SKU: CF.BAS82
ISBN 9781491157619. UPC: 680160916191. 9 x 12 inches.
First-year players can reach for the stars with this easy concert piece. An ethereal theme reflecting the mysterious celestial spheres is created with simple rhythms in first position. All sections of the orchestra have interesting parts and melodic lines, supported by doubling of Violin 2/Viola and Cello/Bass. The energetic piano part is recommended and will help students hear the subdivision of the beat.First-year players can ??reach for the stars? with this easy concert piece. An ethereal theme reflecting the mysterious celestial spheres is created with simple rhythms in first position. All sections of the orchestra have interesting parts and melodic lines, supported by doubling of Violin 2/Viola and Cello/Bass. The energetic piano part is recommended and will help students hear the subdivision of the beat.
About Carl Fischer Beginning String Orchestra Series
This series of Grade 1 pieces is designed for first year string groups. The pieces in this series are characterized by:
SKU: LM.26235
ISBN 9790230962353.
Zaga lejo, le petit berger - Zolito, le cerf - Zorra, la renarde - Zaino, le cheval noir - Le Zebu et sa bosse - Zapata, le chien blanc - Le Zircon - Le Zinnia - La Zostere - Le Zenith - Le Zouave - Le Zebre - Le Zephir - Zingaro.
SKU: HL.14027979
ISBN 9788759888780. English.
Corona - The Solar Trilogy No. 3 for Orchestra was composed by Poul Ruders in 1995. Programme note: CORONA makes the final part of the SOLAR-TRILOGY, a huge symphonic triptych about the life and behavior of the Sun. The first'panel' GONG depicts the birth, life and final collapse of our nearest star, the second ZENITH describes in its ultra-slow tempo the patient rise of the Sun toward midday ferocity and its subsequent setting. CORONA, then, is a symphonic 'portrait' of the phenomenally hot whispy brim encircling and radiating from the Sun, a sizzling halo of electrons and photons visible only during a total eclipse. Formally CORONA follows the process of such totalityin progress:the gradual eclipsing by the Moon - total darkness with thefierce, sparkling outer corona - the gradual 'rebirth' of the light toward the full gl.ory and warmth of the Sun.Besides the obvious astronomical narrative of the SOLAR-TRILOGY there's a metaphysical angle too, underlying each of the three compositions: GONG, in spite of its apparent energy, may be the most pessimistic of them all, epitomizing the death and ultimate annihilation of the prime source of Life itself. ZENITH is a hommage to human aspiration and spiritual endurance and CORONA ends with Hope and Glory after a journey from depression throughtotal despair. Super-structurally, the zenith of ZENITH makes the zenith of the entire trilogy, i.e. when the E- flat of the unisone horns in ZENITH is heard, we are exactly halfway through the collected work. Poul Ruders.
SKU: XC.ZJE2203
12 x 9 inches.
Composer Kris Berg has knocked one out of the park with this sleek and contemporary new festival chart. From the first rhythmic punctuation to the final dramatic chord this piece just sparkles with energy and excitement. Kris has combined intricate moving lines with interesting and creative harmony. Motivic development, rhythmic displacement, counterpoint and extended form and orchestration techniques are on full display in this great new festival chart.
SKU: CF.CAS91
ISBN 9781491142066. UPC: 680160630127. Key: G minor.
This lighthearted quodlibet was commissioned by ASTA and premiered at the 2015 conference. It provides a fabulous tool to introduce your students to key musical themes across time. The score plays off of the musician's nocturnal mind to combine twelve historic themes by condensing and expanding them the way our subconscious mind often toys with daytime experiences. In total, this composition celebrates the string player's full potential: Where loyalty to the written note serves the imagination's creative playground. What is composition, if not a grand improvisation captured in a snapshot?.I am a firm advocate for creative conducting, so I encourage you to experiment with changes in tempi to segue between themes, and/or to take musical liberty with the actual transitions between the themes, as long as there is still a feeling of forward momentum.If you want to fulfill the theatricality of the score, it would be fabulous to look at the audience (with a raised eyebrow, or a smile on your face, or whatever facial expression you think suits these moments in the score) at m. 14 and again at m. 21.In addition, it will help to conduct with wider gestures when themes change or the volume suddenly drops or swells. This will help the audience understand that these sudden changes between themes or dynamics are intended and will also help the students highlight those spots (particularly across the complex thematic shifts between mm. 62 and 94).The grandiosity from m. 110 through the end can be pushed to its zenith, particularly if you control prior forte settings such that the end gets the grand push.CAS91FThemes in String Dreams include:1. Twinkle, Twinkle Little Star2. Second Kreutzer Etude3. Concerto in A Minor, Vivaldi 4. Cello Suite No. 1, Bach5. St. Louis Blues, W.C. Handy 6. Minuet in G, Bach—Julie Lyonn Lieberman,Artistic Director, Strings Without Boundaries www.julielyonn.com | www.stringswithoutboundar ies.com.
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: CA.5070400
ISBN 9790007092283. Language: Italian. Text: Boccardi, Michelangelo / Metastasio, Pietro. Text: Michelangelo Boccartdi, Pietro Metastasio.
Hasse's Cleofide of 1731 can be regarded as the zenith of his creative output - not least of all because he integrated several of his greatest arias from earlier works into this opera. The theme from antiquity Alexander's conquests in India was perfectly suited to flatter August the Strong, a rather unsuccessful commander-in-chief, who at that moment was occupied with the reorganization of his armies. For performance at the Court of Dresden, Metastasio's original libretto was reworked by Michelangelo Boccardi. As a result, the title of the opera was changed from Alessandro nell' Indie to Cleofide and Faustina Bordoni, the prima donna and wife of Johann Adolf Hasse, became the protagonist of the story. Musically, the opera reflected the style of the time. Hasse's expressive and natural style was admired and appreciated by the public professional musicians alike. The vocal parts were tailor-made for the singers and in performing this work the outstanding soloists and the orchestra could shine. Hasse always tried to get the utmost from his musicians and in the case of Cleofide he achieved a 100% success. The Carus edition of Cleofide, which has been published as a part of the Hasse-Werkausgabe, is the very first printed edition of this work. It is based primarily on the original parts used for the first performance in 1731 and presents both an accurate musicological rendering of the sources as well as a practical performance edition.
SKU: HL.14028024
English.
SKU: XC.ZJE2304
Commissioned by the great Waltrip High School Ram Band this Funk chart has loads of exciting and dramatic moments. It starts with the pedal to the metal and stays intense right up to the Trumpet solo at measure 87 where the whole feel changes for a slow build to next big hits with the band trading short phrases with the Drums.
SKU: XC.ZJE2302FS
The main portion of this chart is slow swing similar to Slide Hampton's Frame for the Blues, but it is interspersed with vignettes that use all the colors of the contemporary jazz ensemble. Cascading bell-tones and a lush written Trumpet solo start the tune off which leads to the first slow swing section. A great choice for a contrast chart at a festival!
SKU: BT.SLB-00226200
SKU: XC.ZJE2303
The Florida Bandmasters Association commissioned this chart for the 2023 All-State Jazz ensemble. This is an authentically-written Salsa that truly fits its title, beginning with a poignant, written piano solo that transitions into a medium tempo Cuban Son Montuno (aka Salsa) before turning up the fire with an uptempo Songo groove. All rhythm parts are clearly written out.
SKU: CL.032-4881-00
It’s Awf’ly Nice Just Walkin’ With You is a beautiful ballad from the trusted pen of Rob Vuono, Jr., showcasing your lead tenor as well as the entire band. A wistful melody strolls across a lovely chord progression at a leisurely pace, as varied tone colors of velvety bucket-muted brass and lushly harmonized sax solis brilliantly combine to give this chart all of the hallmarks of a classic standard. A warm tenor sax solo (written solo provided) is featured after the first presentation of the song, with easy-going backgrounds adding subtle support. The brass mutes are removed momentarily as the chart progresses to a shout chorus that builds smoothly to its zenith, and then decisively leads to a coda that features effective linear writing between each section of the ensemble. Sure to be a favorite with the band and audience alike, add It’s Awf’ly Nice Just Walkin’ With You to your next concert or contest!
SKU: XC.ZJE2202FS
We are pleased to welcome young composer Christopher Artau to the Excelcia jazz catalog. This is a great latin-rock chart ideal for festivals. Plenty of tight ensemble work and a dazzling Guitar lead line in the style of Carlos Santana will wow the listener. The chart is solid from top to bottom with a splashy ending that will bring any performance to an exuberant close.
SKU: XC.ZJE2201FS
Veteran composer Carl Strommen pulls out all the stops on this swinging blues. It starts with a gentle murmur and quickly builds to a rumbling thunder of backbeats. The heart of the chart is a fantastic Saxophone soli that sounds great and lays well for all the players. There is also a terrific winds only section that will shine a spotlight on the Saxes and Brass.
SKU: LM.C06756
ISBN 9790230367561.
Echa uffement I (sonorite, souplesse de l'embouchure) - Echauffement II (staccato) - Entre chien et loup (soutien de la colonne d'air, passages de tierces) - Zenith (phrase, syncope, articulation) - Crepuscule (phrase, articulation) - Pieds nus (rythme 3/8, nuances) - Dechirant (6/8, coordination, separation droite/gauche) - Danse des tricotets (rythme et aigu) - Un brin de rien (phrase, chromatismes) - Meme pas peur... ! (vibrato, grave, phrase, avec piano) - OUla OUps ! (preparation) - OUla OUps ! (rythme 5/8, accents, avec piano) - La Roulotte (aigu, syncopes) - La Petite bohemienne (phrase, appogiatures, sonorite grave-medium, avec piano) - Le Mannelier (grave, rythmes et phrase, pour deux clarinettes) - Funambule (aigu, embouchure, quelques effets contemporains, pour deux clarinettes) - Chipie ! (passage medium a aigu, rythmique, jeu de cles) - Bonimenteur (tempo rapide, mordants, rythmes, avec piano) - La Mouche (preparation pour Le Serpent et la Mouche, souplesse digitale, colonne d'air) - Doina (phrase de grandes lignes, appogiatures) - Les Moustiques doppler (doigtes sans le pouce) - Tsss... (controle de l'embouchure, vitesse de l'air) - Les Saltimbanques (rythme 7/8, phrase, registre grave et medium) - Huitiemes de ton ou glissando en escalier (doigtes, connaissance et maitrise des doigtes pour jouer des 8e de ton) - Zigana (style, rubato, rythmes, mordants, avec piano) - Jonglages (rythme, appogiature et caractere, pour deux clarinettes) - Le Serpent et la Mouche (ecriture contemporaine).
SKU: XC.ZJE2202
SKU: XC.ZJE2204FS
This is the real deal! An authentic Brazilian Samba from respected educator and composer Michele Fernández. The rhythm section parts are completely and carefully notated and the articulations and specific dynamic markings in the wind parts will help to make this an awesome experience for your band. Also included with the set are optional parts for Flute and Vibes. A challenging chart that is well worth the effort.
First-year players can reach for the stars with this easy concert piece. An ethereal theme reflecting the mysterious celestial spheres is created with simple rhythms in first position. All sections of the orchestra have interesting parts and melodic lines, supported by doubling of Violin 2/Viola and Cello/Bass. The energetic piano part is recommended and will help students hear the subdivision of the beat.First-year players can “reach for the stars†with this easy concert piece. An ethereal theme reflecting the mysterious celestial spheres is created with simple rhythms in first position. All sections of the orchestra have interesting parts and melodic lines, supported by doubling of Violin 2/Viola and Cello/Bass. The energetic piano part is recommended and will help students hear the subdivision of the beat.
Thi s series of Grade 1 pieces is designed for first year string groups. The pieces in this series are characterized by:
SKU: CF.BAS82F
ISBN 9781491157442. UPC: 680160916023. 9 x 12 inches.
SKU: XC.ZJE2102
UPC: 812598038149. 9 x 12 inches.
Wow! This is a blues with serious attitude! It comes out of the gate roaring and composer Jamie Roth has included plenty of interesting details that make this a standout chart for high school bands. Great dynamic contrasts are built in so there are some moments that whisper and some that explode. A great addition the swinging blues repertoire at this level.
SKU: MH.1-59913-072-6
ISBN 9781599130729.
Prog ram Notes: It was a happy coincidence that the commission for SINFONIA XVI: TRANSCENDENTAL VIENNA came from the Henry David Thoreau School located in Vienna, Virginia. Thoreau is one of the magic names in American culture: Henry David Thoreau, one of the leading figures of the Transcendentalist movement, centered in 19th-century New England, left us a body of unique philosophical and poetical writings. To utter the words, Walden Pond, is to invoke an America long past in physical actuality, but still present in the minds and hearts of many American citizens. The name, Vienna, of course, summons thoughts of the Old World: culture, fine food, wine, civilized cities. While contemplating the form that SINFONIA XVI should take, I found myself thinking of two pillars of Viennese culture: expressionism and the waltz. Musically speaking, expressionism reached a zenith in the works of Arnold Schoenberg and Alban Berg. It was Berg, in particular, that I wanted to invoke in the outer movements of my composition. I knew I would also have to include a waltz, and an invocation of the mysterious forces that are contained in both expressionism and transcendentalism. Thus was the structure of the work generated. The outer movements with their vision of the night sky and the stars, Aldebaran and Sirius, frame the central movements, which are essentially two versions of the same material, and are quieter and less dramatic. The outer movements are symmetrical, and share both pitch and rhythmic materials. Accordingly, I see the work as a ternary form, with the central movements forming a unit within the outer frame: A (Movement 1) B (Movements 2 & 3) A' (Movement 4). Harmonically, the work can be summarized by the two pitch-series which occur in the opening bars of Movement 1: the initial 12-note row, with a tonal center on F-sharp (measures 1-6), and the subsequent D-minor Dorian 7-note row (beginning in measure 14). Aspects of these materials occur in all four movements, but they are most strongly present in Movements 1 and 4. Note that the 12-note row is not subjected to the usual serial procedures, but instead is treated as a signifier and is left unchanged. Since the fourth movement takes up where the first movement leaves off, I can conceive of one interpretation of SINFONIA XVI as an evocation of Thoreau himself contemplating two of the brightest stars on a clear, cold night. Aldebaran is an orange, first-magnitude star, located in the constellation Taurus; Sirius, the Dog Star, is the brightest star in the sky, and is located in the constellation Canis Major. Thoreau interrupts his star-gazing to entertain some inward thoughts, waking dreams, as it were, then returns his gaze to the splendid night sky and all its treasures. Although many other interpretations of the material are possible, it is important to remember that the abstract materials of the piece -- pitch, rhythm, structure -- are what count the most. Ensemble instrumentation: 1 Piccolo, 4 Flute 1, 4 Flute 2, 3 Oboe, 1 Eb Clarinet (opt.), 4 Bb Clarinet 1, 4 Bb Clarinet 2, 4 Bb Clarinet 3, 3 Bass Clarinet, 3 Bassoon, 3 Eb Alto Saxophone 1, 3 Eb Alto Saxophone 2, 2 Bb Tenor Saxophone, 2 Eb Baritone Saxophone, 3 Bb Trumpet 1, 3 Bb Trumpet 2, 3 Bb Trumpet 3, 2 Horn 1, 2 Horn 2, 3 Trombone 1, 3 Trombone 2, 3 Euphonium B.C., 2 Euphonium T.C., 5 Tuba, 2 Timpani, 3 Percussion 1, 3 Percussion 2, 3 Percussion 3, 3 Percussion 4.
SKU: XC.ZJE2101FS
UPC: 812598037913. 9 x 12 inches.
Written for the wonderful saxophonist Chris Vadala, arranger Kris Berg has fashioned a contemporary sounding chart in D minor that moves from a loose, open swing to a straight-ahead swing groove. Terrific development of melodic material from the tune is paired with a recurring triplet figure that ties the chart together. Solo space for Tenor Saxophone and Trumpet (with Harmon mute) is included.
SKU: XC.ZJE2302
SKU: XC.ZJE2101
UPC: 812598038132. 9 x 12 inches.
SKU: XC.ZJE2103
UPC: 812598038156. 9 x 12 inches.
This is definitely not your grandmother’s rhythm changes! Leave it to the creative master, Steve Wiest, to come up with a totally fresh (and somewhat zany) take on the familiar rhythm changes form. This piece zips along at 236, so be prepared for a wild ride. An awesome selection to close a concert or festival program, Steve has definitely tapped into the force on this killer chart.
SKU: HL.49047172
UPC: 196288143406.
When the 24-year-old Richard Strauss, assistant conductor in Munich, began the composition of his third tone poem in the summer of 1888, he saw himself close to the aspiration prescribed by his mentor Alexander Ritter: to become the successor of Richard Wagner as a musical dramatist. Strauss had already been working on the text of his first opera Guntram for a year and additionally devoted himself to programmatic orchestral works oriented to the musical language of Liszt and Wagner in order to prepare himself compositionally for his new task. With the aid of Strauss and other musicians including Ludwig Thuille and Friedrich Rösch who had been gathering for “Ritter's round table†in Munich between 1886 and 1889, RitterÂ’s intention was to achieve success on a broad front with the New German School following the death of its two protagonists Wagner and Liszt. We do not know whether Ritter and his supporters jointly planned Strauss's compositional path towards opera, determined the subjectsof his prospective tone poems and considered various strategies of their musical realization, but the influence of this group shouldnot be underestimated. It cannot be ruled out that the number of three tone poems was fixed, as was their sequence of composition, which would progressively achieve its zenith in an increasing orientation to Liszt and Wagner. The circle could possibly have also discussed initial links to literary subjects (Macbeth and Don Juan) and ultimately the abstention from this practice in the third and final tone poem. The subject of the work, or rather in StraussÂ’s formulation its “poetic modelâ€, has occasionally been interpreted from an autobiographical aspect. Strauss however did not experience serious illness until May 1891 and once more in June 1892, long after Tod und Verklärung had been composed. Even without an external reason, the material would have been only too attractive for an admirer of Wagner and Liszt like Strauss, not to mention for his mentor Alexander Ritter. The concept of 'death and transfiguration' had already played a central role in LisztÂ’s symphonic poems Tasso and Prometheus.
