New Beginning, Score

Give some Broadway pizzazz to your holiday program with this spectacular medley for band and optional choir. This sparkling arrangement is a perfect concert closer. Includes: God Bless Us Everyone It's Beginning to Look LikeChristmas March of the Toys My Favorite Things Pine Cones and Holly Berries Toyland and We Need a Little Christmas.

The Saeviat Tellus Inter Rigores makes substantial virtuosic demands in the Soprano solo part. It is written in six movements very specifically for the Order of Carmelites.Handel’s early musical life in Hamburg led him to an encounter with a member of the de Medici family who may have inspired him to make his seminal visits to Italy beginning in 1706. Surprisingly in view of his Lutheranism Handel’s first compositions in Italy were for the church including this motet written for the Feast of Our Lady of Mount Carmel and performed in 1707.

Hal Leonard Five-Finger Piano Songbooks are designed for students in their first year of study. They feature single-note melody lines that stay in one position, indicated by a small keyboard diagram at the beginning of each song. These arrangements also feature lyrics and beautifully-written piano accompaniments that can be played by teachers, parents, or more experienced students. This collection features 8 Disney favorites, including: Circle of Life - For the First Time in Forever - Heigh-Ho - A Spoonful of Sugar - When She Loved Me - When Will My Life Begin' - When You Wish upon a Star - You'll Be in My Heart.

Par GILLIAM DONA. Easy to intermediate Christmas solos scored for flute solo with piano accompaniment. Includes: Ding, Dong, Merrily on High - I Saw Three Ships - Silent Night and many more. The accompanying CD contains four full sets of piano accompaniments for all the pieces in the book. The first practice set is played at a slow tempo and the solo flute line is played on the piano. The second practice set is performed once again at a slow tempo, this time without the inclusion of the melodic line. The third performance set is played at a faster tempo, once again without the melodic line. This faster tempo is intended for use in both the practice setting and the studio performance setting. The fourth and final performance set contains non-stop accompaniment tracks and links all pieces in the book together to form a Christmas suite that can be played at recitals or festive gatherings. / Niveau : Débutant / Christmas - Solos / Recueil / Flûte Traversière

Per Gli Sponsali Di Teti e Peleo - HWV 73-The main text of this edition of Handel?s wedding serenata ?Parnasso in festa per gli sponsali di Teti e Peleo? (HWV 73) is based on the version used for the work?s first performances in March of 1734. Three appendices retrace the complex history of the work significantly different versions of which were used for revival performances in 1737 1740 and 1741. Included are abandoned and modified parts of the score as well as a documentation of changes made to the characters.Handel composed ?Parnasso in festa? for the wedding of Anne Princess Royal and Prince William of Orange which took place on March 14 1734 in London. As Handel?s contribution to the publicfestivities the serenata was performed the evening before the nuptials at King?s Theatre in the Haymarket. The bridal couple attended the performance.While the Italian text of the serenata was newly set most likely by Giacomo Rossi most of the music was drawn from pieces of Handel?s earlier works among them ?Athalia? from ?Radamisto? (HWV 12a) ?Il trionfo del Tempo e del Disinganno? (HWV 46a) and ?Delirio amoroso? (HWV 99). Newly composed parts are limited to eight vocal pieces the sinfonia at the beginning of part 3 and the beginning of the overture. The available source material reflects the history of the work: There is no autograph composition score while the conducting score reflects a collaboration between Handel and his main copyist John Christopher Smith senior. However composition scores of individual newly composed pieces have been preserved.New edition based on the latest research after thorough examination of all relevant primary and secondary sourcesExtensive editorial Foreword about the work?s conception mythological background transmission reception and a survey of sources (Ger/Eng) with extensive critical report (Eng)Selected musical facsimiles as well as complete facsimile of the printed libretto of 1734Urtext of the Halle Handel EditionFull score (BA10718-01) and vocal score (BA10718-90) available for salePerformance material (BA10718-72) available for hire

In the early years of our century when vital new forces were revolutionising the arts Russian-born Alexander Scriabin (1872-1915) was one of the visionary pioneers who sought a new musical language. At least a full decade before the advances of Stravinsky and Schoenberg Scriabin had begun the process of a complete break with all musical conventions. By 1905 he was immersed in a search for a way to express in sound the mystical and theosophical ideas obsessed him. Scriabin’s last two orchestral works were the products of a virtual delirium of composing. Simultaneously refining his poem called Poem of Ecstasy andcompleting the symphony that grew out of it (and shared its name) Scriabin never forgot the rapture of composing this work about creation and self-fulfilment: “I gasp for breath but oh what bliss! The very meter kindles the meaning…” Prometheus: Poem of Fire – Scriabin’s last and most revolutionary symphony – portrays Man’s epic journey from the mists of beginning time to a wonderous self-realisation given the gift of fire and light to make creative vision possible. Massively scored Prometheus incorporates a “colour Organ” to bathe the performance space in a vast interplay of coloured lights. For the music professional and every student of composition orchestration and conducting both scores are strikingly original and instructive. Equally fascinating are Scriabin’s approach to composition the extraordinary sonorities of his orchestra and his fanciful often supercharged performance instructions that replace conventional words for tempo mood and expression.

A New Beginning was written for the closing minutes of 1999 to herald the New Millennium. Commissioned by the New Millennium Experience Company. Scored for solo treble children's chorus SATB chorus and orchestra. Duration: c. 7 minutes. Vocal score and chorus parts are available on sale.

Celtic in style this programmatic work follows a waterway from gentle meandering beginnings to turbulent white-water adventures. After a lyrical and flowing beginning the piece eventually moves into a brief rustic section before returning to the gentle lines of the opening. River Song is a welcome addition to the repertoire musical approachable and highly memorable. Beautiful writing for strings! (3:35)

Sketches from Nowhere is the second composition that Thomas Doss has written for brass band. The title was inspired by various images the composer saw in his mind’s eye while working on this piece: pictures of foreign places; pictures of the creationof our world. The main motif that weaves its way from the beginning to the end of the work is meant to parallel humanity’s great evolution: from its humble beginnings as mere stardust to the present day.

The opening Chorale section of this very appealling beginning band piece introduces the theme that is then used in the Canon that follows. Skillfully designed to pass the melody to every section this is a very rewarding piece forbeginning groups. First published in 1984.

I wrote The Nonantum Bulgar in response to a request for a klezmer-style piece for middle school band. Since my local middle school (F. A. Day) is located in close proximity to Nonantum the oldest area of Newton MA I decided to imagine the dedication of the Adams St. Shul our city's oldest synagogue which took place around a hundred years ago (December 15 1912). According to the Yiddish and English poster announcing the dedication the event featured the a prominent Boston cantor and choir and a klezmer orchestra leading a 'Grand March' down Adams St. The piece tries to re-create what the klezmer band might have played on that occasion. A Bulgar is a Romanian Jewish Dance thatwas very popular among Jewish immigrants at the beginning of the twentieth century. The trumpet solo that opens the piece is a typical rubato prelude with the trumpet playing 'cantorial-style' Jewish ornaments and phrasing in the manner of Eastern-European Jewish prayer leaders. Once the dance starts the piece is underscored with a Romanian Jewish 'Bulgaresca' rhythm heard in the trombone snare drum and tympani. The 'bulgar' section of the piece begins with a typical klezmer band orchestration of the time featuring solo clarinet (played with a somewhat nasal tone) trumpet (or even more ideally cornet) trombone saxophone tuba and percussion. The percussion section is prominently featured in the third strain. In the final round of the opening melody the band slows down in the manner of a Russian 'Grand March ' bringing the piece to a proud and majestic conclusion. --Hankus Netsky

Judith Clurman Choral Series-This arrangement of the traditional Auld Lang Syne was arranged by jazz musician Tedd Firth for Judith Clurman and her professional choir “Essential Voices USA”. Beginningwith a lush a cappella opening this work moves into a “jazz ballad” style. Perfect for “new beginnings” graduations and of course ringing in the new year.

Comprised of works from Volumes 1 2 and 3 of the Suzuki Violin School which have been arranged for string quartet by violinist/arranger Joseph Knaus. With lower string parts providing melodic and rhythmic counterpoint to set off the simple melodies (which match the Suzuki Method[R] repertoire) these quartets are nevertheless simple enough for beginning level players ready for their first chamber music experience. String Quartets for Beginning Ensembles are sold in sets including full score and one part book per instrument. Volume 1 contents are: Twinkle Twinkle Little Star Theme and Variations (Shinichi Suzuki) * Lightly Row (Folk Song) * Song of the Wind (Folk Song) * Go TellAunt Rhody (Folk Song) * O Come Little Children (Folk Song) * May Song (Folk Song) * Long Long Ago (T.H. Bayly) * Allegro (Shinichi Suzuki) * Etude (Shinichi Suzuki) * Perpetual Motion (Shinichi Suzuki) * Allegretto (Shinichi Suzuki) * Andantino (Shinichi Suzuki) * Gavotte (F.J. Gossec).