SKU: CF.CM9624
ISBN 9781491156971. UPC: 680160915538. 6.875 x 10.5 inches. Key: G minor. English, English. Adapted from NKJV.
With a variety of musical elements reminiscent of Eastern European and Middle Eastern folk songs, Tompkins aptly utilizes the cultural background of Biblical poetry in this dance-like setting for the emerging treble chorus. Mood shifts in the piano part, chorus, and text make this an excellent piece for experimenting with a variety of timbres, vocal colors, and expression. Highly suitable for year-round programming needs.Adonai, My Shepherd (Psalm 23) is an English translation* of a song taken from the Tehillim (Psalms), an ancient Hebrew text which is also part of a larger collection of sacred writings, called the Ketuvim. The book of Psalms can also be found in the Bible's Old Testament. Designed to recognize the cultural background of the poetry, the musical elements of this piece are reminiscent of Eastern European and Middle Eastern folk songs. The tambourine has been added as a rhythmic device, appropriate to some types of Middle Eastern folk music, and to suggest a dance-like atmosphere. Mood shifts in the piano, chorus and text make this an excellent piece for experimenting with a variety of timbres, vocal colors and expression. For ensembles looking to incorporate added artistic dimension to performances, choirs are encouraged to make use of the performance space through creative blocking and/or movement appropriate to the style of each section. *English translation is adapted from The Complete Jewish Bible, (tr. Stern, used with permission) and The New King James Version (ed. Farstad). https://www.britannica.com/art/tambourine.Adonai, My Shepherd (Psalm 23) is an English translation* of a song taken from the Tehillim (Psalms), an ancient Hebrew text which is also part of a larger collection of sacred writings, called the Ketuvim. The book of Psalms can also be found in the Bible’s Old Testament.Designed to recognize the cultural background of the poetry, the musical elements of this piece are reminiscent of Eastern European and Middle Eastern folk songs. The tambourine has been added as a rhythmic device, appropriate to some types of Middle Eastern folk music, and to suggest a dance-like atmosphere.Mood shifts in the piano, chorus and text make this an excellent piece for experimenting with a variety of timbres, vocal colors and expression. For ensembles looking to incorporate added artistic dimension to performances, choirs are encouraged to make use of the performance space through creative blocking and/or movement appropriate to the style of each section.*English translation is adapted from The Complete Jewish Bible, (tr. Stern, used with permission) and The New King James Version (ed. Farstad).https://www.britannica.com/art/tambourine.
SKU: AP.38358
UPC: 038081430911. English.
Vaughan Williams traveled during 1903 to 1906, collecting folk songs first-hand from residents. Four of the fifteen titles he published for voice and piano in the original volume comprise Folk Songs from the Eastern Counties, including The Lost Lady Found, The Lark in the Morning, Bushes and Briars, and Ward, the Pirate. Scored for concert band exactly as they were first published, with much of the accompanying material also being drawn from RVW's harmonizations and stylistic interpretations. Experience these cherished authentic folk songs creatively complied for your concert band. (3:30) This title is available in MakeMusic Cloud.
SKU: HL.365041
ISBN 9781705135259. UPC: 840126960624. 9.0x12.0x0.359 inches.
The Strum Together series enables players of five different instruments – or any combination of them – to “strum together†on 70 great songs. This new, easy-to-use format features melody, lyrics, and chord diagrams for five popular folk instruments: standard ukulele, baritone ukulele, guitar, mandolin, and banjo. This collection includes 70 gospel/hymn favorites: Amazing Grace • Blessed Be the Name • Down by the Riverside • Great Is Thy Faithfulness • His Eye Is on the Sparrow • In the Garden • Just As I Am • Love Lifted Me • Nothing but the Blood • The Old Rugged Cross • Precious Memories • Rock of Ages • Shall We Gather at the River? • There Is a Balm in Gilead • What a Friend We Have in Jesus • When the Saints Go Marching In • and more.
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.).ÂÂ.
SKU: PR.115402080
ISBN 9781491102244. UPC: 680160597376. 9 x 12 inches.
Commissioned by and dedicated to the Mid-American Conference Band Directors Association,Wind was premiered by the Bowling Green Wind Symphony. The Chinese character pronouncedfeng can mean wind, or the winds and can also mean view, folk songs, style, and manner. Chen Yi usesa Western wind ensemble to sound the Eastern feeling of the winds in the work, which consistsof two movements: Introduction and Rondo.Wind for wind ensemble is premiered by the Bowling Green Wind Symphony, conducted by Prof. Bruce Moss, at the 31st Annual New Music Festival on Oct. 23, 2010, at the Bowling Green State University in OH.  “Windâ€, or “the winds†means “view, folk songs, style and manner†in Chinese. I used a western wind ensemble to sound the eastern feeling of the winds in my piece. Wind consists of two movements: Introduction and Rondo.—Chen Yi.
SKU: FJ.OR5017
UPC: 241444415368. English.
Explore Middle Eastern sounds with this work that combines traditional folk songs with original music. After a haunting opening, authentic Middle Eastern percussion instruments create the groove that accompanies the folk song Ala Dal'ona. As the orchestration builds, original themes are juxtaposed with existing material before an extended percussion ensemble takes center stage. The final folk song, Tafta Hindi, ultimately morphs into an ostinato over a magnificent presentation of the original theme found throughout the work. A dynamic work for symphony orchestra!
SKU: HL.50485932
ISBN 9780634082214. UPC: 073999221435. 9.0x12.0x0.115 inches. Hungarian, English, German.
In the Piano ABC the musical contents and teaching experiences of Eastern and Western Europe are combined. Thus this piano tutor can mediate musically between Eastern and Western Europe. The Piano ABC is suitable for individual learning and group instruction alike.
SKU: HL.50485933
ISBN 9780634082283. UPC: 073999859331. 9.0x12.0x0.222 inches. Hungarian, English, German.
SKU: PR.11540208F
ISBN 9781598063202. UPC: 680160597383. 9x12 inches.
A prolific composer who blends Chinese and Western traditions, Dr. Chen Yi gives us Wind for the Wind Band Select series. This work uses the Western sound of a wind ensemble to depict the Eastern feeling of the winds, or feng, in two movements: Introduction and Rondo. For advanced players. Duration: 11'.Wind for wind ensemble is premiered by the Bowling Green Wind Symphony, conducted by Prof. Bruce Moss, at the 31st Annual New Music Festival on Oct. 23, 2010, at the Bowling Green State University in OH.  “Windâ€, or “the winds†means “view, folk songs, style and manner†in Chinese. I used a western wind ensemble to sound the eastern feeling of the winds in my piece. Wind consists of two movements: Introduction and Rondo.—Chen Yi.
SKU: BT.EMBZ14064
English-German-Hungarian.
SKU: GI.G-M522
Now available on SmartMusic! The CD for Book 2 from the Do It! Play in Band series by James O. Froseth includes: • Modeling by all the artists listed below. • Professional studio backgrounds capture the rich diversity of American music culture with a repertoire of American, Latin American, African, European, and Far Eastern styles. • Music of other times, including 12th-century conductus, 15th-century Dance of the Bouffons, 16th-century French branle, 18th- and 19th-century folk songs and dances, 1940s and '50s jazz, blues, and rock-and-roll. • The repertoire and recorded contexts are motivating, informative, and entirely musical. • Every song includes text, providing information about phrasing, rhythm, style, affect, emotion, history, and culture. • A unique Rhythmic Pattern Dictionary allows students to look it up and listen up. • An individualized format allows students to progress at different rates with a theme and variation format. • Ear training and improvisation are integral parts of the lesson format. • Artist performers set musical standards in sound with more than 80 great performances on CD for every instrument, and one CD lasts for the entire book! • Performers include: Michael Henoch, Oboe (Chicago Symphony Orchestra), Randall Hawes, Jeffrey Zook, Sharon Sparrow, Kevin Good (Detroit Symphony Orchestra), Albert Blaser, Clarinet (Cleveland State University), Brian Bowman, Euphonium/Baritone (Duquesne University), Timothy McAllister (Crane School of Music, SUNY at Potsdam), Steve Houghton, Percussion (LA percussion recording artist and clinician), Donald Sinta, Richard Beene, Bryan Kennedy, Debra Chodacki, Fritz Kaenzig, Tuba (University of Michigan), Kristin Beene (Toledo Symphony Orchestra), and Jean Moorehead Libs, Trumpet (Plymouth Symphony Orchestra). This CD is for all the instruments for Book 2.
SKU: GI.G-M523
ISBN 9781579992378. English.
This major band method by James O. Froseth has it all: Artist performers set musical standards in sound with more than 80 great performances on CD for every instrument, and one CD lasts for the entire book! Performers include: Michael Henoch (Chicago Symphony Orchestra), Randall Hawes, Jeffrey Zook, Sharon Sparrow, Kevin Good (Detroit Symphony Orchestra), Albert Blaser (Cleveland State University), Brian Bowman (Duquesne University), Timothy McAllister (Crane School of Music, SUNY at Potsdam), Steve Houghton (LA percussion recording artist and clinician), Donald Sinta, Richard Beene, Bryan Kennedy, Debra Chodacki, Fritz Kaenzig (University of Michigan), Kristin Beene (Toledo Symphony Orchestra), and Jean Moorehead Libs (Plymouth Symphony Orchestra). Professional studio backgrounds capture the rich diversity of American music culture with a repertoire of American, Latin American, African, European, and Far Eastern styles. Music of other times includes 12th-century conductus, 15th-century Dance of the Bouffons, 16th-century French branle, 18th- and 19th-century folk songs and dances, 1940s and '50s jazz, blues, and rock-and-roll. The repertoire and recorded contexts are motivating, informative, and entirely musical. Every song includes text, providing information about phrasing, rhythm, style, affect, emotion, history, and culture. A unique Rhythmic Pattern Dictionary allows students to look it up and listen up. An individualized format allows students to progress at different rates with a theme and variation format. Ear training and improvisation are integral parts of the lesson format. A 550+ page Teacher's Resource edition and musical score provides options galore, including a double CD with listen and play exercises for group instruction, supplementary exercises for technical development, and resource material for improvisation and composition. All the resources needed for teaching to the National Standards for Music are provided (coordinates with rhythm flashcards). Book 2 features innovative, but optional use of world percussion instruments, as developed by percussion educator Steve Houghton. Click here to download the audio recordings for the Book 2 Teacher's Edition.
SKU: PR.11441052S
UPC: 680160015344. 8.5 x 11 inches.
Feng was commissioned by the San Francisco Citywinds with a Chamber Music America commissioning award. The world premiere was given on January 13, 1999, at St. John's Presbyterian Church in Berkeley; the New York premiere was on January 17 at St. Malachi's/The Actors' Chapel at the CMA Commissioning Showcase concert. The character feng in Chinese means wind or the winds, also view, folk songs, style and manner... I use five standard western wind instruments to sound the eastern feeling of the winds in the quintet Feng, which consists of two movements: Introduction and Rondo. The duration is about 12 minutes. --Chen Yi.
SKU: GI.G-M498
ISBN 9781579992255. English.
Now available on SmartMusic! The Alto Clarinet book and audio recordings (see below) from the Do It! Play in Band series by James O. Froseth includes: Modeling by Albert Blaser (Cleveland State Unviersity) and Deborah Chodacki (Louisiana State University). Professional studio backgrounds capture the rich diversity of American music culture with a repertoire of American, Latin American, African, European, and Far Eastern styles. Music of other times, including 12th-century conductus, 15th-century Dance of the Bouffons, 16th-century French branle, 18th- and 19th-century folk songs and dances, 1940s and '50s jazz, blues, and rock-and-roll. The repertoire and recorded contexts are motivating, informative, and entirely musical. Every song includes text, providing information about phrasing, rhythm, style, affect, emotion, history, and culture. A unique Rhythmic Pattern Dictionary allows students to look it up and listen up. An individualized format allows students to progress at different rates with a theme and variation format. Ear training and improvisation are integral parts of the lesson format. Artist performers set musical standards in sound with more than 80 great performances for every instrument! Performers include: Michael Henoch, Oboe (Chicago Symphony Orchestra), Randall Hawes, Jeffrey Zook, Sharon Sparrow, Kevin Good (Detroit Symphony Orchestra), Albert Blaser, Clarinet (Cleveland State University), Brian Bowman, Euphonium/Baritone (Duquesne University), Timothy McAllister (Crane School of Music, SUNY at Potsdam), Steve Houghton, Percussion (LA percussion recording artist and clinician), Donald Sinta, Richard Beene, Bryan Kennedy, Debra Chodacki, Fritz Kaenzig, Tuba (University of Michigan), Kristin Beene (Toledo Symphony Orchestra), and Jean Moorehead Libs, Trumpet (Plymouth Symphony Orchestra). Download the audio recordings at: giamusic.com/doit2media.
SKU: BT.DHP-0910264-160
International.
SKU: GI.G-M518
ISBN 9781579992354. English.
Now available on SmartMusic! The Tuba book and audio recordings (see below) from the Do It! Play in Band series by James O. Froseth includes: Modeling by Fritz Kaenzig (University of Michigan). Professional studio backgrounds capture the rich diversity of American music culture with a repertoire of American, Latin American, African, European, and Far Eastern styles. Music of other times, including 12th-century conductus, 15th-century Dance of the Bouffons, 16th-century French branle, 18th- and 19th-century folk songs and dances, 1940s and '50s jazz, blues, and rock-and-roll. The repertoire and recorded contexts are motivating, informative, and entirely musical. Every song includes text, providing information about phrasing, rhythm, style, affect, emotion, history, and culture. A unique Rhythmic Pattern Dictionary allows students to look it up and listen up. An individualized format allows students to progress at different rates with a theme and variation format. Ear training and improvisation are integral parts of the lesson format. Artist performers set musical standards in sound with more than 80 great performances for every instrument! Performers include: Michael Henoch, Oboe (Chicago Symphony Orchestra), Randall Hawes, Jeffrey Zook, Sharon Sparrow, Kevin Good (Detroit Symphony Orchestra), Albert Blaser, Clarinet (Cleveland State University), Brian Bowman, Euphonium/Baritone (Duquesne University), Timothy McAllister (Crane School of Music, SUNY at Potsdam), Steve Houghton, Percussion (LA percussion recording artist and clinician), Donald Sinta, Richard Beene, Bryan Kennedy, Debra Chodacki, Fritz Kaenzig, Tuba (University of Michigan), Kristin Beene (Toledo Symphony Orchestra), and Jean Moorehead Libs, Trumpet (Plymouth Symphony Orchestra). Download the audio recordings at: giamusic.com/doit2media.
SKU: GI.G-M502
ISBN 9781579992279. English.
Now available on SmartMusic! The Bassoon book and audio recordings (see below) from the Do It! Play in Band series by James O. Froseth includes: Modeling by Richard Beene (Colburn School Conservatory of Music). Professional studio backgrounds capture the rich diversity of American music culture with a repertoire of American, Latin American, African, European, and Far Eastern styles. Music of other times, including 12th-century conductus, 15th-century Dance of the Bouffons, 16th-century French branle, 18th- and 19th-century folk songs and dances, 1940s and '50s jazz, blues, and rock-and-roll. The repertoire and recorded contexts are motivating, informative, and entirely musical. Every song includes text, providing information about phrasing, rhythm, style, affect, emotion, history, and culture. A unique Rhythmic Pattern Dictionary allows students to look it up and listen up. An individualized format allows students to progress at different rates with a theme and variation format. Ear training and improvisation are integral parts of the lesson format. Artist performers set musical standards in sound with more than 80 great performances for every instrument! Performers include: Michael Henoch, Oboe (Chicago Symphony Orchestra), Randall Hawes, Jeffrey Zook, Sharon Sparrow, Kevin Good (Detroit Symphony Orchestra), Albert Blaser, Clarinet (Cleveland State University), Brian Bowman, Euphonium/Baritone (Duquesne University), Timothy McAllister (Crane School of Music, SUNY at Potsdam), Steve Houghton, Percussion (LA percussion recording artist and clinician), Donald Sinta, Richard Beene, Bryan Kennedy, Debra Chodacki, Fritz Kaenzig, Tuba (University of Michigan), Kristin Beene (Toledo Symphony Orchestra), and Jean Moorehead Libs, Trumpet (Plymouth Symphony Orchestra). Download the audio recordings at: giamusic.com/doit2media.