Wings

SKU: BT.DHP-1033417-140

Wings schetst een expressief muzikaal beeld door middel van drie fraaie klanklandschappen. De vorm van dit concerto voor piano en harmonieorkest is traditioneel: een vrije sonate, een romance en een toccata.

Wings< /I> - 'Flügel' - bewegt sich auf musikalischen Schwingen über drei Klangbereiche hinweg. Wings steht hier aber auch für den Flügel, der neben anderen Tasteninstrumenten Piet Swerts zu dieser Komposition inspirierte. So spielt auch das Klavier eine wichtige Rolle. Das Stück weist eine traditionelle Form auf: In der majestätischen Eröffnung wird ein Thema in verschiedenen Variationen vorgestellt; der langsame Mittelteil ist ein romantisches Lied; der Schlusssatz ist eine Aufsehen erregende Toccata, die auf einem rhythmischen und geheimnisvoll klingenden Ostinato basiert. Ein Werk voll Tiefe und Ausdruckskraft!

Wings (“Les ailes”) est une fl nerie aérienne d’une grande expressivité travers trois espaces sonores. La structure de ce concerto pour Piano et Orchestre d’Harmonie est traditionnelle dans sa forme (une sonate en forme libre ; une romance ; une toccata).

SKU: BT.DHP-1033417-010

Wings schetst een expressief muzikaal beeld door middel van drie fraaie klanklandschappen. De vorm van dit concerto voor piano en harmonieorkest is traditioneel: een vrije sonate, een romance en een toccata.

Wings< /I> - 'Flügel' - bewegt sich auf musikalischen Schwingen über drei Klangbereiche hinweg. Wings steht hier aber auch für den Flügel, der neben anderen Tasteninstrumenten Piet Swerts zu dieser Komposition inspirierte. So spielt auch das Klavier eine wichtige Rolle. Das Stück weist eine traditionelle Form auf: In der majestätischen Eröffnung wird ein Thema in verschiedenen Variationen vorgestellt; der langsame Mittelteil ist ein romantisches Lied; der Schlusssatz ist eine Aufsehen erregende Toccata, die auf einem rhythmischen und geheimnisvoll klingenden Ostinato basiert. Ein Werk voll Tiefe und Ausdruckskraft!

Wings (“Les ailes”) est une fl nerie aérienne d’une grande expressivité travers trois espaces sonores. La structure de ce concerto pour Piano et Orchestre d’Harmonie est traditionnelle dans sa forme (une sonate en forme libre ; une romance ; une toccata).

SKU: HL.14033404

ISBN 9788759874769. Danish.

The Wings Of Night for Trombone and String Quartet was composed by Bent Sorensen in 1998, as a commission from the Warsaw Autumn for Christian Lindberg and the Silesian String Quartet. Programme note: I do not yet know what to write about this short piece which I have just finished. But like my Piano Concerto LA NOTTE, it seems to take place at night-time - or perhaps it is only because I wrote the piece by night. In short, the title is from Shakespeare's 'Romeo and Juliet'.Juliet sings to the night - the night of love: 'Come, night, come Romeo, come, thou day in night, For thou wilt lie upon the wings of night, Whither than new snow upon a raven's back.THE WINGS OFNIGHT was composed as a commission from the Warsaw Autumn for Christian Lindberg and the Silesian String Quartet. (Bent Sorensen).

SKU: CF.CPS244

ISBN 9781491157985. UPC: 680160916580. 9 x 12 inches.

On Wings of Flight is a jubilant, short overture that is meant to convey the wonder of soaring high above the ground. Programmatically, it can represent either the flight of birds or aircraft. Donat be concerned if you donat have some of the lower voice color instruments such as bass clarinet, baritone saxophone, and/or bassoon. Those instruments are doubled in the low brass. Bass trombone isnat essential as it doubles tuba, but a lack or scarcity of bass trombone and/or tuba isnat critical if you do have those other low woodwinds. The repetitive eighth-note accents should be lighter than normal so the ongoing effect is more propulsive than heavy. Keep those eighth-note patterns locked into the tempo so the band refrains from unwittingly accelerating. Think of the legato accented notes as slightly separated as opposed to being slurred. When the accented whole notes surrounded by rests are played, be sure they are held out for a full four counts. Save the crescendo for m. 19 and quickly drop back down in volume at m. 21. At m. 31, the whole notes do not crescendo to the same ff volume as the melody. Those parts are to save their crescendo for m. 35. Pay attention to the instruments that do not diminuendo at m. 39. In the slower section after m. 41, be careful that the diminuendos on the half notes donat sag in pitch as the notes get softer. Trumpets and horns at m. 49 must not play their notes as accents. Give particular attention to the diminuendos in the melody at m. 56, so that they fade out as the volume of the other instruments grows. The accented notes at mm. 85 and 86 should each be heard through the volume of the rest of the instruments, so that the addition of each pitch is adequately heard. If you wish, you may place more emphasis on the accents in the last two measures of the piece than you did earlier throughout the piece.
On Wings of Flight is a jubilant, short overture that is meant to convey the wonder of soaring high above the ground. Programmatically, it can represent either the flight of birds or aircraft. Don't be concerned if you don't have some of the lower voice color instruments such as bass clarinet, baritone saxophone, and/or bassoon. Those instruments are doubled in the low brass. Bass trombone isn't essential as it doubles tuba, but a lack or scarcity of bass trombone and/or tuba isn't critical if you do have those other low woodwinds. The repetitive eighth-note accents should be lighter than normal so the ongoing effect is more propulsive than heavy. Keep those eighth-note patterns locked into the tempo so the band refrains from unwittingly accelerating. Think of the legato accented notes as slightly separated as opposed to being slurred. When the accented whole notes surrounded by rests are played, be sure they are held out for a full four counts. Save the crescendo for m. 19 and quickly drop back down in volume at m. 21. At m. 31, the whole notes do not crescendo to the same ff volume as the melody. Those parts are to save their crescendo for m. 35. Pay attention to the instruments that do not diminuendo at m. 39. In the slower section after m. 41, be careful that the diminuendos on the half notes don't sag in pitch as the notes get softer. Trumpets and horns at m. 49 must not play their notes as accents. Give particular attention to the diminuendos in the melody at m. 56, so that they fade out as the volume of the other instruments grows. The accented notes at mm. 85 and 86 should each be heard through the volume of the rest of the instruments, so that the addition of each pitch is adequately heard. If you wish, you may place more emphasis on the accents in the last two measures of the piece than you did earlier throughout the piece.
On Wings of Flight is a jubilant, short overture that is meant to convey the wonder of soaring high above the ground. Programmatically, it can represent either the flight of birds or aircraft.Don’t be concerned if you don’t have some of the lower voice color instruments such as bass clarinet, baritone saxophone, and/or bassoon. Those instruments are doubled in the low brass. Bass trombone isn’t essential as it doubles tuba, but a lack or scarcity of bass trombone and/or tuba isn’t critical if you do have those other low woodwinds.The repetitive eighth-note accents should be lighter than normal so the ongoing effect is more propulsive than heavy. Keep those eighth-note patterns locked into the tempo so the band refrains from unwittingly accelerating. Think of the legato accented notes as slightly separated as opposed to being slurred.When the accented whole notes surrounded by rests are played, be sure they are held out for a full four counts. Save the crescendo for m. 19 and quickly drop back down in volume at m. 21. At m. 31, the whole notes do not crescendo to the same ff volume as the melody. Those parts are to save their crescendo for m. 35. Pay attention to the instruments that do not diminuendo at m. 39.In the slower section after m. 41, be careful that the diminuendos on the half notes don’t sag in pitch as the notes get softer. Trumpets and horns at m. 49 must not play their notes as accents. Give particular attention to the diminuendos in the melody at m. 56, so that they fade out as the volume of the other instruments grows.The accented notes at mm. 85 and 86 should each be heard through the volume of the rest of the instruments, so that the addition of each pitch is adequately heard. If you wish, you may place more emphasis on the accents in the last two measures of the piece than you did earlier throughout the piece.

SKU: XC.RCB1913FS

UPC: 812598031591. 9 x 12 inches.

Full of lush harmonies and beautiful melodic lines, On the Wings of Angels, composed by acclaimed composer Carl Strommen, will both excite and challenge players. Written for the annual WorldStrides Onstage event, On the Wings of Angels has all of the flowing lines that we have come to expect with Carl’s symphonic works. Whether for a special occasion or a selection on a concert program, musicians and audiences alike will enjoy On the Wings of Angels.

SKU: HL.14033403

ISBN 9788759858684. International (more than one language).

Bent Sorensen THE WINGS OF NIGHTI do not yet know what to write about this short piece which I have just finished.But like my Piano Concerto LA NOTTE, it seems to take place at night-time - or perhaps it is only because I wrote the piece by night. In short, the title is from Shakespeare's 'Romeo and Juliet'.Juliet sings to the night - the night of love: 'Come, night; come Romeo; come, thou day in night; For thou wilt lie upon the wings of nightWhither than new snow upon a raven's back.THE WINGS OF NIGHT was composed as a commission from the Warsaw Autumn for Christian Lindberg and the Silesian String Quartet.Bent Sorensen.

SKU: XC.RCB1913

UPC: 812598032215. 9 x 12 inches.

Full of lush harmonies and beautiful melodic lines, On the Wings of Angels, composed by acclaimed composer Carl Strommen, will both excite and challenge players. Written for the annual WorldStrides Onstage event, On the Wings of Angels has all of the flowing lines that we have come to expect with Carl’s symphonic works. Whether for a special occasion or a selection on a concert program, musicians and audiences alike will enjoy On the Wings of Angels.

SKU: CF.CPS244F

ISBN 9781491157992. UPC: 680160916597. 9 x 12 inches.

On Wings of Flight is a jubilant, short overture that is meant to convey the wonder of soaring high above the ground. Programmatically, it can represent either the flight of birds or aircraft. Donat be concerned if you donat have some of the lower voice color instruments such as bass clarinet, baritone saxophone, and/or bassoon. Those instruments are doubled in the low brass. Bass trombone isnat essential as it doubles tuba, but a lack or scarcity of bass trombone and/or tuba isnat critical if you do have those other low woodwinds. The repetitive eighth-note accents should be lighter than normal so the ongoing effect is more propulsive than heavy. Keep those eighth-note patterns locked into the tempo so the band refrains from unwittingly accelerating. Think of the legato accented notes as slightly separated as opposed to being slurred. When the accented whole notes surrounded by rests are played, be sure they are held out for a full four counts. Save the crescendo for m. 19 and quickly drop back down in volume at m. 21. At m. 31, the whole notes do not crescendo to the same ff volume as the melody. Those parts are to save their crescendo for m. 35. Pay attention to the instruments that do not diminuendo at m. 39. In the slower section after m. 41, be careful that the diminuendos on the half notes donat sag in pitch as the notes get softer. Trumpets and horns at m. 49 must not play their notes as accents. Give particular attention to the diminuendos in the melody at m. 56, so that they fade out as the volume of the other instruments grows. The accented notes at mm. 85 and 86 should each be heard through the volume of the rest of the instruments, so that the addition of each pitch is adequately heard. If you wish, you may place more emphasis on the accents in the last two measures of the piece than you did earlier throughout the piece.
On Wings of Flight is a jubilant, short overture that is meant to convey the wonder of soaring high above the ground. Programmatically, it can represent either the flight of birds or aircraft. Don't be concerned if you don't have some of the lower voice color instruments such as bass clarinet, baritone saxophone, and/or bassoon. Those instruments are doubled in the low brass. Bass trombone isn't essential as it doubles tuba, but a lack or scarcity of bass trombone and/or tuba isn't critical if you do have those other low woodwinds. The repetitive eighth-note accents should be lighter than normal so the ongoing effect is more propulsive than heavy. Keep those eighth-note patterns locked into the tempo so the band refrains from unwittingly accelerating. Think of the legato accented notes as slightly separated as opposed to being slurred. When the accented whole notes surrounded by rests are played, be sure they are held out for a full four counts. Save the crescendo for m. 19 and quickly drop back down in volume at m. 21. At m. 31, the whole notes do not crescendo to the same ff volume as the melody. Those parts are to save their crescendo for m. 35. Pay attention to the instruments that do not diminuendo at m. 39. In the slower section after m. 41, be careful that the diminuendos on the half notes don't sag in pitch as the notes get softer. Trumpets and horns at m. 49 must not play their notes as accents. Give particular attention to the diminuendos in the melody at m. 56, so that they fade out as the volume of the other instruments grows. The accented notes at mm. 85 and 86 should each be heard through the volume of the rest of the instruments, so that the addition of each pitch is adequately heard. If you wish, you may place more emphasis on the accents in the last two measures of the piece than you did earlier throughout the piece.
On Wings of Flight is a jubilant, short overture that is meant to convey the wonder of soaring high above the ground. Programmatically, it can represent either the flight of birds or aircraft.Don’t be concerned if you don’t have some of the lower voice color instruments such as bass clarinet, baritone saxophone, and/or bassoon. Those instruments are doubled in the low brass. Bass trombone isn’t essential as it doubles tuba, but a lack or scarcity of bass trombone and/or tuba isn’t critical if you do have those other low woodwinds.The repetitive eighth-note accents should be lighter than normal so the ongoing effect is more propulsive than heavy. Keep those eighth-note patterns locked into the tempo so the band refrains from unwittingly accelerating. Think of the legato accented notes as slightly separated as opposed to being slurred.When the accented whole notes surrounded by rests are played, be sure they are held out for a full four counts. Save the crescendo for m. 19 and quickly drop back down in volume at m. 21. At m. 31, the whole notes do not crescendo to the same ff volume as the melody. Those parts are to save their crescendo for m. 35. Pay attention to the instruments that do not diminuendo at m. 39.In the slower section after m. 41, be careful that the diminuendos on the half notes don’t sag in pitch as the notes get softer. Trumpets and horns at m. 49 must not play their notes as accents. Give particular attention to the diminuendos in the melody at m. 56, so that they fade out as the volume of the other instruments grows.The accented notes at mm. 85 and 86 should each be heard through the volume of the rest of the instruments, so that the addition of each pitch is adequately heard. If you wish, you may place more emphasis on the accents in the last two measures of the piece than you did earlier throughout the piece.

SKU: BT.DHP-1033417-210

Wings schetst een expressief muzikaal beeld door middel van drie fraaie klanklandschappen. De vorm van dit concerto voor piano en harmonieorkest is traditioneel: een vrije sonate, een romance en een toccata.

Wings< /I> (“Les ailes”) est une fl nerie aérienne d’une grande expressivité travers trois espaces sonores. La structure de ce concerto pour Piano et Orchestre d’Harmonie est traditionnelle dans sa forme (une sonate en forme libre ; une romance ; une toccata).

SKU: CL.024-4824-01

On Wings Of Glory is a bold and celebratory concert opener of impeccable quality and style for young bands. A bright and authoritative opening fanfare leads to a memorable melodic theme. As the music continues, this theme grows and develops, with added flourishes, countermelodies, and changing textures. The piece then ends as it began, in a shimmering, celebrative style, but even more powerfully. A natural for concert or festival performances, On Wings Of Glory is also appropriate for graduations, sporting events, or any other event where a celebratory piece is called for. Truly outstanding!

SKU: CL.024-4824-00

On Wings Of Glory is a bold and celebratory concert opener of impeccable quality and style for young bands. A bright and authoritative opening fanfare leads to a memorable melodic theme. As the music continues, this theme grows and develops, with added flourishes, countermelodies, and changing textures. The piece then ends as it began, in a shimmering, celebrative style, but even more powerfully. A natural for concert or festival performances, On Wings Of Glory is also appropriate for graduations, sporting events, or any other event where a celebratory piece is called for. Truly outstanding!

SKU: HL.48188528

Aubanel Negro Spirituals 3eme Serie All God's Chillun Got Wings 3 Part.

SKU: ST.CD0094

TRACKS
Catch the bird of heaven (Sydney Carter arr. Sharrocks)
For the man and for the woman (lyrics by Colin Gibson)
Hope in God
Mercy Road
No place at table (lyrics by Shirley Murray)
The Feast
Be-Attitudes
Mystery
You cannot kill the Spirit
Look into the Sky
Love soars where eagles cease to fly (Lyrics by Andrew Pratt)
We think that we have ruined (Lyrics by Andrew Pratt)
We come by many different paths (Lyrics by Andrew Pratt)
Bitter the night
Were the world to end tomorrow (Lyrics by Fred Kaan)
Roots and Wings.