Format : Score and Parts
SKU: AP.48207S
ISBN 9781470654771. UPC: 038081559018. English.
The newest installment of the At the Movies series showcases selections from IT, Saw, Scream, and Halloween. With shocking twists and turns throughout the duration of the piece, it is certainly recommended that audiences create a film from their own imaginations! Suitable all year but perfect for Halloween. Lock the doors and leave the lights on for this classic fright night! (5:30).
SKU: AP.48207
ISBN 9781470654764. UPC: 038081559001. English.
SKU: HL.14028052
ISBN 9788759870853.
Ruders writes: NIGHTSHADE is an instrumental dark-room, a grave-yard of low-pitched, tight-knitted, crawling chords sliced asunder by the cold extremely high positioned movements of the oboe and violin in particular: tones sustained to near-immobility and then scared into startling velocity, like geckoes on a Southern garden wall. Shades in the night are pale and gloomy phenomenons to behold; treacherous beauties in the mighty realm of invisibility and blackness. Belladonna (beautiful lady) is the morbid christening of that fearsome variety of flora: the deadly nightshade. The piece is, on one hand, a study in extreme sonorities; the infrequently used contrabass clarinet is being employed along with the contra-bassoon, forming the ultra-low foundation of the score and the bottom-register of the French horn and the trombone is set against the serene clarity of high violin and oboe. On the other hand, the piece is a tone-poem of sorts, on the various associations as they form within the mind of the individual listener when confronted with the very word NIGHTSHADE. Personally, I come to think of pale moonlight, tombstones, the compelling as well as frightening spell of a dark forest. A Study in black the piece has been called.
SKU: FJ.FJH2311
ISBN 9781619282223. UPC: 241444387412. English.
Book 2 packs a punch with nine original solos that are fun to practice, play and perform! Students will want to play every piece in this interesting and varied collection.
SKU: AP.1-ADV17051
UPC: 805095170511. English.
This is a fun blues to play. The opening vamp can be repeated any number of times. However it's important to create a freaky, frightful atmosphere by using sparse and scary effects in the introduction.
SKU: HL.50600899
ISBN 9790080149478. 10.25x14.25x0.337 inches. Laszlo Tihanyi.
The work was commissioned by the Budapest Strings and received its first performance on March 21, 2015, where it was conducted by the composer. It is not an orchestral piece per se, but a chamber work for an ensemble of 15 string soloists in which players divide into groups of five and sound at structurally important moments. It also features various high-pitched, tinkling percussion instruments, including: bells, wind chimes and crotales. This lends a special tinge to the night music character of the piece implied by the line from William Blake chosen as the title. The percussion play a far more essential role than one might imagine based off of the relatively few notes that they play. Their soundings both advance and impede the musical processes taking place in the strings so much so that in some places the string sound appears to be accompanying the tinkling sounds. Due to all these factors, Tihanyi's night becomes mysterious and even frightening, but never gloomy. (Janos Malina).
SKU: AP.50995S
ISBN 9781470665296. UPC: 038081583525. English.
Experience the paranormal in this spine-tingling work by Timothy Loest that includes spooky sound effects, unexplained noises that interrupt frightful melodies, and even a hint of Mussorgsky's Night on Bald Mountain. Pranks of the Pesky Poltergeist is destined to be the hit of your fall or spring concert. Simply suspenseful, yet delightfully dreadful! (1:45).
SKU: AP.50995
ISBN 9781470665289. UPC: 038081583518. English.
SKU: PR.16500103F
ISBN 9781491131763. UPC: 680160680290.
Ever since the success of my series of wind ensemble works Places in the West, I've been wanting to write a companion piece for national parks on the other side of the north American continent. The earlier work, consisting of GLACIER, THE YELLOWSTONE FIRES, ARCHES, and ZION, spanned some twenty years of my composing life, and since the pieces called for differing groups of instruments, and were in slightly different styles from each other, I never considered them to be connected except in their subject matter. In their depiction of both the scenery and the human history within these wondrous places, they had a common goal: awaking the listener to the fragile beauty that is in them; and calling attention to the ever more crucial need for preservation and protection of these wild places, unique in all the world. With this new work, commissioned by a consortium of college and conservatory wind ensembles led by the University of Georgia, I decided to build upon that same model---but to solidify the process. The result, consisting of three movements (each named for a different national park in the eastern US), is a bona-fide symphony. While the three pieces could be performed separately, they share a musical theme---and also a common style and instrumentation. It is a true symphony, in that the first movement is long and expository, the second is a rather tightly structured scherzo-with-trio, and the finale is a true culmination of the whole. The first movement, Everglades, was the original inspiration for the entire symphony. Conceived over the course of two trips to that astonishing place (which the native Americans called River of Grass, the subtitle of this movement), this movement not only conveys a sense of the humid, lush, and even frightening scenery there---but also an overview of the entire settling-of- Florida experience. It contains not one, but two native American chants, and also presents a view of the staggering influence of modern man on this fragile part of the world. Beginning with a slow unfolding marked Heavy, humid, the music soon presents a gentle, lyrical theme in the solo alto saxophone. This theme, which goes through three expansive phrases with breaks in between, will appear in all three movements of the symphony. After the mood has been established, the music opens up to a rich, warm setting of a Cherokee morning song, with the simple happiness that this part of Florida must have had prior to the nineteenth century. This music, enveloping and comforting, gradually gives way to a more frenetic, driven section representative of the intrusion of the white man. Since Florida was populated and developed largely due to the introduction of a train system, there's a suggestion of the mechanized iron horse driving straight into the heartland. At that point, the native Americans become considerably less gentle, and a second chant seems to stand in the way of the intruder; a kind of warning song. The second part of this movement shows us the great swampy center of the peninsula, with its wildlife both in and out of the water. A new theme appears, sad but noble, suggesting that this land is precious and must be protected by all the people who inhabit it. At length, the morning song reappears in all its splendor, until the sunset---with one last iteration of the warning song in the solo piccolo. Functioning as a scherzo, the second movement, Great Smoky Mountains, describes not just that huge park itself, but one brave soul's attempt to climb a mountain there. It begins with three iterations of the UR-theme (which began the first movement as well), but this time as up-tempo brass fanfares in octaves. Each time it begins again, the theme is a little slower and less confident than the previous time---almost as though the hiker were becoming aware of the daunting mountain before him. But then, a steady, quick-pulsed ostinato appears, in a constantly shifting meter system of 2/4- 3/4 in alteration, and the hike has begun. Over this, a slower new melody appears, as the trek up the mountain progresses. It's a big mountain, and the ascent seems to take quite awhile, with little breaks in the hiker's stride, until at length he simply must stop and rest. An oboe solo, over several free cadenza-like measures, allows us (and our friend the hiker) to catch our breath, and also to view in the distance the rocky peak before us. The goal is somehow even more daunting than at first, being closer and thus more frighteningly steep. When we do push off again, it's at a slower pace, and with more careful attention to our footholds as we trek over broken rocks. Tantalizing little views of the valley at every switchback make our determination even stronger. Finally, we burst through a stand of pines and----we're at the summit! The immensity of the view is overwhelming, and ultimately humbling. A brief coda, while we sit dazed on the rocks, ends the movement in a feeling of triumph. The final movement, Acadia, is also about a trip. In the summer of 2014, I took a sailing trip with a dear friend from North Haven, Maine, to the southern coast of Mt. Desert Island in Acadia National Park. The experience left me both exuberant and exhausted, with an appreciation for the ocean that I hadn't had previously. The approach to Acadia National Park by water, too, was thrilling: like the difference between climbing a mountain on foot with riding up on a ski-lift, I felt I'd earned the right to be there. The music for this movement is entirely based on the opening UR-theme. There's a sense of the water and the mysterious, quiet deep from the very beginning, with seagulls and bell buoys setting the scene. As we leave the harbor, the theme (in a canon between solo euphonium and tuba) almost seems as if large subaquatic animals are observing our departure. There are three themes (call them A, B and C) in this seafaring journey---but they are all based on the UR theme, in its original form with octaves displaced, in an upside-down form, and in a backwards version as well. (The ocean, while appearing to be unchanging, is always changing.) We move out into the main channel (A), passing several islands (B), until we reach the long draw that parallels the coastline called Eggemoggin Reach, and a sudden burst of new speed (C). Things suddenly stop, as if the wind had died, and we have a vision: is that really Mt. Desert Island we can see off the port bow, vaguely in the distance? A chorale of saxophones seems to suggest that. We push off anew as the chorale ends, and go through all three themes again---but in different instrumentations, and different keys. At the final tack-turn, there it is, for real: Mt. Desert Island, big as life. We've made it. As we pull into the harbor, where we'll secure the boat for the night, there's a feeling of achievement. Our whale and dolphin friends return, and we end our journey with gratitude and celebration. I am profoundly grateful to Jaclyn Hartenberger, Professor of Conducting at the University of Georgia, for leading the consortium which provided the commissioning of this work.
SKU: PR.16500102F
ISBN 9781491131749. UPC: 680160680276.