistic award in the United States, from the President in a White House ceremony “for his composition of radiant choral works combining musical beauty, power, and spiritual depth.†He is Distinguished Professor of Composition at the USC Thornton School of Music, Los Angeles. www.mortenlauridsen.net/ “For those of us who need great music to live and feel more fully, these works speak clearly to the soul and illuminate our greater hope.â€â€“ St. Louis Post-Dispatch “This is celestial and spine-tingling stuff. Contemporary choral music really doesn’t come any better than this.†– Daily Express  Michael Stillwater is a filmmaker and music educator whose award-winning documentary, Shining Night: A Portrait of Composer Morten Lauridsen, was deemed “a heartening rarity†by Terry Teachout, Wall Street Journal. www.shiningnightfilm.net.
SKU: BT.BHI47618
This native welcoming song from British Columbia features free incantation alongwith evocative choral writing.
SKU: BT.AMP-377-010
9x12 inches. English-German-French-Dut ch.
England enjoys a rich folk song tradition. Composers such as Cecil Sharp and Vaughan Williams rekindled an interest in this heritage at the beginning of the 20th century by arranging numerous songs, some of which were transcribed for the _x001F_first time. Philip Sparke selected three songs from the 18th and 19 century for his Three Folk Song Miniatures: the _x001F_shermanâ??s song Dance to Your Daddy, the love song O Waly, Waly and Bobby Shafto, a song from the northwest of England.Engeland heeft een rijke traditie op het gebied van volksmuziek die door de jaren heen een beetje in de vergetelheid raakte. Componisten als Cecil Sharp en Vaughan Williams brachten hierin verandering door voor het eerst talloze liederen bundelen en soms zelfs voor het eerst tenoteren in modern notenschrift. Philip Sparke koos voor dit werk drie liederen uit de 18e en 19e eeuw: het visserslied Dance to Your Daddy, het liefdeslied O Waly, Waly en Bobby Shafto, een lied uit het Noord-Westen van Engeland.England kann auf eine lange Volkslied-Tradition zuru?ckblicken. Komponisten wie Cecil Sharp und Vaughan Williams weckten Anfang des 20. Jahrhunderts erneut das Interesse an diesem Erbe, indem sie zahlreiche Lieder sammelten und teilweise erstmals notierten. Philip Sparke wählte fu?r seine drei Volkslied-Miniaturenâ?? drei Lieder aus dem 18. und 19. Jahrhundert: das Fischerlied Dance to Your Daddy, das Liebeslied O Waly, Waly und Bobby Shafto, ein Lied aus dem Nordwesten Englands.Comme beaucoup dâ??autres pays, lâ??Angleterre jouit dâ??une longue tradition de chansons traditionnelles transmises oralement au _x001C_fil des siècles. Three English Folk Song Miniatures rassemble trois airs populaires (Dance to you Daddy, O Waly, Waly et Bobby Shafto), prodigieusement arrangés pour orchestre junior ou formation incomplète. Comme dans toutes les publications de degré de diffi_x001F_culté 1 1 ½ des éditions Anglo Music, les parties des registres ténor et basse peuvent être jouées par diff_x001B_érents instruments, ce qui permettra aux orchestres incomplets de toujours produire un son ample et généreux.L ??Inghilterra è una nazione ricca di canti popolari. Allâ??inizio del XX secolo, compositori quali Cecil Sharp e Vaughan Williams risvegliarono lâ??interesse verso questa preziosa eredit raccogliendo e in parte arrangiando numerosi canti. Philip Sparke ha scelto per le sue â??tre miniatureâ?, altrettanti canti del XIII e XIX secolo: la canzone dei pescatori Dance to Your Daddy, O Waly, Waly, una canzone dâ??amore e Bobby Shafto, un canto proveniente dalla parte nord-occidentale del paese.
SKU: BT.PMC3865
The Two Songs on American Poems were composed in late May and early June of 2011 by candlelight at my rustic waterfront cabin on a remote island off the northwest coast of Washington State. It was in this locale that I havecompleted a number of works over the years, including the Lux Aeterna, O Magnum Mysterium, Nocturnes, Canticle/O Vos Omnes and others. Prayer was written in memory of Michael Jasper Gioia, Dana and Mary Gioia's infant son, whosebrief life was tragically ended by SIDS.Mr. Gioia served as Chair of the National Endowment for the Arts from 2003-2010 and has authored several books of poems, numerous anthologies, articles, essays and two opera libretti. Amonghis many awards are the American Book Award and Presidential Citizens Medal. He currently holds the Judge Widney Chair of Poetry and Public Policy at the University of Southern California. Sure on this Shining Night was originallycomposed as a choral piece, the third movement of my Nocturnes on poems by Rilke, Neruda and Agee. Rod Gilfry, an international star of opera, recital and musical theater, premiered the mixed duet version with his daughter, Carin,in 2009. He is Professor of Vocal Studies at the USC Thornton School of Music. Both he and Mr. Gioia are national treasures. The Two Songs are designed as a pair but may be sung independently - when paired, Sure On This ShiningNight should begin immediatelyfollowing the final, sustained chord of Prayer with no break in between the songs. Both of these songs, premiered by Mr. Gilfry accompanied by the composer at a USC Visions & Voices tribute to DanaGioia on September 27, 2011, have their roots in the American musical theater and should be sung as such.
SKU: CF.CAS66F
ISBN 9780825889486. UPC: 798408089481. 8.5 x 11 inches.
Yosemite Falls depicts the wide open spaces of this magnificent western treasure, exploring new sounds and harmonies in a fresh approach from Sean O'Loughlin. However, this work retains his signature flourishes, such as angular rhythm, drive, and punctuated harmonies. A very strong choice for your more advanced ensembles in contest or festival performance.The grandeur and spectacle of Yosemite National Park is the inspiration for the music of Yosemite Falls. Located in the northwest corner of California, this park continues to be a natural wonder to all who visit it each year. The falls are particularly beautiful in the spring when all the snow from winter is melting away.The piece begins with a pulsing rhythmic figure that will return periodically throughout the piece. Bring out the dynamic contrast in the section that follows at m. 9. The main melody appears at m. 17 and should have a light and airy feel to it. The secondary melody comes in at m. 30 and has a much more legato and lyrical quality. This melody continues to grow and expand until m. 44 when the opening rhythmic idea returns. This rhythm gets developed further throughout the nextfew sections until the main and secondary melodies collide at m. 67. Bring out the inner lines to create a lush accompaniment. This culminates in a unison statement of the melody at m. 83. The silence on the downbeat of m. 84 creates space and anticipation for the pulsing rhythms that gain momentum to the exciting conclusion.
About Carl Fischer Concert String Orchestra Series
Thi s series of pieces (Grade 3 and higher) is designed for advancing ensembles. The pieces in this series are characterized by:
SKU: PR.446412220
SKU: PR.44641222L
