Format : Score and Parts
SKU: FP.FWS10
ISBN 979-0-57050-321-6.
The collected songs for voice and piano of aclaimed choral conductor and arranger Stephen Wilkinson. This album includes settings of Marvell's poem The Garden, a joyful expression of horticultural delights that cleverly combines an almost atonal idiom with elements of a Gilbert and Sullivan patter song. The title work The Sunlight on the Garden is a setting of the MacNeice poem of the same name, and evokes darker moods of wartime by the use of a constantly evolving harmonic palette. In the field of choral music, Stephen Wilkinson is a genius. (Yorkshire Post) Simply a great choral conductor (South China Times) No praise could overstate the merits of Stephen Wilkinson's direction (The Guardian).
SKU: LO.30-2617L
UPC: 000308126235.
Mary McDonald’s arrangement of “Walking in Sunlight” will be sure to put spring in anyone’s step. Spirited lines and warm harmonies endure as the choir is “singing His praises” from beginning to end. The spirited accompaniment can be augmented with the addition of the optional rhythm score by Stan Pethel.
SKU: KN.10315
UPC: 822795103151.
Designed for a first contest or recital performance, this grade 1-2 collections contain 14 pieces that have been carefully edited by baritone specialist Donald Sherman, and edited by Carl Strommen. The free downloadable piano accompaniment MP3s will be an invaluable tool for students. Piano accompaniment book sold separately (#10316). Available in SmartMusic. Contents:Chester (Billings); The Dancing Master (Turk); Minuet (Telemann); Wedding Madrigal (Sullivan); The Nightingale's Secret (Grieg); Ah, Leave Me Not To Pine (Sullivan); Remember Provence (Verdi); The Thief's Regret (traditional Catalan folk song); Danse Du Roy (Susato); In The Steppes Of Central Asia (Borodin); Sunlight On The Ganges (Scarlatti); March Of The Priests (Mozart); Neapolitan Serenade (Meglio); Plaisir D'Amour (Martini).
SKU: KN.KEN10314
UPC: 822795103144.
Designed for a first contest or recital performance, this grade 1-2 collections contain 14 pieces that have been carefully edited by baritone specialist Donald Sherman and edited by Carl Strommen. The free downloadable piano accompaniment MP3s will be an invaluable tool for students. Piano accompaniment book sold separately (#10316). Available in SmartMusic.Contents:Chester (Billings); The Dancing Master (Turk); Minuet (Telemann); Wedding Madrigal (Sullivan); The Nightingale's Secret (Grieg); Ah, Leave Me Not To Pine (Sullivan); Remember Provence (Verdi); The Thief's Regret (traditional Catalan folk song); Danse Du Roy (Susato); In The Steppes Of Central Asia (Borodin); Sunlight On The Ganges (Scarlatti); March Of The Priests (Mozart); Neapolitan Serenade (Meglio); Plaisir D'Amour (Martini).
SKU: HL.49006631
ISBN 9783795721688. German.
Musikwissenschaft und Neue Musik - Neue Musik als historische Kategorie - Fortschritt und Avantgarde - Avantgarde und Popularitat - Musikalischer Funktionalismus - Die Neue Musik und das Problem der musikalischen Gattungen - Moderne Orgelmusik und das 19. Jahrhundert - Probleme des Rhythmus in der Neuen Musik - Der Tonalitatsbegriff in der Neuen Musik - Schonbergs musikalische Poetik - Schonberg und die Programmmusik - Musikalische Prosa - Emanzipation der Dissonanz - Schonberg und Schenker - Uber das Analysieren Neuer Musik. Zu Schonbergs Klavierstucken op. 11/1 und 33a - Schonbergs Lied Streng ist uns das Gluck und sprode - Schonbergs Orchesterstuck op. 16/3 und der Begriff der Klangfarbenmelodie - Das obligate Rezitativ - Ausdrucksprinzip und Orchesterpolyphonie in Schonbergs Erwartung - Was ist eine Zwolftonreihe? - Schonberg und Bach - Rhythmische Strukturen in Weberns Orchesterstucken op. 6 - Analytische Instrumentation. Bachs sechsstimmiges Ricercar in der Orchestrierung Anton Weberns - Schreker und die Moderne. Zur Dramaturgie des Fernen Klang - Struktur und Expression bei Alexander Skrjabin - Asthetische Probleme der elektronischen Musik - Notenschrift heute - Pladoyer fur eine romantische Kategorie. Der Begriff des Kunstwerks in der neuesten Musik - Uber den Zerfall des musikalischen Werkbegriffs - Das musikalische Kunstwerk als Gegenstand der Soziologie - Thesen uber engagierte Musik - Politische und asthetische Kriterien der Kompositionskritik - Probleme der Kompositionskritik - Adornos Begriff des musikalischen Materials - Form - Erhard Karkoschka und die Dialektik der musikalischen Form - Uber Sinn und Sinnlosigkeit in der Musik - Komposition und Improvisation - Neue Formen der Vermittlung von Musik - Vom Missbrauch der Wissenschaft - Bibliographie samtlicher Schriften von Carl Dahlhaus.
SKU: CF.YPS244
ISBN 9781491159859. UPC: 680160918447.
Brasstown Bald is the highest point in the U. S. state of Georgia standing at 4,784 ft. It is located in the northeastern part of the state and is part of the southern Appalachians. The mountain received its name from the Cherokee word Itse'yi (New Green Place) or (Place of Fresh Green) referring to its grassy, instead of timbered summit. The term Brasstown came from a confusion of Itse'yi with Untsaiyi (brass). The mountain itself is known to the native Cherokee people as Mt. Enotah. The term Bald is common terminology describing mountaintops that have 360-degree unobstructed views. Brasstown Bald Overture was written to depict the beauty and grandeur of the panoramic views from the top of this mountain. The opening fanfare sets the mood for the majesty of the Appalachians. The addition of the woodwinds during the second time through the fanfare portrays the dancing sunlight across the mountain peaks. The middle section is a quaint folk tune to represent the quiet stillness of the night. The fanfare return and a new day breaks forth.Brasstown Bald is the highest point in the U. S. state of Georgia standing at 4,784 ft. It is located in the northeastern part of the state and is part of the southern Appalachians. The mountain received its name from the Cherokee word Itse’yi (“New Green Place”) or (“Place of Fresh Green”) referring to its grassy, instead of timbered summit. The term “Brasstown” came from a confusion of Itse’yi with Untsaiyi (“brass”). The mountain itself is known to the native Cherokee people as Mt. Enotah. The term “Bald” is common terminology describing mountaintops that have 360-degree unobstructed views. Brasstown Bald Overture was written to depict the beauty and grandeur of the panoramic views from the top of this mountain. The opening fanfare sets the mood for the majesty of the Appalachians. The addition of the woodwinds during the second time through the fanfare portrays the dancing sunlight across the mountain peaks. The middle section is a quaint folk tune to represent the quiet stillness of the night. The fanfare return and a new day breaks forth.
SKU: CF.YPS244F
ISBN 9781491159866. UPC: 680160918454.
SKU: FJ.B1391S
English.
Depicting the awe-inspiring moments after a thunderstorm, this concert overture is an exciting and dramatic work that portrays streaks of sunlight jetting toward the horizon. A lyrical opening sets the tone as the clouds begin to break, and then the music takes off in a frenzy of excitement as the sunlight breaks through. Incredible harmonies intertwine with dynamic fanfares and woodwind flourishes as the work continues to develop. A lyrical section provides a brief respite to the active rhythmic pulse before the music takes off again, building to one last heroic statement of the main theme. Inspirational!
About FJH Concert Band
Designed for high school groups and upper-level middle school groups. Independence is encouraged, but many lines are cross-cued. Usually includes an expanded percussion section. Grades 3 - 3.5
SKU: CF.YAS200
ISBN 9781491157756. UPC: 680160916337. 9 x 12 inches.
This elegant and nostalgic piece depicts gentle snow falling as twilight fades on a winter's eve. The legato theme is heard in several sections, featuring a flowing accompaniment with modal shifts as players alternate between F-sharp and F-natural. Rich harmonies, slurs, and sustained pedal-tone pitches allow students to work on playing with good tone and bow control. The contrasting staccato section sparkles like snowflakes in the golden sun, with easy meter changes and a playful syncopated feel. In a quiet finale, the piece ends with a soft diminuendo reflecting the last rays of sunlight, vanishing over the darkening horizon.This elegant and nostalgic piece depicts gentle snow falling as twilight fades on a winter’s eve. The legato theme is heard in several sections, featuring a flowing accompaniment with modal shifts as players alternate between F-sharp and F-natural. Rich harmonies, slurs, and sustained pedal-tone pitches allow students to work on playing with good tone and bow control. The contrasting staccato section sparkles like snowflakes in the golden sun, with easy meter changes and a playful syncopated feel. In a quiet finale, the piece ends with a soft diminuendo reflecting the last rays of sunlight, vanishing over the darkening horizon.
About Carl Fischer Young String Orchestra Series
This series of Grade 2/Grade 2.5 pieces is designed for second and third year ensembles. The pieces in this series are characterized by:--Occasionally extending to third position--Keys carefully considered for appropriate difficulty--Addition of separate 2nd violin and viola parts--Viola T.C. part included--Increase in independence of parts over beginning levels
SKU: CF.YAS200F
ISBN 9781491157572. UPC: 680160916153. 9 x 12 inches.
SKU: CF.FAS113F
ISBN 9781491154847. UPC: 680160913398. 9 x 12 inches. Key: G major.
Inspired by the sight of sunlight sparkling on moving water, the joyous, expansive melody is woven through the sections allowing developing players to shine. Easy eighth note patterns rise and fall under a flowing theme that is passed to every section of the orchestra, offering students opportunity to practice a light brush stroke. Based on the G major scale, this uplifting work will be a pleasant addition to any concert, teaching both staccato and legato articulations.
SKU: AP.48325
UPC: 038081551487. English. Traditional Irish and Old English Blessings.
Following the success of her Two Irish Blessings, Glenda Franklin shares this creative a cappella set that is ideal as a concert finale, encore, benediction, or graduation selection. Whether performed individually or in tandem, each of these brief movements offers a sincere farewell wish sung in polished choral harmony.
About Alfred Choral Designs
The Alfred Choral Designs Series provides student and adult choirs with a variety of secular choral music that is useful, practical, educationally appropriate, and a pleasure to sing. To that end, the Choral Designs series features original works, folk song settings, spiritual arrangements, choral masterworks, and holiday selections suitable for use in concerts, festivals, and contests.
SKU: LO.99-3654H
UPC: 000308146325.
Performance/accompaniment CD for Grand Canyon Sunrise (15/3654H) The breath-taking beauty of a sunrise over the Grand Canyon is portrayed in this astonishing musical and textual creation. Beginning softly, as if awaiting first light, the work builds as shafts of brilliant sun dramatically break through to display the awesome wonder of an extraordinary place. Sunlight streaming down, paints the colors earth still hold, and brings this ancient canvass to life..
SKU: ST.B934
ISBN 9780852499344.
This, the ninth of a series of books begun in 1983, contains Brian Wren's 36 most recent hymns (2009 to 2012). It is nicely presented and laid out in a user-friendly way. The hymns are divided into five thematic sections: Jesus from Cradle to Cross; Easter Hymns; Church and Mission; Praise; and Metrical Psalms. This last section, rooted in (though not bound by) the Old Testament, is often influenced by Isaac Watts and will be of more use to some than others; it concludes with a tremendous rendering of Psalm 8; a paean of praise which all will love, set to a stirring tune. Each section is prefaced with a single page introduction listing the contents and, in some instances, giving an interesting insight into Brian Wren's theology and thinking which provides food for contemplation. Each hymn is printed in words format with all the necessary information for inclusion in an order of worship. Every hymn is also printed with full score music for accompaniment interlined with the words. The book is slightly larger than A5, and there are various useful indexes. The tunes range from ancient to modern, some very familiar, including Candler (better known as Ye Banks and Braes). A number are of a metre where alternative tunes are available. Those tunes which are new vary in ease of use; some will be readily picked up, others would prove challenging for occasional use in a small congregation but could be used as music group items. These are hymns which need to be read as a whole and require thought. The words are chosen with care and notable as much for those not used as those included e.g.: 'Christ, untameably alive,/ breathe your life upon us - / Compass, Governor and Guide, / with us and beyond us,/ Sky and Sunlight, / spreading Vine./ Spring of Living Water,/ Truth and Wisdom, Way and Word,/ here, and then hereafter.' These hymns will be useful in worship as either sung or read pieces, and will also prove an invaluable resource for private devotion.
Robert Canham, Reform
SKU: HL.49045380
ISBN 9790001203487. UPC: 888680721268. 8.25x11.75x0.084 inches. French.
This work was commissioned by the Latvian choir Kamer within the framework of a large-scale project centered round the topic the sun. A poem by Paul de Brancion is interspersed with expressions and sayings taken from French folklore. The poetic text describing the contemporary anxiety that everything will be scorched by the sun as a result of global warming provides a response to popular opinion and cheerful idioms. The score is constructed like a descent into great depths, from the sunlight into darkness. The composition can also be combined with its sequel composition Au dessous des etoiles (Under the Stars) for mixed choir.Thierry Pecou.
SKU: PR.16400272S
UPC: 680160588442. 8.5 x 11 inches.
My third quartet is laid out in a three-movement structure, with each movement based on an early, middle, and late work of the great American impressionist painter Mary Cassatt. Although the movements are separate, with full-stop endings, the music is connected by a common scale-form, derived from the name MARY CASSATT, and by a recurring theme that introduces all three movements. I see this theme as Mary's Theme, a personality that stays intact while undergoing gradual change. I The Bacchante (1876) [Pennsylvania Academy of Fine Arts, Philadelphia, Pennsylvania] The painting shows a young girl of Italian or Spanish origin, playing a small pair of cymbals. Since Cassatt was trying very hard to fit in at the French Academy at the time, she painted a lot of these subjects, which were considered typical and universal. The style of the painting doesn't yet show Cassatt's originality, except perhaps for certain details in the face. Accordingly the music for this movement is Spanish/Italian, in a similar period-style but using the musical signature described above. The music begins with Mary's Theme, ruminative and slow, then abruptly changes to an alla Spagnola-type fast 3/4 - 6/8 meter. It evokes the Spanish-influenced music of Ravel and Falla. Midway through, there's an accompanied recitative for the viola, which figures large in this particular movement, then back to a truncated recapitulation of the fast music. The overall feeling is of a well-made, rather conventional movement in a contemporary Spanish/Italian style. Cassatt's painting, too, is rather conventional. II At the Opera (1880) [Museum of Fine Arts, Boston, Massachusetts] This painting is one of Cassatt's most well known works, and it hangs in the Museum of Fine Arts in Boston. The painting shows a woman alone in a box at the opera house, completely dressed (including gloves) and looking through opera glasses at someone or something that is NOT on the stage. Across the auditorium from her, but exactly at eye level, is a gentleman with opera glasses intently watching her - though it is not him that she's looking at. It's an intriguing picture. This movement is far less conventional than the first movement, as the painting is far less conventional. The music begins with a rapid, Shostakovich-type mini-overture lasting less than a minute, based on Mary's Theme. My conjecture is that the woman in the painting has arrived late to the opera, busily stumbling into her box. What happens next is a kind of collage, a kind of surrealistic overlaying of two different elements: the foreground music, at first is a direct quotation of Soldier's Chorus from Gounod's FAUST (an opera Cassatt would certainly have heard in the brand-new Paris Opera House at that time), played by Violin II, Viola, and Cello. This music is played sul ponticello in the melody and col legno in the marching accompaniment. On top of this, the first violin hovers at first on a high harmonic, then descends into a slow melody, completely separate from the Gounod. It's as if the woman in the painting is hearing the opera onstage but is not really interested in it. Then the cello joins the first violin in a kind of love-duet (just the two of them, at first). This music isn't at all Gounod-derived; it's entirely from the same scale patterns as the first movement and derives from Mary's Theme and its scale. The music stays in a kind of dichotomy feeling, usually three-against-one, until the end of the movement, when another Gounod melody, Valentin's aria Avant de quitter ce lieux reappears in a kind of coda for all four players. It ends atmospherically and emotionally disconnected, however. The overall feeling is a kind of schizophrenic, opera-inspired dream. III Young Woman in Green, Outdoors in the Sun (1909) [Worcester Art Museum, Massachusetts] The painting, one of Cassatt's last, is very simple: just a figure, looking sideways out of the picture. The colors are pastel and yet bold - and the woman is likewise very self-assured and not in the least demure. It is eight minutes long, and is all about melody - three melodies, to be exact (Young Woman, Green, and Sunlight). No angst, no choppy rhythms, just ever-unfolding melody and lush harmonies. I quote one other French composer here, too: Debussy's song Green, from Ariettes Oubliees. 1909 would have been Debussy's heyday in Paris, and it makes perfect sense musically as well as visually to do this. Mary Cassatt lived her last several years in near-total blindness, and as she lost visual acuity, her work became less sharply defined - something akin to late water lilies of Monet, who suffered similar vision loss. My idea of making this movement entirely melodic was compounded by having each of the three melodies appear twice, once in a pure form, and the second time in a more diffuse setting. This makes an interesting two ways form: A-B-C-A1-B1-C1. String Quartet No.3 (Cassatt) is dedicated, with great affection and respect, to the Cassatt String Quartet, whose members have dedicated themselves in large measure to the furthering of the contemporary repertoire for quartet.
SKU: FJ.W9466
UPC: 241444404300. English.
A beautiful, flowing solo by Mary Leaf that captures the essence of rolling wave and sunlight dancing on the ocean's surface. This piece is an excellent opportunity for students to practice voicing melody with hand crossings, and maintain a steady tempo.