Format : Score and Parts
SKU: RM.STO34-BA
SKU: MH.1-59913-064-5
ISBN 9781599130644.
I wrote Galloping Ghosts (A Ragtime March) to conclude a concert of my chamber music in New York City on October 28, 1986. It is the final part of a work called Rags for Divers Players. This work was written to show the variety possible within the standard rag form. I used all the players available for the finale -- two violins, viola, cello, bass, flute, oboe, clarinet, horn, bassoon, and piano. Since this is a rather unusual instrumental combination and not easy to reassemble, I decided to rescore the work for concert band. Galloping Ghosts is written in a standard march form but incorporates many of the syncopations found in ragtime. The uniquely American music called ragtime traces its history to African rhythms brought over by slaves. Over the years this music became welded to European musical forms such as the quadrille and the march. Drums and banjos and the minstrel tradition lent a special flavor, and from all these elements ragtime slowly evolved within the largely unknown black subculture of the late 19th century. In the late 1890's it emerged as a fully developed form in the classic piano solos of Scott Joplin (1869-1917). Joplin's 1899 hit, Maple Leaf Rag, was an overnight sensation and brought ragtime worldwide fame. Ensemble instrumentation: 1 Piccolo, 8 Flute 1 & 2, 2 Oboe, 1 Eb Clarinet, 4 Bb Clarinet 1, 4 Bb Clarinet 2, 4 Bb Clarinet 3, 2 Eb Alto Clarinet, 3 Bb Bass & Bb Contrabass Clarinet, 2 Bassoon 1 & 2, 2 Eb Alto Saxophone 1, 2 Eb Alto Saxophone 2, 2 Bb Tenor Saxophone, 1 Eb Baritone Saxophone, 3 Bb Cornet 1, 3 Bb Cornet 2, 3 Bb Cornet 3, 2 Horn 1 & 2 in F, 2 Horn 3 & 4 in F, 4 Trombone 1 & 2, 4 Bass Trombone, 2 Baritone (B.C.), 2 Baritone (T.C.), 4 Tuba, 1 String Bass, 1 Timpani, 1 Xylophone, 3 Percussion 1, 3 Percussion 2.
SKU: CF.FPS156F
ISBN 9781491156377. UPC: 680160914913. 9 x 12 inches.
Personal Note My high school band director, Clarence F. Wroblewski, died on November 24, 2018. In the 1950s, he was a pioneer in the field of public school instrumental music in Baltimore City. He was my mentor and my dear friend. It was his guidance and encouragement that set my young life's course on the path of music. Performance Notes The idea for Ghost Chasers is to have a spooky tune (m. 9, Trumpets) chasing around in simple counterpoint between two sections. (See m. 19). Students will find the independent part playing both challenging and fun. In the contrasting section at m. 30, young students will gain experience in changing their articulation from marcato to legato. Obeying the cues for low brass in this section is recommended, but depending on the instrumentation of the band, directors may disregard the cues if necessary. Directors may also wish to take the opportunity to teach a lesson about major and minor keys and discuss why the tune at m. 9 sounds spooky and the theme at m. 30 sound lighthearted. Overall, the main challenge for this piece is balance. For the chaser idea to be effective the half-measure lag between the two sections playing the same tune must be easily heard. Even more attention to balance must be paid at m. 45, where the spooky theme is added to the chasing theme. If Clarinets can play third-line written D, use it instead of the alternate cued note. If three Timpani are not available, omit the note D.Personal NoteMy high school band director, Clarence F. Wroblewski, died on November 24, 2018. In the 1950s, he was a pioneer in the field of public school instrumental music in Baltimore City. He was my mentor and my dear friend. It was his guidance and encouragement that set my young life’s course on the path of music.Performance NotesThe idea for Ghost Chasers is to have a spooky tune (m. 9, Trumpets) chasing around in simple counterpoint between two sections. (See m. 19). Students will find the independent part playing both challenging and fun.In the contrasting section at m. 30, young students will gain experience in changing their articulation from marcato to legato. Obeying the cues for low brass in this section is recommended, but depending on the instrumentation of the band, directors may disregard the cues if necessary. Directors may also wish to take the opportunity to teach a lesson about major and minor keys and discuss why the tune at m. 9 sounds spooky and the theme at m. 30 sound lighthearted.Overall, the main challenge for this piece is balance. For the “chaser†idea to be effective the half-measure lag between the two sections playing the same tune must be easily heard. Even more attention to balance must be paid at m. 45, where the “spooky†theme is added to the “chasing†theme.If Clarinets can play third-line written D, use it instead of the alternate cued note. If three Timpani are not available, omit the note D.
SKU: AP.36-A932801
ISBN 9781638879886. UPC: 676737912154. English.
This edition of EL AMOR BRUJO (LOVE, THE SORCERER) is the 1924 revision of the 1915 version by Spanish composer Manuel de Falla (1876 - 1946). Originally a collaboration between de Falla, the flamenco dancer Pastora Imperio, and librettist María Martínez Sierra, the ballet follows Candela, a recent widow who attempts to dispel her abusive late husband's ghost so she can remarry. The original version of the ballet was not well-received, so de Falla dialed back the Roma cultural elements prominent in the original version and expanded the size of the orchestra to appeal to contemporary audiences. The 1924 version premiered in Paris on May 1925. Reprint Edition. Instrumentation: 2(2nd dPicc).1(dEH).2.1: 2.2.0.0: Timp.Perc(1): Pno: Str (4-4-3-3-3 in set): Contralto Voice.
These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months.
SKU: AP.36-A932890
UPC: 676737618148. English.
SKU: HL.48184601
UPC: 888680853914. 9.0x12.0x0.288 inches.
Part of the Organ collection by J. S. Bach, this Volume IX Eighteen Chorals of Leipzig (BWV 651-668) was composed between 1740 and 1750, in Leipzig. This volume is now translated in English and French and features the annotation of Marcel Dupre, a French organist, to help the performer getting the most of the music sheet. This ninth book contains a set of eighteen religious preludes: 1. Come, Holy Ghost 2. Come, Holy Ghost 3. By the rivers of Babylon 4. Deck thyself, o my soul 5. Lord Jesus Christ, unto us turn 6. O stainless Lamb of God 7. Now thank we all our God 8. From God I will not turn 9. Come now, Saviour of the Heathen 10. Come now, Saviour of the Heathen 11. Come now, Saviour of the Heathen 12. Glory to God on high 13. Glory to God on high 14. Glory to God on high 15. Jesus Christ, our Saviour 16. Jesus Christ, our Saviour 17. Come, God, Creator, Holy Ghost 18. Before thy Throne, I now appear Some of this prelude contains toccatas, sarabandes, fugues, ritornellos and many ornaments. Quite varied, they can also be either joyful or full of lamentations. The preface of these Eighteen Chorals of Leipzig is well written, with explanations of the comments and descriptions of the techniques to use for a good interpretation of this work. .
