SKU: BT.MUSAM993850
ISBN 9781847725813.
A beautifully presented, full-colour illustrated collection of songs and poems, to soothe, calm and relax. Calming songs arranged for easy Piano and voice. Relaxing poems including A Cradle Song byWilliamBlake, Lullaby for Titania from A Midsummer Night's Dream by William Shakespeare and many more. Includes a sing-along CD.
SKU: HL.153263
UPC: 888680095666. 6.75x10.5 inches.
This Japanese lullaby is a traditional song sung by girls far away from home as they worked as nannies in upper class households. The gentle sounds of flute and wind chimes support the plaintive quality of the melody, presented in canon and simple harmonization over the arpeggios in the piano or optional marimba accompaniment.
SKU: HL.4005148
UPC: 888680694937. 9.0x12.0x0.045 inches.
Recognizing the need for well-paced lyric pieces for young players, Richard Saucedo gives us The Lullaby in the Mirror. This heartfelt and touching work features a mournful melody that winds its way through a variety of moods, and will stay in your memory long after the music has ended. Simply beautiful! Dur: 3:10.
Lullaby (Op. 57, No. 2) was first composed in 1908 for Voice and Piano, with lyrics by Christina Rosssetti. It was transcribed for Cello or Violin and Piano by the famous cellist Charles Warwick Evans (1885-1974) in 1918
SKU: HL.14018819
ISBN 9780853609827.
Commissioned by The Muhlfeld Trio in 1988, Lullaby is one of a pair of pieces by Lefanu based around twilight and night. The piece features six miniatures, illustrating a mother's experiences watching her child drifting into slumber. The miniatures are performed without breaks, as one continuous piece, with fluctuations, surprises and long stretches of blissful chords and undulating textures. The clarinet part is also included on a separate insert. The second piece of the pair, Nocturne for Cello and Piano, is available: item code NOV361054.
SKU: CF.BAS5
ISBN 9780825845086. UPC: 798408045081. 8.5 X 11 inches. Key: D major.
The musical effect of Prarie Lullaby should be graceful and serene, evocative of a peaceful night on the open plains. To that end, players will need to strive for an unlabored rhythmic flow, smooth bowing and a clear, steady tone as close to p as possible. Beginning at m.39, the violin and viola parts are marked pizzicato. If young players are unable to return quickly to argo at m.53, they may make the bow preparation easier by taking a full measure rest at m.52. This option is marked in the parts and score. The divisi notes at m. 69 are provided for ensembles which lack violas. Ensembles with violas may have them play the lower notes while the second violins play the upper notes. Percussion, which is completely optional, should be very subdued. Choose a bell mallet which allows the tones to be heard just above the strings. the woodblock part is intended to imitate the clip-clop sound of a horse's hooves. Two different sizes of woodblocks or temple blocks are needed. Finding two suitable sounds on one woodblock is difficult. Again, the right mallets are very important. The suspended cymbal should be played with brushes if the string ensemble is small. If the suspended cymbal with brushes cannot be heard above a large number of strings, then sticks should be used instead. The percussion part can be performed by one player, provided the instruments and mallets are set up properly and the player has the skill to make the transitions smoothly. Note the optional rest at mm. 53-54. Performance time with the repeat is two and a half minutes.The musical effect ofA Prarie LullabyA should be graceful and serene, evocative of a peaceful night on the open plains. To that end, players will need to strive for an unlabored rhythmic flow, smooth bowing and a clear, steady tone as close toA p as possible. Beginning at m.39, the violin and viola parts are markedA pizzicato. If young players are unable to return quickly toA argo at m.53, they may make the bow preparation easier by taking a full measure rest at m.52. This option is marked in the parts and score. TheA divisiA notes at m. 69 are provided for ensembles which lack violas. Ensembles with violas may have them play the lower notes while the second violins play the upper notes. Percussion, which is completely optional, should be very subdued. Choose a bell mallet which allows the tones to be heard just above the strings. the woodblock part is intended to imitate the clip-clop sound of a horse's hooves. Two different sizes of woodblocks or temple blocks are needed. Finding two suitable sounds on one woodblock is difficult. Again, the right mallets are very important. The suspended cymbal should be played with brushes if the string ensemble is small. If the suspended cymbal with brushes cannot be heard above a large number of strings, then sticks should be used instead. The percussion part can be performed by one player, provided the instruments and mallets are set up properly and the player has the skill to make the transitions smoothly. Note the optional rest at mm. 53-54. Performance time with the repeat is two and a half minutes.The musical effect ofA Prarie LullabyA should be graceful and serene, evocative of a peaceful night on the open plains. To that end, players will need to strive for an unlabored rhythmic flow, smooth bowing and a clear, steady tone as close toA p as possible. Beginning at m.39, the violin and viola parts are markedA pizzicato. If young players are unable to return quickly toA argo at m.53, they may make the bow preparation easier by taking a full measure rest at m.52. This option is marked in the parts and score. TheA divisiA notes at m. 69 are provided for ensembles which lack violas. Ensembles with violas may have them play the lower notes while the second violins play the upper notes. Percussion, which is completely optional, should be very subdued. Choose a bell mallet which allows the tones to be heard just above the strings. the woodblock part is intended to imitate the clip-clop sound of a horse's hooves. Two different sizes of woodblocks or temple blocks are needed. Finding two suitable sounds on one woodblock is difficult. Again, the right mallets are very important. The suspended cymbal should be played with brushes if the string ensemble is small. If the suspended cymbal with brushes cannot be heard above a large number of strings, then sticks should be used instead. The percussion part can be performed by one player, provided the instruments and mallets are set up properly and the player has the skill to make the transitions smoothly. Note the optional rest at mm. 53-54. Performance time with the repeat is two and a half minutes.The musical effect of Prarie Lullaby should be graceful and serene, evocative of a peaceful night on the open plains. To that end, players will need to strive for an unlabored rhythmic flow, smooth bowing and a clear, steady tone as close to p as possible. Beginning at m.39, the violin and viola parts are marked pizzicato. If young players are unable to return quickly to argo at m.53, they may make the bow preparation easier by taking a full measure rest at m.52. This option is marked in the parts and score. The divisi notes at m. 69 are provided for ensembles which lack violas. Ensembles with violas may have them play the lower notes while the second violins play the upper notes. Percussion, which is completely optional, should be very subdued. Choose a bell mallet which allows the tones to be heard just above the strings. the woodblock part is intended to imitate the clip-clop sound of a horse's hooves. Two different sizes of woodblocks or temple blocks are needed. Finding two suitable sounds on one woodblock is difficult. Again, the right mallets are very important. The suspended cymbal should be played with brushes if the string ensemble is small. If the suspended cymbal with brushes cannot be heard above a large number of strings, then sticks should be used instead. The percussion part can be performed by one player, provided the instruments and mallets are set up properly and the player has the skill to make the transitions smoothly. Note the optional rest at mm. 53-54. Performance time with the repeat is two and a half minutes.The musical effect of Prarie Lullaby should be graceful and serene, evocative of a peaceful night on the open plains. To that end, players will need to strive for an unlabored rhythmic flow, smooth bowing and a clear, steady tone as close to p as possible. Beginning at m.39, the violin and viola parts are marked pizzicato. If young players are unable to return quickly to argo at m.53, they may make the bow preparation easier by taking a full measure rest at m.52. This option is marked in the parts and score. The divisi notes at m. 69 are provided for ensembles which lack violas. Ensembles with violas may have them play the lower notes while the second violins play the upper notes. Percussion, which is completely optional, should be very subdued. Choose a bell mallet which allows the tones to be heard just above the strings. the woodblock part is intended to imitate the clip-clop sound of a horse's hooves. Two different sizes of woodblocks or temple blocks are needed. Finding two suitable sounds on one woodblock is difficult. Again, the right mallets are very important. The suspended cymbal should be played with brushes if the string ensemble is small. If the suspended cymbal with brushes cannot be heard above a large number of strings, then sticks should be used instead. The percussion part can be performed by one player, provided the instruments and mallets are set up properly and the player has the skill to make the transitions smoothly. Note the optional rest at mm. 53-54. Performance time with the repeat is two and a half minutes.The musical effect of Prarie Lullaby should be graceful and serene, evocative of a peaceful night on the open plains. To that end, players will need to strive for an unlabored rhythmic flow, smooth bowing and a clear, steady tone as close to p as possible.Beginning at m.39, the violin and viola parts are marked pizzicato. If young players are unable to return quickly to argo at m.53, they may make the bow preparation easier by taking a full measure rest at m.52. This option is marked in the parts and score.The divisi notes at m. 69 are provided for ensembles which lack violas. Ensembles with violas may have them play the lower notes while the second violins play the upper notes.Percussion, which is completely optional, should be very subdued. Choose a bell mallet which allows the tones to be heard just above the strings. the woodblock part is intended to imitate the clip-clop sound of a horse's hooves. Two different sizes of woodblocks or temple blocks are needed. Finding two suitable sounds on one woodblock is difficult. Again, the right mallets are very important. The suspended cymbal should be played with brushes if the string ensemble is small. If the suspended cymbal with brushes cannot be heard above a large number of strings, then sticks should be used instead.The percussion part can be performed by one player, provided the instruments and mallets are set up properly and the player has the skill to make the transitions smoothly. Note the optional rest at mm. 53-54.Performance time with the repeat is two and a half minutes.
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: CF.CM9701
ISBN 9781491160091. UPC: 680160918690. Key: E major. English. Louisa May Alcott.
Evening Lullaby is based on the poem Lullaby by Louisa May Alcott. This poem describes nature's response to the evening and narrates how various creatures are soothed to sleep by the evening's quiet melody. When performing, please bear in mind the lilting feel of the 3/4 time signature. Placing emphasis on the strong beat (beat 1) should create the soothing, rocking motion needed for the lullaby. Within each phrase, connect the lines while performing the rise and fall of the dynamics. In respect to dynamics, be careful not to exceed mezzo-forte while always maintaining energy in the tone. Regarding the harmonic texture, be intentional to blend and balance each section with tall vowels and steady vibrato as suspensions are prevalent throughout the piece. .Evening Lullaby is based on the poem Lullaby by Louisa May Alcott. This poem describes nature's response to the evening and narrates how various creatures are soothed to sleep by the evening's quiet melody.When performing, please bear in mind the lilting feel of the ¾ time signature. Placing emphasis on the strong beat (beat 1) should create the soothing, rocking motion needed for the lullaby. Within each phrase, connect the lines while performing the rise and fall of the dynamics. In respect to dynamics, be careful not to exceed mezzo-forte while always maintaining energy in the tone.Regarding the harmonic texture, be intentional to blend and balance each section with tall vowels and steady vibrato as suspensions are prevalent throughout the piece. .
SKU: BT.MUSAM993861
ISBN 9781847725820.
A beautifully presented, full-colour illustrated collection of songs to soothe and calm. Lyrics to all songs are included, in addition to a CD that contains performances of every song to help you and your child tounwindand relax.
SKU: BT.DHP-1063975-010
9x12 inches. English-German-French-Dutch.
According to music critic Mark Azarra, Leroy Anderson (1908-1975) was “one of the four best composers of instrumental music in the 20th century, next to George Gershwin, Aaron Copland and Charles Ives”. Many of his nostalgic songs such as Sleigh Ride and Blue Tango are firmly embedded in the American popular music culture. In 1945 at the request of Roger Voisin, the principal trumpeter of the Boston Pops Orchestra, Anderson wrote the Trumpeter’s Lullaby. This version for concert band by will be a sure winner.Volgens muziekcriticus Mark Azarra was Leroy Anderson (1908-1975) “een van de vier beste componisten van instrumentale muziek in de twintigste eeuw, naast George Gershwin, Aaron Copland en Charles Ives”. Nostalgische songs van zijnhand, zoals als Sleigh Ride en Blue Tango, zijn stevig ingebed in de Amerikaanse lichtemuziekcultuur. Op verzoek van Roger Voisin, destijds eerste trompettist van het Boston Pops Orchestra, schreef Anderson in 1945het luchtige stuk Trumpeter’s Lullaby.Trumpeter's Lullaby gehört seit seinem Entstehungsjahr 1950 zum unterhaltsamen Standardrepertoire vieler Trompetensolisten. Leroy Anderson komponierte den Titel auf Anregung von Roger Voisin, dem ersten Trompeter des Boston Symphony Orchestras. Dieser wünschte sich ein Solo, das sich vom lauten, triumphalen Klang der meisten Trompetensoli unterschieden sollte. So entstand die Idee zu diesem Wiegenlied, das nun in einer Bearbeitung für Trompete und Blasorchester vorliegt.Notre époque a bien oublié celle des musiques légères qui firent l'enchantement des auditeurs de radio peu après la Seconde Guerre mondiale. Parmi elles, celles du compositeur américain Leroy Anderson (1908-1975). Descriptives et souvent étonnantes, ces oeuvres ont conservé la fraîcheur et le charme d’antan. Trumpeter’s Lullaby est une oeuvre aérienne et douce où la trompette se veut tendre et éthérée. L’accompagnement tisse un toile sonore soyeuse. Magique.Ai nostri giorni, la musica leggera che nel primo dopoguerra fece la gioia di tanti radioascoltatori, sta cadendo nell’oblio. Tra i molti brani, spiccava la musica del compositore americano Leroy Anderson (1908-1975). Descrittive e spesso sorprendenti, le sue musiche hanno conservato la freschezza e lo charme di allora. Trumpeter’s Lullaby è un brano dolce dove la tromba vuole essere tenera ed eterea. Un brano magico anche grazie all’accompagnamento.
SKU: BT.DHP-1063975-140
SKU: HL.234744
9.0x12.0x0.035 inches.
Composer's Note: The Lullaby from The Unicorns arose from an opera libretto I commissioned from John Heath-Stubbs (1918-2006) in the late 1960s. In his story two unicorns are discovered in a remote part of Africa. Both the East and West want to obtain them for research so they send out rival expeditions. The Western technique is to lure the unicorn with a young girl singing a lullaby. Both East and West capture unicorns but the mythical animals escape in the end. I never completed the opera but I made a six-movement suite from it called The Unicorns. There are three songs and three instrumental numbers and the first performance was given with Elisabeth Soderstrom and Solna Brass under Lars-Gunnar Bjorklund at Ekensbergskyrkan, Solna, Sweden on 31 October 1982. This version was recorded and my arrangement of the three songs for voice and piano was recorded by Marilyn Hill Smith. The career of the Lullaby continued with a version for clarinet and piano, which I premiered with Jack Brymer aboard the Sea Princess in the Mediterranean on 29 September 1986. The oboe version was for Sarah Francis, and Duke Dobing and I have recorded it for flute an piano. Lullaby can be played with a variety of solo instruments and is also available for piano left hand and piano solo.
SKU: CL.011-4871-01
Moos...cowbells...yodels...alphorns... Cowbell Lullaby is an imaginative piece which transports you to Switzerland, joining cows at the end of their day’s journey high in the Alps. The herd comes to life in the opening measures, lowing with excitement until the cows are calmed by a delicate lullaby. Dance music of the town band momentarily stirs them before the lullaby once again calls them to bed. Your developing players, and the audience as well, will udderly enjoy hanging out with the dairy farmer and his Alpine herd. Mooooo!
SKU: CF.CPS215F
ISBN 9781491153093. UPC: 680160910595.
Irish Lullaby is based on the song Too-Ra-Loo-Ra-Loo-Ral (That's an Irish Lullaby). Carl Strommen does what he does best in creating a beautifully orchestrated piece with diverse harmonies that will be the highlight of your next concert. It will be a great piece to teach phrasing and musicianship.Too-Ra-Loo-Ra-Loo-Ral (“That’s An Irish Lullaby” ) was written in 1913 by composer James Royce Shannon (1881–1946) for the Tin Pan Alley musical, Shameen Dhu. The original recording by Chauncy Olcott became No. 1 on the music charts. The song was then brought back to prominence by Bing Crosby’s performance in the film Going My Way (1944). Crosby’s solo sold over one million copies.The University of Notre Dame Band, started in 1845, is the oldest college band (in continuous existence) in the United States. The band played as students left to join the armies during the Civil War, World War 1 and 2, Korea and Vietnam. In 1871, the band played a benefit concert for the victims of the Great Chicago Fire. The bands performances in countless settings and venues include the Sydney Opera House, Bejing Concert Hall, Carnegie Hall, and, in 2011, was awarded the prestigious Sudler Trophy, considered the “Heisman Trophy” of Collegiate bands.The Bands Director, Ken Dye, is only the sixth director in its long history. Dr. Dye served as composer/arranger for the Sydney 2000 Olympic band, and has produced over 1800 works for band and orchestra.
SKU: BT.DHP-1074205-130
Leroy Anderson is part of American cultural heritage and he is often compared to such masters as Gershwin and Copland. Trumpeter’s Lullaby was written for The Boston Pops Orchestra of which he was the conductor. This new arrangement for brass band gives your three cornet soloists a chance to ‘take to the fore’ in a variety of up-tempo jazz styles. Once performed this item will become a favourite that you will use time and time again. Der amerikanische Komponist Leroy Anderson wird zu Recht oft in einem Atemzug mit großen Namen wie George Gershwin, Aaron Copland oder Charles Ives genannt. Nostalgische Lieder aus Andersons Feder, wie zum Beispiel Sleigh Ride und Blue Tango, sind unsterblich geworden. Anderson schrieb im Jahr 1949 auch das anmutige Stück Trumpeter’s Lullaby, das Naohiro Iwai ganz hervorragend für Brass Band umsetzte. Selon le journaliste Mark Azzara, nombreux sont ceux qui considèrent Leroy Anderson (1908-1975) comme « l’un des quatre meilleurs compositeurs de musique instrumentale du XXe siècle avec George Gershwin, Aaron Copland et Charles Ives ». Les nombreuses mélodies nostalgiques qu’il a composées (Sleigh Ride, Blue Tango, etc.) sont solidement ancrées dans les traditions de la culture musicale américaine. En 1949, Leroy Anderson compose le très aérien Trumpeter’s Lullaby (“Berceuse pour un trompettiste”) la demande de Roger Voisin qui fut alors trompette solo du Boston Pops Orchestra.
SKU: BT.DHP-1074205-030
SKU: CL.011-4871-00
About C.L. Barnhouse Command Series
The Barnhouse Command Series includes works at grade levels 2, 2.5, and 3. This series is designed for middle school and junior high school bands, as well as high school bands of smaller instrumentation or limited experience. Command Series publications have a slightly larger instrumentation than the Rising Band Series, and are typically of larger scope, duration, and musical content.
SKU: CF.CPS215
ISBN 9781491152416. UPC: 680160909919.
