SKU: CF.CPS210
ISBN 9781491152362. UPC: 680160909865.
A driving composition from Sean O'loughlin,?Commence!?beg ins with a spirited theme that oscillates between triple and duple meter. After developing into a heartfelt lush brass chorale, the lilting theme returns again. The composition concludes with a dramatic return of the B theme and a rousing finale. A beautiful piece,?Commence!?is a?strong choice for any contest or festival.
Commence! was commissioned by the Lynden High School Class 2017-2019 and the Lynden, WA Community, and is dedicated to Steve Herrick in celebration of his retirement. Mr. Herrick and I first collaborated on a commission in 2006, and I was immediately taken by the community and the music program in Lynden. It is truly one of the most beautiful places in the country and full of musical inspiration at every turn.
This piece is a loving tribute to Mr. Herrick and his amazing contribution to the students of Lynden for over thirty years. The music begins with a spirited section oscillating between 6/8 and 2/4 time. It should maintain a pulsing feeling throughout. The main melody appears at m. 25 and has a lilting, reminiscing quality to it. After some further development, it moves to a B-section at m. 41 with some warm brass passages. The woodwinds should soar over the top with their counter line. The lower voices take over the melody at m. 59. The harmony becomes more discordant at m. 71 with passages trading between the brass and woodwinds.
This tension releases into a slow section that features a flowing, heartfelt melody. This builds to the big moment at m. 112. The timpani ushers us back to the 6/8, 2/4 section. The melody is now accompanied by some flowing counterpoint at m. 153 which leads to the B-section again at m. 169. This time the woodwinds take the lead and the brass provide the counter line. A final big moment at m. 194 is the culmination and high point of the composition. A brief fast section puts a bow on the piece for a rousing finale.
SKU: CF.CPS210F
ISBN 9781491153048. UPC: 680160910540.
SKU: HL.49046811
UPC: 196288026501.
'Harm onielehre - ganz leicht' [Harmony - Made Easy] leads to the conscious experience of intervals, triads and chord progressions ineasily comprehensible steps. The book provides important basic information on harmony: Intervals Triads (major, minor, diminished, augmented) Triads and their inversions Scales and keys Pentatonic and whole-tone scales The cadence The dominant seventh chord The contents are consolidated through active experience: by listening, singing and playing, reading and writing. Numerous exercises and music riddles (incl. solutions) help to deepen what has just been learnt. The accompanying online-material contains ear trainingexercises and even allows the sensual experience of harmonies. The exercise book is the ideal companion for instrumental and school lessons. - Suitable for all instruments!Discover the secrets of harmony the fun way - in the music school, at school - and at home!
SKU: SU.91480570
Text: Angier Brock.
SATB Chorus, Organ Duration: 7' Text: Angier Brock Composed: 2010 Published by: Subito Music Publishing YouTube: Ms. Brock’s moving poem is lyrical throughout. Even in its beautiful originality, the poem invokes The Book of Common Prayer and biblical scripture (the latter through references to dust and breath from Genesis 2 to the final line of the poem invoking the opening of Psalm 62). Ms. Brock’s poetry is also filled with wonderful twists on traditional texts (such as in the creative and reverse naming of the Trinity in speaking of Inventing Wind, Generous Christ, and Luminous God). Musically, the main melodic material of the piece is immediately heard on a solo organ color accompanied by organ strings over a recurring pedal pulse on the pitch C. The chorus soon enters with the first stanza of the text. As this stanza unfolds, the harmony starts to gradually change as the pulsing pedal rhythm begins to move upward by step. An organ interlude, reflective of the opening introduction, soon emerges (though now over a C-sharp recurring pedal pulse), and leads to a similar choral setting as found in stanza one. As the poem’s second stanza moves forward, it eventually folds into the more harmonically rich stanza three. A fast, dance-like section evolves at Inventing Wind, what a lively dance your energy creates! eventually bringing the work to its climax point. The spirit of dance soon subsides and leads to a quiet and gentle close on the words …for you alone my soul in silence waits. Minimum order quantity: 8 copies. To order quantities fewer than 8, please email customer service at sales@subitomusic.com.
SKU: CF.YAS171
ISBN 9781491146514. UPC: 680160904013. 9 x 12 inches. Key: G major.
Dream Engine has all of the compositional thumb prints that have made the music of Larry Clark so popular for string orchestras. It is a concert overture in classic ABA form. The opening section has a tuneful melody over spiccato accompaniments that weaves throughout the ensemble. The middle B section is slow, lyrical, lush, and beautiful as a contrast to the lighter A section. Another piece from Larry Clark to showcase your ensemble at contest/festival.One of the types of pieces I like to write for orchestra are pieces that use a contrast between staccato playing and more marcato melodic material. Dream Engine is the result. The piece is set in a concert overture form with two fast sections based on the same theme and a slow lyrical second section in the middle.The piece begins right off with a short introduction of the spiccato accompaniment figures before it leads to the first statement of the main theme. Quarter notes in the main theme should be played full bow in contrast to the lilting staccato eighth notes. The bass line should be long as well. After a full ensemble statement of the theme, the piece moves to a bridge theme that is sort of an inversion of the main theme and is taken up by the cello; then the viola is added on a harmony part to the melody. Transition material is presented next that is used throughout the piece to connect all of the sections of the piece together. The main theme returns once more before the piece transitions into the slow and lyrical B-section. The B-section should be lush and as legato as possible to be in complete contrast to the A-section. This will be an excellent chance to work on the players’ expressive playing. Make sure to have a lot of rubato and generous rises and falls to the lines to make it as musical aspossible.At the completion of the B-section, the A-material returns with different orchestration for variety. This is followed by the transition material that leads to an aggressive coda that includes a brief quote from the B-section material. If you so chose, a slight increase in the tempo at the coda is acceptable to add to excitement of the ending.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 2017.
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: BR.BV-315
No matter where those thirsting for knowledge gather, whether at the Conservatory or on a park bench, this book is sure to give everyone a solid foundation in the purportedly so complex domain of counterpoint.
ISBN 9783765103155. 6.5 x 9.5 inches. German.
After Thomas Kramers now standard-setting books on harmony and analysis, his exploration of counterpoint was long anticipated. The major work is now finished. Formulated in an easily understandable way, it contains more than 800 music examples, leads beyond four-part writing for the first time and offers three informative digressions on the Fundamentals of Texting, Thoroughbass and Counterpoint and Harmony and Counterpoint, which all reflect various aspects of the main topic. Thanks to its extensive answer section, the book is particularly ideal for autodidactic study.
SKU: AP.48983
UPC: 038081563077. English. Words by William Butler Yeats.
Lilting music resembles a folk song from the British Isles in this happy setting of Yeats' text, inspired by memories of childhood summers spent in the Irish countryside. The 12-line poem expresses a city-dweller's longing for the simple, tranquil life of Innisfree. Includes proven part-singing strategies---the tune first appears in unison, then becomes a canon; a peaceful bridge passes the melody through lower voice parts, while others sing sweet counterlines; and a modulation leads to full triadic harmony.
SKU: GI.G-9815
ISBN 9781622773688.
Habi ts of a Successful Choral Musician is a resource for both choir directors and choral singers that builds music fundamentals (sight-singing and ear training) and vocal functions (from posture to tone). This book has provided a clear and well-organized pedagogy that is helping my students to improve in all facets of being a choral musician. — Alan Davis, Director of Choirs, Hemet High School, Hemet, CA Habits of a Successful Choral Musician by Eric Wilkinson and Scott Rush is a fantastic resource for choir directors who seek to develop all levels of singers. The book provides a pedagogical approach to teaching voice building, rhythm work, tuning exercises, sight-reading, theory exercises, and suggestions to nurture the entire musician. I love how this one method book covers multiple aspects of musicianship, rather than having to use multiple books to build each individual skill. — Emily Chandler, Director of Choirs, Seven Lakes High School, Katy, TX Habits of a Successful Choral Musician is a field-tested, vital, and—most important—musical collection of more than 200 sequenced exercises for building fundamentals and artistry. Perfect for use by an entire choir or soloist, this book contains carefully sequenced warm-ups, vocalises, chorales, rhythm work, tonal patterns, sight-singing etudes, and much more. In one place, this book presents everything an aspiring singer needs to build fundamental musicianship skills and then be able to transfer those skills directly into the performance of great literature. Habits of a Successful Choral Musician: Provides material for use during fundamentals time that promotes a comprehensive approach to developing skills necessary to fill the musical toolbox. Includes a sequential format that leads to the mastery of reading rhythms and, ultimately, to musical sight-singing. Provides chorales and other ensemble exercises for the development of tone quality, ensemble sonority, and musicianship. Includes partner songs, folk songs, and rounds to develop harmony skills. Combines pedagogy, literacy, fundamentals development, sight-singing, and musicianship into one book under one cover. Promotes the idea that technique and artistry are not taught in silos but are simultaneously taught as students build capacity in both areas. Habits of a Successful Choral Musician is the answer to the question, What should I be learning during fundamentals time? Eric Wilkinson is the Director of Choral Studies at Wando High School in Mount Pleasant, South Carolina. Scott Rush is the Director of Fine and Performing Arts in Dorchester District Two (SC) and is the lead writer for the Habits series published by GIA. Preview the contents with Erik Wilkinson in this video...
SKU: AP.46593
UPC: 038081531687. English.
Written by songwriting legend Johnny Mercer, Dream has been covered by artists from Ella Fitzgerald to Michael Bublé. A rubato section in straight eighths opens this rich a cappella setting, before breaking into a moderate swing tempo with finger snaps. A final return to the earlier duple feel leads to a soft, sensitive ending. Perfect for exploring both jazz harmony and stylizations.
About Alfred Pop Choral Series
The Alfred Pop Series features outstanding arrangements of songs from the popular music genre. These publications provide exciting, contemporary, and educationally-sound arrangements for singers of all ages, from elementary through high school, to college and adult choirs.
SKU: CF.YAS186F
ISBN 9781491151884. UPC: 680160909384. 9 x 12 inches.
A stunning and heart-wrenching composition based on the Jewish folk son Shlof, Mayn Kind. You can hear the emotional content pour out of this piece written in memory of an outstanding orchestra director. The piece beginnings with original material to set the tone, followed by a violin solo on the song. It them develops through a variety of different harmonic presentation before building to a nice key change and climatic moment. The piece ends as it began, but with a more hopeful tone. An amazing piece.Sleep, My Child was commissioned by the Madison Middle School Band and Orchestra in Tampa, Florida, and is dedicated to the memory of their Director of Orchestras Kevin Frye. Director of Bands Chris Shultz championed the commissioning of this piece to honor Kevin after he passed away in December 2016. Mr. Frye was a beloved member of the staff at Madison Middle as well as the music community of Tampa and the state of Florida. I was a personal friend of Kevin’s. We were in several musical groups together when we were young that were formative to both of our musical careers. I also guest-conducted his Madison Middle School Orchestra several times over the past four years. His musicianship, teaching skills and love for his students were exemplary.When taking on the challenge of writing a piece to honor Kevin’s legacy, Mr. Shultz and I decided to try and include several important aspects of Kevin’s life into the piece. Kevin was proudly Jewish, a fantastic trumpet player and loved Jazz. With that in mind, and after a lot of research, a Jewish folk song Shlof, Mayn Kind was selected as the basis for the piece, not to be religious, but to honor his faith and heritage. Plus it is a beautiful song and I felt the title reflected the sentiment I was looking to express, which is of someone taking rest after a long battle with illness, so a lullaby seemed appropriate.I also wanted to incorporate Jazz into the piece, but in a concert setting, so you will hear as the piece develops, the harmonies of the folk song expand into ones found more commonly in Jazz compositions. Not in a far out way, but in a subtle way to again honor this part of his life. For example the climactic moment of the piece at the fermata in m. 57 is a Dbmaj9#11 chord. It appropriately give the piece the angst that I was looking for at this moment in the piece, while honoring the importance of Jazz in Kevin’s musical life.The piece was also conceived to include both the Madison band and orchestra in the performance at the premiere. I wanted the pieces to work separately by the band and separately by the orchestra, but I also wanted them to be able to play the piece together to honor Kevin.The piece begins with original material designed to set the mood of the piece with a tempo/style marking of pensive, but also as material that I used as connective musical tissue between statements of the folk song. After this introduction, the folk song is presented by a solo violin (or clarinet) with orchestral accompaniment in a simple straight forward presentation of the song. This is followed by a woodwind section statement of the folk song accompanied by muted trumpets. During this presentation the harmony starts to expand with more color notes in the chords. The low brass are added half way through this statement to add depth and lushness.The introductory material returns, but with some angry hits in the lower voices. This leads to a full ensemble state of new material that is used to transition to the climax of the piece, and to build tension. After the build, the piece modulates to a shortened statement of the folk song with more advanced harmonies and an active counter line in the violas, horns, saxes and first clarinets to further build the tension. This tension is released at the fermata in m. 57 as mentioned above. After a thoughtful pause, the piece concludes with a completion of the folk song again with a solo violin (or clarinet) followed by a return of the introductory material to tie the piece together. The piece ends hopeful, with a solo trumpet (Kevin’s instrument) that is dissonant at first, but then resolves as if to say, Everything will be OK! It has been my distinct honor to have been asked to write this piece in Kevin’s memory! I hope that in some small way the piece helps to bring comfort to his family, students, colleagues and to all those that knew him!–Larry ClarkLakeland, FL 2017.
SKU: GI.G-9815T
ISBN 9781622773671.
SKU: KN.JJK2301
12 x 9 inches.
This beautiful ballad features the ensemble and is truly a gem at this level. Lush harmony abounds and all the colors of the contemporary jazz ensemble are utilized. There is a short written Piano solo that leads into the subtle modulation.
