Sound Stories

SKU: YM.GTW01096844

ISBN 9784636968446.

New Sounds in Concert Band Series (NSB)
Duration: approx.8'00
Arranged by Kouichi Morita

Medley of:
Main Theme from Code Blue; -JIN- Main Title; Theme of Doctor X
Zu Qu :
<> Zhu Ti Qu ;<> Zhu Ti Qu ; <> Zhu Ti Qu.

SKU: IS.PN7196EM

ISBN 9790365071968.

On January 1st, 2016, Stephane Vande Ginste had an extraordinary intention: he planned to compose a 1-minute piece for piano every single day for the whole year. The result is an impressive collection of piano miniatures which - although contemporary - result in a variety of musical styles: apart from some experimental pieces, there are jazzy- and poppy pieces, more traditional etudes, polyphonic compositions and so on... The 366 pieces also tell various stories: from very emotional events like the terrorist attacks in Brussels over homages in honor of deceased artists (David Bowie,...) to birthdays and festive occasions,... . More than once, even poetry (Heinrich Heine, Anna Enquist, ..) or other pieces of art inspired Stephane to compose his daily one-minute piece. Every single composition originated from the here and now, and therefore capture the unfiltered feelings and emotions of that very unique moment in time: joy, enthusiasm, but also melancholy and sadness.

SKU: PR.411411930

UPC: 680160687589.

This rebooted triptych of short operas is family friendly and full of fun, while paying tribute to the African tradition of storytelling for all ages. Sister Sparrow, Sister Robin and Madame Partridge retell the antics of Bre'r Rabbit and his nemesis Bre'r Fox in Briar Patch, The Pot of Sense, and Madame Partridge and her Eggs. Okoye's music blends African American musical styles of jazz, blues, and gospel with contemporary concert music sounds. Combined with Moore's libretto, the result brings to mind a meeting Langston Hughes and Gilbert and Sullivan on steroids, en route to the Black church. A concert version of Briar Patch will be available for full orchestra with five soloists. Libretto by Carman Moore. The music blends African American musical styles of jazz, blues, and gospel with contemporary concert music sounds. Intended for all audiences. NOTE: Each story from the Tales from the Briar Patch is derived from African folk tales. The character Bre'r Rabbit is actually the trickster, Anansi the Spider, of ancient Ghanaian folklore. While many people associate him and his friends with Joel Chandler Harris' Uncle Remus stories, the stories predate Harris and hist stories. The creators updated the language, using all animals to portray the story, with the trio of spirited birds narrating. Producers find that the works rate well with all audiences and are especially useful for community discussions and engagement.
This rebooted triptych of short operas is family friendly and full of fun, while paying tribute to the African tradition of storytelling for all ages. Sister Sparrow, Sister Robin and Madame Partridge retell the antics of Bre’r Rabbit and his nemesis Bre’r Fox in “Briar Patch,” “The Pot of Sense,” and “Madame Partridge and her Eggs.” Okoye’s music blends African American musical styles of jazz, blues, and gospel with contemporary concert music sounds. Combined with Moore’s libretto, the result brings to mind a meeting Langston Hughes and Gilbert and Sullivan on steroids, en route to the Black church. A concert version of “Briar Patch” will be available for full orchestra with five soloists. Libretto by Carman Moore. The music blends African American musical styles of jazz, blues, and gospel with contemporary concert music sounds. Intended for all audiences.NOTE: Each story from the Tales from the Briar Patch is derived from African folk tales. The character “Bre’r Rabbit” is actually the trickster, “Anansi the Spider,” of ancient Ghanaian folklore. While many people associate him and his friends with Joel Chandler Harris’ Uncle Remus stories, the stories predate Harris and hist stories. The creators updated the language, using all animals to portray the story, with the trio of spirited birds narrating. Producers find that the works rate well with all audiences and are especially useful for community discussions and engagement.

SKU: CF.CM9700

ISBN 9781491160008. UPC: 680160918607. Key: A minor. Hungarian. Hungarian Folk.

In 2014, Chanticleer commissioned me to make a new arrangement of the Hungarian-Romani folk song Jarba, Mare Jarba for their 2014 touring program. Passed down orally through the Romani communities, this beautiful folk song, with text in a language called Beas (beh-osh), speaks of a deep longing to visit one's homeland, a place where the singer can never return. Chanticleer consists of twelve men whose vocal ranges span from low bass to high soprano, equivalent to the range of a mixed choir of women and men. I composed slow sections of original material to represent the singers' longing to return home; these are interspersed with the folk song's traditional fast sections. The incorporated shouts and calls in the score are typically found in the performance of Central European folk songs. I hope you enjoy singing this new version of Jarba, Mare Jarba that contains all of the vigor and excitement of the Chanticleer version. PERFORMANCE NOTES All spoken sounds (indicated by x noteheads) should be performed by individuals. Feel free to elaborate with more sounds of your own in the tradition of Eastern European folk music. If the piece is memorized, feel free to experiment with clapping on the off-beats of m. 93 to the end. TEXT Transliteration Jarba, mare jarba mas duce a casa, da nu pot ca am jurat, Jarba, mare jarba mas duce a casa, da nu pot ca am jurat. Mare jarba, verde jarba nu me pot duce a casa. Jarba, mare jarba mas duce a casa, da nu pot ca am jurat. O mers mama de pe sat, O lasat coliba goala, Infrunzitu, ingurzitu da plina de saracie, da plina de saracie. Mare jarba, verde jarba nu me pot duce a casa. Jarba, mare jarba mas duce a casa, da nu pot ca am jurat. Translation Green grass, tall grass, I would like to go home, but I cannot, because I have sworn not to. Tall grass, green grass - oh, that I cannot go home! My mother has left the village; she left the hut empty, Adorned with leaves but full of poverty. Tall grass, green grass - oh, that I cannot go home! Tall grass, green grass - I would like to go home. but I cannot, because I have sworn not to. Stacy Garrop's music is centered on dramatic and lyrical storytelling. The sharing of stories is a defining element of our humanity; we strive to share with others the experiences and concepts that we find compelling. She shares stories by taking audiences on sonic journeys - some simple and beautiful, while others are complicated and dark - depending on the needs and dramatic shape of the story. Garrop served as the first Emerging Opera Composer of Chicago Opera Theater's Vanguard Program. She also held a 3-year composer-in-residence position with the Champaign-Urbana Symphony Orchestra, funded by New Music USA and the League of American Orchestras. She has received numerous awards and grants including an Arts and Letters Award in Music from the American Academy of Arts and Letters, Fromm Music Foundation Grant, Barlow Prize, and three Barlow Endowment commissions, along with prizes from competitions sponsored by the Detroit Symphony Orchestra, Civic Orchestra of Chicago, Omaha Symphony, New England Philharmonic, Boston Choral Ensemble, Utah Arts Festival, and Pittsburgh New Music Ensemble. She is a Cedille Records artist; her works are commercially available on more than ten additional labels. Her catalog covers a wide range, with works for orchestra, opera, oratorio, wind ensemble, choir, art song, various sized chamber ensembles, and works for solo instruments. Notable commissions include My Dearest Ruth for soprano and piano with text by Martin Ginsburg, the husband of the late Supreme Court Justice Ruth Bader Ginsburg, The Transformation of Jane Doe for Chicago Opera Theater, The Battle for the Ballot for the Cabrillo Festival Orchestra, Goddess Triptych for the St. Louis Symphony Orchestra, Glorious Mahalia for the Kronos Quartet, Give Me Hunger for Chanticleer, Rites for the Afterlife for the Akropolis and Calefax Reed Quintets, and Terra Nostra: an oratorio about our planet, commissioned by the San Francisco Choral Society and Piedmont East Bay Children's Chorus. Garrop previously served as composer-in-residence with the Albany Symphony and Skaneateles Festival, and as well as on faculty of the Fresh Inc Festival (2012-2017). She taught composition and orchestration full-time at Roosevelt University 2000-2016) before leaving to launch her freelance career. She earned degrees in music composition at the University of Michigan-Ann Arbor (B.M.), University of Chicago (M.A.), and Indiana University-Bloomington (D.M.).
In 2014, Chanticleer commissioned me to make a new arrangement of the Hungarian-Romani folk song Jarba, Mare Jarba for their 2014 touring program. Passed down orally through the Romani communities, this beautiful folk song, with text in a language called Beas (beh-osh), speaks of a deep longing to visit one’s homeland, a place where the singer can never return. Chanticleer consists of twelve men whose vocal ranges span from low bass to high soprano, equivalent to the range of a mixed choir of women and men. I composed slow sections of original material to represent the singers’ longing to return home; these are interspersed with the folk song’s traditional fast sections. The incorporated shouts and calls in the score are typically found in the performance of Central European folk songs. I hope you enjoy singing this new version of Jarba, Mare Jarba that contains all of the vigor and excitement of the Chanticleer version.PERFORMANCE NOTESAll spoken sounds (indicated by x noteheads) should be performed by individuals. Feel free to elaborate with more sounds of your own in the tradition of Eastern European folk music.If the piece is memorized, feel free to experiment with clapping on the off-beats of m. 93 to the end.TEXTTransliterationJarba, mare jarba mas duce a casa, da nu pot ca am jurat, Jarba, mare jarba mas duce a casa, da nu pot ca am jurat. Mare jarba, verde jarba nu me pot duce a casa.Jarba, mare jarba mas duce a casa, da nu pot ca am jurat.O mers mama de pe sat, O lasat coliba goala,Infrunzitu, ingurzitu da plina de saracie, da plina de saracie. Mare jarba, verde jarba nu me pot duce a casa.Jarba, mare jarba mas duce a casa, da nu pot ca am jurat.TranslationGreen grass, tall grass, I would like to go home, but I cannot, because I have sworn not to.Tall grass, green grass – oh, that I cannot go home!My mother has left the village; she left the hut empty, Adorned with leaves but full of poverty.Tall grass, green grass – oh, that I cannot go home! Tall grass, green grass – I would like to go home.but I cannot, because I have sworn not to.Stacy Garrop’s music is centered on dramatic and lyrical storytelling. The sharing of stories is a defining element of our humanity; we strive to share with others the experiences and concepts that we find compelling. She shares stories by taking audiences on sonic journeys – some simple and beautiful, while others are complicated and dark – depending on the needs and dramatic shape of the story.Garrop served as the first Emerging Opera Composer of Chicago Opera Theater’s Vanguard Program. She also held a 3-year composer-in-residence position with the Champaign-Urbana Symphony Orchestra, funded by New Music USA and the League of American Orchestras. She has received numerous awards and grants including an Arts and Letters Award in Music from the American Academy of Arts and Letters, Fromm Music Foundation Grant, Barlow Prize, and three Barlow Endowment commissions, along with prizes from competitions sponsored by the Detroit Symphony Orchestra, Civic Orchestra of Chicago, Omaha Symphony, New England Philharmonic, Boston Choral Ensemble, Utah Arts Festival, and Pittsburgh New Music Ensemble. She is a Cedille Records artist; her works are commercially available on more than ten additional labels.Her catalog covers a wide range, with works for orchestra, opera, oratorio, wind ensemble, choir, art song, various sized chamber ensembles, and works for solo instruments. Notable commissions include My Dearest Ruth for soprano and piano with text by Martin Ginsburg, the husband of the late Supreme Court Justice Ruth Bader Ginsburg, The Transformation of Jane Doe for Chicago Opera Theater, The Battle for the Ballot for the Cabrillo Festival Orchestra, Goddess Triptych for the St. Louis Symphony Orchestra, Glorious Mahalia for the Kronos Quartet, Give Me Hunger for Chanticleer, Rites for the Afterlife for the Akropolis and Calefax Reed Quintets, and Terra Nostra: an oratorio about our planet, commissioned by the San Francisco Choral Society and Piedmont East Bay Children’s Chorus.Garrop previously served as composer-in-residence with the Albany Symphony and Skaneateles Festival, and as well as on faculty of the Fresh Inc Festival (2012-2017). She taught composition and orchestration full-time at Roosevelt University 2000-2016) before leaving to launch her freelance career. She earned degrees in music composition at the University of Michigan-Ann Arbor (B.M.), University of Chicago (M.A.), and Indiana University-Bloomington (D.M.).­­.

SKU: BO.B.3688

This book proposes a way to start the girls and boys from five yeras old to study the piano. Through the characters of the short stories, that head each piece on the form of a little poem, we work in a fun way, exploring the various possibilities of sound, timbre and register of the instrument. From the first contact, the piano is displayed with all its full expression.

At first, these scores have been designed to provide memory reference points on order to focus all the attention on what happens on the keyboard. Thus, the identification of groups and patterns of notes -often illustrated with cartoons and a short analysis of the formal structure, sometimes referred to in the opening poem- may be one of the first approaches the student has to the complexity of musical abstraction. Therefore, the use of the score is also an invitation to discover musical language intuitively.

The organization of material is also designed so that its contents can be played, in part or in full, in auditions and concerts. Students can recite the poems before playing the pieces and even perform dressed up. Thus, from the elegant leap of a dolphin to the small steps of a mouse, we imagine the rapid jump of a flea trapeze artist or the rhythmic sound of a train. From the sounds we hear in a haunted house, we will add a touch of the magic wand and learn to accurately enter pinches of ingredients for a potion….