Matériel : Partition + CD
SKU: SU.94010764
Dedicated to Bryan Young, Principal Bassoon, Baltimore Chamber OrchestraBassoon Duration: 5'3 Composed: 2020 Published by: Subito Music Publishing PROGRAM NOTE: The year 2020 has definitely been a very challenging year with many upheavals. During this time of the COVID-19 health crisis, wearing masks, and high racial tensions, I decided to compose four short solo woodwind works for flute, oboe, clarinet, and bassoon, which represent the core woodwind section in an orchestra. I was inspired to compose these short pieces after I first heard Igor Stravinsky's three short pieces for clarinet, which totals a little more than four minutes in duration. I thought that it would be nice to highlight and honor my African-American male colleagues in the orchestral music world. I wanted to celebrate the fact that they are the principal player in the section of their respective orchestras. The short pieces are as follows: Principal Brother No. 1 for flute solo for Demarre McGill, Principal Flute of the Seattle Symphony Orchestra, Principal Brother No. 2 for oboe solo for Titus Underwood, Principal Oboe of the Nashville Symphony Orchestra, Principal Brother No. 3 for clarinet solo for Anthony McGill, Principal Clarinet of the New York Philharmonic, and Principal Brother No. 4 for bassoon solo for Bryan Young, Principal Bassoon of the Baltimore Chamber Orchestra. These works all begin with notes that are representative of their name; D for Demarre, B for Titus (ti in solfège starting on C), A for Anthony, and Bb for Bryan. There is also a rhythmic figure in the opening measures of each piece, which represent the utterance of their names. All four of these works are rhapsodic in nature with elements of improvisation. - James Lee III.
SKU: SU.94010761
Dedicated to Demarre McGill, Principal Flute, Seattle Symphony OrchestraFlute Duration: 6' Composed: 2020 Published by: Subito Music Publishing PROGRAM NOTE: The year 2020 has definitely been a very challenging year with many upheavals. During this time of the COVID-19 health crisis, wearing masks, and high racial tensions, I decided to compose four short solo woodwind works for flute, oboe, clarinet, and bassoon, which represent the core woodwind section in an orchestra. I was inspired to compose these short pieces after I first heard Igor Stravinsky's three short pieces for clarinet, which totals a little more than four minutes in duration. I thought that it would be nice to highlight and honor my African-American male colleagues in the orchestral music world. I wanted to celebrate the fact that they are the principal player in the section of their respective orchestras. The short pieces are as follows: Principal Brother No. 1 for flute solo for Demarre McGill, Principal Flute of the Seattle Symphony Orchestra, Principal Brother No. 2 for oboe solo for Titus Underwood, Principal Oboe of the Nashville Symphony Orchestra, Principal Brother No. 3 for clarinet solo for Anthony McGill, Principal Clarinet of the New York Philharmonic, and Principal Brother No. 4 for bassoon solo for Bryan Young, Principal Bassoon of the Baltimore Chamber Orchestra. These works all begin with notes that are representative of their name; D for Demarre, B for Titus (ti in solfège starting on C), A for Anthony, and Bb for Bryan. There is also a rhythmic figure in the opening measures of each piece, which represent the utterance of their names. All four of these works are rhapsodic in nature with elements of improvisation. - James Lee III.
SKU: SU.94010762
Dedicated to Titus Underwood, Principal Oboe, Nashville Symphony OrchestraOboe Duration: 5' Composed: 2020 Published by: Subito Music Publishing PROGRAM NOTE: The year 2020 has definitely been a very challenging year with many upheavals. During this time of the COVID-19 health crisis, wearing masks, and high racial tensions, I decided to compose four short solo woodwind works for flute, oboe, clarinet, and bassoon, which represent the core woodwind section in an orchestra. I was inspired to compose these short pieces after I first heard Igor Stravinsky's three short pieces for clarinet, which totals a little more than four minutes in duration. I thought that it would be nice to highlight and honor my African-American male colleagues in the orchestral music world. I wanted to celebrate the fact that they are the principal player in the section of their respective orchestras. The short pieces are as follows: Principal Brother No. 1 for flute solo for Demarre McGill, Principal Flute of the Seattle Symphony Orchestra, Principal Brother No. 2 for oboe solo for Titus Underwood, Principal Oboe of the Nashville Symphony Orchestra, Principal Brother No. 3 for clarinet solo for Anthony McGill, Principal Clarinet of the New York Philharmonic, and Principal Brother No. 4 for bassoon solo for Bryan Young, Principal Bassoon of the Baltimore Chamber Orchestra. These works all begin with notes that are representative of their name; D for Demarre, B for Titus (ti in solfège starting on C), A for Anthony, and Bb for Bryan. There is also a rhythmic figure in the opening measures of each piece, which represent the utterance of their names. All four of these works are rhapsodic in nature with elements of improvisation. - James Lee III.
SKU: SU.94010763
Dedicated to Anthony McGill, Principal Clarinet, New York PhilharmonicClarinet Duration: 5'30 Composed: 2020 Published by: Subito Music Publishing PROGRAM NOTE: The year 2020 has definitely been a very challenging year with many upheavals. During this time of the COVID-19 health crisis, wearing masks, and high racial tensions, I decided to compose four short solo woodwind works for flute, oboe, clarinet, and bassoon, which represent the core woodwind section in an orchestra. I was inspired to compose these short pieces after I first heard Igor Stravinsky's three short pieces for clarinet, which totals a little more than four minutes in duration. I thought that it would be nice to highlight and honor my African-American male colleagues in the orchestral music world. I wanted to celebrate the fact that they are the principal player in the section of their respective orchestras. The short pieces are as follows: Principal Brother No. 1 for flute solo for Demarre McGill, Principal Flute of the Seattle Symphony Orchestra, Principal Brother No. 2 for oboe solo for Titus Underwood, Principal Oboe of the Nashville Symphony Orchestra, Principal Brother No. 3 for clarinet solo for Anthony McGill, Principal Clarinet of the New York Philharmonic, and Principal Brother No. 4 for bassoon solo for Bryan Young, Principal Bassoon of the Baltimore Chamber Orchestra. These works all begin with notes that are representative of their name; D for Demarre, B for Titus (ti in solfège starting on C), A for Anthony, and Bb for Bryan. There is also a rhythmic figure in the opening measures of each piece, which represent the utterance of their names. All four of these works are rhapsodic in nature with elements of improvisation. - James Lee III.
SKU: UT.ACC-67B
ISBN 9790215314344. 9 x 12 inches.
SKU: UT.ACC-39B
ISBN 9790215310131. 8.26 x 11.69 inches.
SKU: UT.ACC-41B
ISBN 9790215310155. 8.26 x 11.69 inches.
SKU: UT.ACC-40B
ISBN 9790215310148. 8.26 x 11.69 inches.
SKU: UT.ACC-70B
ISBN 9790215314405. 9 x 12 inches.
SKU: UT.ACC-65B
ISBN 9790215314306. 9 x 12 inches.
SKU: UT.ACC-69B
ISBN 9790215314382. 9 x 12 inches.
SKU: UT.ACC-66B
ISBN 9790215314320. 9 x 12 inches.
SKU: LM.28399
ISBN 9790230983990.
GANN E Louis : C'est l'amour (Les Saltimbanques) - GOLDSMITH Jerry : Theme principal du film Papillon - DELIBES Leo : Valse lente (Coppelia) - BERLIOZ Hector : Symphonie fantastique, Un bal (II) - WALDTEUFEL Emile : Estudiantina Op.191 - CHARRIER Vincent : Valse d'ete (piece originale).
SKU: UT.CH-334
ISBN 9790215326521. 9 x 12 inches.
Lo scopo di questo Metodo (in due volumi) è quello di introdurre l’allievo in modo semplice e piacevole nel mondo della musica attraverso la chitarra, conoscendo diversi modi di suonare e di fare musica usando la propria creatività. Grazie a questo testo si potranno presto padroneggiare le principali tecniche chitarristiche di vari generi musicali e si potrà anche inventare musica.Il Metodo è utilizzabile con qualsiasi modello di chitarra.Il secondo volume del Metodo sviluppa e approfondisce a un livello più avanzato i principi esposti nel primo volume. Musica d’insieme, tecniche estese, accordature alternative, collegamenti interdisciplinari, notazioni alternative, suggerimenti di ascolto, semplici tecniche di improvvisazione, composizione e arrangiamento sono alcune tra le tante attività presenti in questo secondo volume, che accompagna l’allievo nell’affascinante mondo della musica, arricchendolo sia dal punto di vista tecnico/strumentale che da quello musicale/artistico.Pe r favorire l’apertura mentale e l’abbattimento delle barriere culturali, i progetti sono volutamente ispirati ai più diversi generi musicali del presente e del passato, senza distinzioni tra alto e basso. Qui si trovano anche argomenti legati alla prassi musicale antica – rinascimentale e barocca – utili anche per gli studenti dei Conservatori. Il Metodo si basa su un gran numero di attività creative, volte a rendere più completa la preparazione musicale dell’allievo e a fargli sviluppare un proprio linguaggio personale.Si tratta di un Metodo per chitarra concepito in modo diverso dai metodi tradizionali, per cui rimando alla lettura della Prefazione al primo volume, in cui sono esposti dettagliatamente i peculiari principi pedagogico-didattici perseguiti e in cui sono contenute indicazioni pratiche sull’attuazione dei progetti presentati.
SKU: VD.ED22941
ISBN 9790202009413. 12 x 9 inches.
SKU: HL.50498962
SKU: CA.5016330
ISBN 9790007107079. Key: F major. Language: Latin/German.
SKU: HL.14047078
ISBN 9788850716630. Italian.
SKU: BO.B.3340
ISBN 9788480207591.
Engl ish comments: My dedication to the string instruments has been a constant throughout my compositional career and I knew that sooner or later the time would come to compose a concerto for violin and orchestra. That moment came in the autumn of 2002 and after ten months of uninterrupted work I finished it in August of 2003. It is a work structured similarly to the traditional concertos. An important impetus for the elaboration of my concerto was due to the ill-fated violinist Ginette Neveu. Her version of Sibelius' Concerto has always stayed with me. For this reason the first movement, Moderato-Allegro, begins with a contemplative atmosphere similar to that of Sibelius' Concerto in which the principal thematic ideas appear tentatively. These ideas, two rhythmic and two melodic, are reaffirmed through a broad development that culminates in an orchestral fullness. A calm, mysterious passage recalls the introduction and after becoming blurred, three bars burst in leading to the rapid section of the movement. Soloist and orchestra engage in a dialectic struggle of a dramatic nature. The agitation subsides leaving only a tranquil and suggestive clarinet phrase. This will be taken up by the soloist who leads up to the movement's most dramatic moment playing an accelerating triplet figure supported by an orchestral pedal in crescendo. From here the soloist's cadenza emerges beginning with soft double notes. It finishes with an ascending progression and the soloist settles into the high register to elicit the orchestra's intervention in a soft and transfigured atmosphere. Once internalised the second movement, Adagio poco sostenuto e leggero begins. It has a solemn character and opens with two trumpet calls answered by the violoncellos and the contrabasses. The violin soloist introduces and plays two nostalgic themes, the first in the low register and the second, more extensive, in the middle register. The soft and delicate Misterioso e leggero begins with the violin singing on high. The rhythm of the constant quaver figures gradually accelerates until the soloist provokes a dramatic full orchestra as in a cadenza. Once again, the Calmo, in which the soloist with less and less orchestral attire serenely bids farewell. A rising series of double stops by the soloist serves to initiate the Finale-Scherzo. In 6/8 rhythm and with the character of a rondo it carries us along in a carefree, virtuosic ambiance. The principal motives, brief and concise, emerge from the happy, playful theme presented by the soloist. With an intricate progression of rapid sixths in double stops it reaches a tense and somewhat combative moment. However this resolves itself in a diminuendo that the soloist peacefully takes up with the notes re-la to commence the cadenza. This culminates in a series of tied notes to reintroduce the principal theme. A moment of melodic suspension serves as a farewell before the brief and jovial final coda. --The authorComentari os del Espanol:A lo largo de mi carrera compositiva mi dedicacion a los instrumentos de cuerda ha sido constante y sabia que, tarde o temprano, llegaria el momento de componer un concierto para violin y orquesta. Este llego en otono de 2002 y, tras diez meses de trabajo ininterrumpido, lo termine en agosto de 2003. Se trata de una obra estructurada de manera similar a los conciertos tradicionales. Un importante impulso a la elaboracion de mi concierto lo debo al recuerdo de la malograda violinista Ginette Neveu. Su version del concierto de Sibelius ha permanecido siempre dentro de mi. Por ese motivo, el primer movimiento Moderato-Allegro se inicia con una atmosfera contemplativa cercana a la del mencionado Concierto, en la que aparecen cautamente las principales ideas tematicas. Con un amplio desarrollo se llega a un lleno orquestal en el que estas ideas -dos ritmicas y dos melodicas- quedan reafirmadas. Un pasaje calmo y misterioso rememora la introduccion. Tras desdibujarse, irrumpen tres compases que nos llevan a la parte rapida del movimiento. Solista y orquesta establecen un combate dialectico de caracter dramatico. La inquietud desaparece hasta una tranquila e insinuante frase del clarinete. Esta sera recogida por el solista, quien, a base de una figuracion de tresillos cada vez mas rapidos apoyada por un pedal de la orquesta in crescendo, conduce hacia el momento mas dramatico del movimiento. De aqui nace la cadenza del solista, que se incia con suaves notas dobles. Finaliza con una progresion ascendente y el solista se coloca en el registro agudo para llamar la intervencion de la orquesta dentro de una atmosfera suave y transfigurada. Interiorizado es el segundo movimiento Adagio poco sostenuto e leggero. Con dos llamadas de las trompas respondidas por los violonchelos y contrabajos inicia el Adagio de caracter grave. El violin solista introduce y canta dos temas nostalgicos. El primero en el registro grave y el segundo, mas amplio, en el medio. Inicia el Misterioso e leggero, de caracter suave y delicado. Con el violin cantando en agudo. La constante figuracion de corcheas acelerara poco a poco el ritmo hasta que el solista a modo de cadenza provocara un dramatico lleno orquestal. De nuevo el Calmo, donde el solista, cada vez con menos ropaje orquestal, se despide serenamente. Una subida de dobles cuerdas a cargo del solista sirve para iniciar el Finale-Scherzo. Este, en ritmo de 6/8 y con caracter de rondo, nos transporta en un clima virtuosistico y despreocupado. Del tema alegre y jugueton presentado por el solista nacen los principales motivos, breves y concisos. Con una intrincada sucesion de rapidas sextas en doble cuerda se llega a un momento crispado y algo combativo que, sin embargo, se resolvera en un diminuendo que el solista recoge apaciblemente con las notas re-la para inciar la cadenza. Esta culmina con un suave rosario de notas en ligado para introducir de nuevo el tema principal. Un momento de suspension melodica sirve como despido antes de la breve y jovial coda final. La obra fue estrenada el 23 de septiembre de 2005 en el Teatre Monumental de Madrid por la Orquesta Sinfonica de RTVE con Markus Placci de solista y Uwe Mund de director. Gravacion: RNE y Canal Clasico de TVE. --El Autor.
SKU: GI.G-8713
ISBN 9781622770717.
“I am not a doctor and cannot legally prescribe any kind of stress-reducing medication for dealing with parents, budgets, students, principals, coaches, dropouts, or whatever else you could add to this list. But I can confidently recommend laughter, often called the best medicine, and my number one recommendation in the laughter field for band directors is any of the five books of Trey Reely. “ —David Newell From the Foreword Nobody gets the life of a band director quite like Trey Reely. His columns in The Instrumentalist magazine have entertained an entire generation of band directors, capturing all the humor and poignant moments like no other writer. Here’s an example from “You Do the Math: Formulas for Disaster” in this volume: band director + parent + principal band director + parent + principal + superintendent band director + parent + principal + superintendent + school board band director + parent + principal + superintendent + school board + local media Mr. Holland Rides Again is the newest installment of the Mr. Holland series by Reely, who has been described as “James Thurber, Woody Allen, Art Buchwald, and Dave Barry rolled into a single person.” Laugh along with a seasoned Arkansas band director as he explores “Mozart and Microbes,” “Things to Do with a Broken Music Stand,” “Headlines from the Podium,” and “Bach: The Selected Tweets,” among other enlightening topics. Reely’s unique, rambunctious style is full of wit and wisdom that will reduce any band director’s stress instantly. Mr. Holland Rides Again is chock full of laughter and wisdom that will have you smiling, nodding your head in agreement, and rushing to share with musical friends. Trey Reely is Director of Bands at Riverview High School in Seary AR. His other books include Mr. Holland on the Rebound, and Mr. Holland on the Edge: Even More Tales of Musical Mayhem.
SKU: BT.AMP-452-140
English-German-French- Dutch.
Song of Friendship was commissioned by the Concert Band of Jumonji University, Saitama, Japan and their conductor, Yutaka Nishida. The commission marked the 50th year of Yutaka Nishida’s involvement with bands as a player, conductor and radio presenter. The ceremonial Song of Friendship opens with an extended fanfare, largely featuring the brass section. This leads to the main theme, which develops slowly until it is played by the full band. A change of key signals a contrasting central section containing a quiet woodwind chorale, which grows until the return of the triumphant sounding main theme. Elements of the opening fanfare then close the work.Song of Friendship werd geschreven voor het harmonieorkest van de Jumonji University in Saitama, Japan, en dirigent Yutaka Nishida. De opdracht markeerde tevens het vijftigste jaar dat Yutaka Nishida al actief was met blaasorkesten als muzikant, dirigent en radiopresentator. Song of Friendship opent met een uitgebreide fanfare waarin vooral de kopersectie aan het woord is. Dit gedeelte leidt naar het hoofdthema, dat geleidelijk verder wordt uitgewerkt tot het door het volledige orkest wordt gespeeld. Een modulatie kondigt een contrasterend middendeel aan, met een rustig koraal in het hout dat zich verder ontwikkelt tot aan de terugkeer van hettriomfantelijk klinkende hoofdthema. Het werk wordt afgesloten met elementen uit de openingsfanfare. Song of Friendship wurde vom Blasorchester der Jumonji University in Saitama (Japan) und seinem Dirigenten Yutaka Nishida in Auftrag gegeben. Das Auftragswerk steht auch für Yutaka Nishidas über 50-jähriges Engagement im Bereich der Blasmusik als Musiker, Dirigent und Radiomoderator. Das feierliche Stück Song of Friendship beginnt mit einer ausgedehnten Fanfare, die vor allem die Blechbläser herausstellt. Diese führt zum Hauptthema, das sich langsam entwickelt, bis es schließlich vom gesamten Orchester gespielt wird. Ein Tonartwechsel leitet den gegensätzlichen Hauptteil mit einem ruhigen Choral in den Holzbläsern ein, der sich bis zur Wiederkehr destriumphierenden Hauptthemas langsam weiterentwickelt. Das Werk endet mit Elementen aus der Eröffnungsfanfare. Song of Friendship est une commande de l’orchestre d’harmonie de l’Université de Jumonji, Saitama, Japon, et de leur chef Yutaka Nishida. La commande marque aussi la 50e année de l’engagement de Yutaka Nishida avec des bands, que ce soit comme joueur, chef d’orchestre ou présentateur radio. Le cérémonial Song of Friendship commence par une longue fanfare, mettant en scène en particulier les cuivres. Ceci nous mène au thème principal qui se développe ensuite graduellement jusqu’ une interprétation par l’ensemble entier. Une modulation signale le début de la section centrale contrastante. Elle se caractérise par un choral calme pour les bois qui se développeensuite jusqu’au retour du triomphant thème principal. Des éléments de la fanfare du début finissent alors l’œuvre. Il celebrativo Song of Friendship si apre con un esteso tema di fanfara che presenta ampiamente la sezione degli ottoni. Questo conduce al tema principale, che si sviluppa gradualmente fino all’esecuzione da parte di tutta la banda. Un cambio di tonalit anticipa una contrastante sezione centrale che contiene un calmo corale di legni che cresce fino al ritorno trionfante del tema principale. Gli elementi musicali della fanfara d’apertura concludono l’opera.
