Format : Sheet music + CD
SKU: GI.G-J305
ISBN 9781579994369. English.
A revision of this beginning band series makes Jump Right In easier to use and more musical than ever before! Includes high-quality CDs of folk songs that: • Comprise many styles, tonalities, and meters • Span many cultures and many centuries • Are ideal for listening and playing along Features performances by some of the world’s greatest performers: • Artist faculty members from Eastman School of Music • Members of Rochester Philharmonic Orchestra • Rhythm and Brass Helps develop musicianship beyond instrumental classroom with: • Progress from sound to sight in logical, common sense sequence • Opportunities for improvisation from early stages of instruction • Tools to help students learn to read and write with better comprehension • Arrangements of familiar songs in each book Sequential and proven materials are: • Designed specifically to attend to individual differences • Based on current experimental and practical research • Based on the music learning theories of Edwin E. Gordon • Relevant to National Standards and include suggestions for measurement and evaluation Extensive Teacher’s Guide: • Contains lesson plans • Includes teaching procedures • May be used independently or in conjunction with Jump Right In: The Music Curriculum and Developing Musicianship through Improvisation.
SKU: M7.AHW-2054
English.
Read below what Roger Smith had to say about completing this momumental work from the manuscripts of Ernest Williams. We are all thankful for his hard work: 'The Ernest S. Williams Modern Method for Trumpet or Cornet is generally recognized by teachers and students alike as the finest and most complete ' School ' for Trumpet and Cornett hat has ever been written. Both the technical and the musical aspects of these volumes reflect the genius of Dr. Williams as a musician, and as a teacher.' 'I was privileged to study both Trombone and Baritone with Dr. Williams, in fact he was my only teacher on either instrument. After graduation from the Ernest Williams School of Music, I became a member of the faculty, and assisted Dr. Williams with the teaching of Brasses, under his direct guidance, and using this material. Dr. Williams commenced the revision of the books at that time for Trombone and Baritone, a task which he was never to complete. This revision, based largely on his manuscripts, is the result of my training as his pupil and assistant, and of my experience as teacher of Trombone at the Juilliard School of Music.' 'The principal problems were two; proper introduction of the positions on the trombone, which are more difficul to learn than the valve combinations on Baritone or Trumpet, and the contrasting techniques of legato and slur on the two instruments. For these reasons some chapters of the book have been revised considerably, and some new material added from time to time.' If you do not know this book, you have to take a look.
SKU: PE.EP68777A
ISBN 9790300762456.
Only in Sleep is a nostalgic vision of childhood re-experienced through dreams. Eriks Eenvalds has created a work of subtlety, yet powerful and expressive. The music has an incandescent freshness and the Flugel Horn soloist heard at the opening returns at the close, lost in reverie, whilst florid arabesques float over one last pair of chordal oscillations, winding down to nothing. This brilliant arrangement for brass band has become every bit as popular as the original choral setting.
Orchestration:
1 Eb Soprano Cornet, 4 Bb Solo Cornet, 1 Bb Repiano Cornet, 2 2nd Bb Cornet, 2 3rd Bb Cornet, 1 Bb Flugel Horn, 1 Solo Eb Horn, 1 1st Eb Horn, 1 2nd Eb Horn, 1 1st Bb Baritone, 1 2nd Bb Baritone, 1 1st Bb Trombone, 1 2nd Bb Trombone, 1 Bass Trombone, 2 Bb Euphoniums, 2 Eb Basses, 2 B Basses, Timpani, 1 Percussion (suspended cymbal)
SKU: PE.EP68777
ISBN 9790300762418.
SKU: CF.BPS150
ISBN 9781491163467. UPC: 680160922253.
Rehearsal Suggestions:Sunrise March is so named for the opening motive, which quickly ascends like the rising sun. Playable at the end of the first year of instruction, the march offers several teaching tools: independent parts playing in imitation or call and response, dynamic markings, staccato and accent markings, and limited accidentals. Every group gets the melody at some point. This would make a great selection for the end of year concert (especially a demonstration-style concert), or for taking to an adjudicated festival. This prepares students for more traditional full-length concert marches. Keep that in mind when rehearsing.Make sure students observe the articulation and dynamic markings in mm. 6 and 7. Notice the slurs over the 4-3 suspension in m. 10. Where optional divisi is marked in the low brass or reed voices, the division is preferred, but if necessary, play only the lower notes. Pay careful attention to balance at m. 23. The melody is always the most important.Note the accidentals in mm. 29 and 30. This is a great place to reinforce accidentals through repeated notes. After m. 31, note that the melody is fractured, and students will need to count multi-rests and know where the melody is. Focus on a full sound from m. 47 to the end. The stinger note in the low voices at the end should be played for its full value and release with a vowel sound, not the tongue!
SKU: CF.BPS150F
ISBN 9781491163863. UPC: 680160922659.
SKU: CF.YPS228
ISBN 9781491157961. UPC: 680160916566. 9 x 12 inches.
Ninja is a Grade 2 piece playable by any young band, due to extensive doublings throughout. The mood of the piece is mysterious, reflecting the image of ninjas being seen one moment and gone the next. Flute 3 is not essential as it doubles the oboes, but is useful in case you have a lot of flutes or due to a limited number of oboes. If you donat have a bass clarinet, baritone saxophone or bassoons, those parts are covered in the low brass. The timpani part is optional, and the piece wonat suffer if you donat have access to that percussion. The optional F-chime and gong only play in the final measure of the piece. While adding a notable effect at the end, those instruments wonat be missed if you donat have them available. The tom-tom part can be played on a snare drum with the snares off or may be played on a tenor drum. Care should be taken that accented notes are emphasized, but never become ponderous. The half notes at the beginning of the piece should not be accented. The theme is introduced in the first twelve measures, and at m. 13 many of the instruments trade the melody for half notes and vice-versa. Be careful that the percussion section never becomes overpowering. At m. 25, care should be taken that there is quite a volume difference between ff and mp. Think of this representing the ninjas being seen one moment and being hidden the next. The double staccato figures at m. 33 should not be accented. Trumpets and trombones at m. 37 should not be overly legato, but certainly shouldnat be treated as staccatos. Being aware of not accenting notes that donat have accents will make the accents at m. 49 more dramatic. Please note that the legato notes at mm. 58 and 60 are not to be accented.Ninja is a Grade 2 piece playable by any young band, due to extensive doublings throughout. The mood of the piece is mysterious, reflecting the image of ninjas being seen one moment and gone the next. Flute 3 is not essential as it doubles the oboes, but is useful in case you have a lot of flutes or due to a limited number of oboes. If you don't have a bass clarinet, baritone saxophone or bassoons, those parts are covered in the low brass. The timpani part is optional, and the piece won't suffer if you don't have access to that percussion. The optional F-chime and gong only play in the final measure of the piece. While adding a notable effect at the end, those instruments won't be missed if you don't have them available. The tom-tom part can be played on a snare drum with the snares off or may be played on a tenor drum. Care should be taken that accented notes are emphasized, but never become ponderous. The half notes at the beginning of the piece should not be accented. The theme is introduced in the first twelve measures, and at m. 13 many of the instruments trade the melody for half notes and vice-versa. Be careful that the percussion section never becomes overpowering. At m. 25, care should be taken that there is quite a volume difference between ff and mp. Think of this representing the ninjas being seen one moment and being hidden the next. The double staccato figures at m. 33 should not be accented. Trumpets and trombones at m. 37 should not be overly legato, but certainly shouldn't be treated as staccatos. Being aware of not accenting notes that don't have accents will make the accents at m. 49 more dramatic. Please note that the legato notes at mm. 58 and 60 are not to be accented.Ninja is a Grade 2 piece playable by any young band, due to extensive doublings throughout. The mood of the piece is mysterious, reflecting the image of ninjas being seen one moment and gone the next.Flute 3 is not essential as it doubles the oboes, but is useful in case you have a lot of flutes or due to a limited number of oboes. If you don’t have a bass clarinet, baritone saxophone or bassoons, those parts are covered in the low brass. The timpani part is optional, and the piece won’t suffer if you don’t have access to that percussion. The optional F-chime and gong only play in the final measure of the piece. While adding a notable effect at the end, those instruments won’t be missed if you don’t have them available. The tom-tom part can be played on a snare drum with the snares off or may be played on a tenor drum.Care should be taken that accented notes are emphasized, but never become ponderous. The half notes at the beginning of the piece should not be accented. The theme is introduced in the first twelve measures, and at m. 13 many of the instruments trade the melody for half notes and vice-versa. Be careful that the percussion section never becomes overpowering.At m. 25, care should be taken that there is quite a volume difference between ff and mp. Think of this representing the ninjas being seen one moment and being hidden the next. The double staccato figures at m. 33 should not be accented. Trumpets and trombones at m. 37 should not be overly legato, but certainly shouldn’t be treated as staccatos. Being aware of not accenting notes that don’t have accents will make the accents at m. 49 more dramatic. Please note that the legato notes at mm. 58 and 60 are not to be accented.
SKU: CF.YPS228F
ISBN 9781491157978. UPC: 680160916573. 9 x 12 inches.
SKU: HL.49046544
ISBN 9781705122655. UPC: 842819108726. 9.0x12.0x0.224 inches.
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. The markings of the movements are the following: 1. Vivace molto ritmico e preciso 2. Lento e deserto 3. Vivace cantabile 4. Allegro risoluto 5. Presto luminoso.The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale; my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. In the Piano Concerto I realized new concepts of harmony and rhythm. The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time 'rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form; later in the fourth movement it will be considerably developed. The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement; however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly; they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales; in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting; illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated; the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus; indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. (Gyorgy Ligeti).
SKU: CF.BPS137F
ISBN 9781491158494. UPC: 680160917099. 9 x 12 inches.
Fanfare and Jubilation is a Grade 1 work that is playable by any beginning band with any instrumentation due to extensive doubling. The mood is regal and optimistic and is non-programmatic, conveying no picturesque image or storyline. It is appropriate for any occasion. Accents are to be emphasized more than non-accented notes, but are not to be hammered hard. Stress that accented notes are to be played with the same good tone as the other notes and that pitches should not suffer from the additional emphasis. Think of the accents as more of an additional emphasis from the air column and not the tongue. Percussion accents are to played with more emphasis than non-accented notes, but shouldnat be perceived as being much louder. Timpani is only two pitches and is optional. The piece will not suffer at all if you donat have access to Timpani or a timpanist. Bells cover a wide rangea|the lower octave sections should not be played louder just because theyare low pitched, as those notes will still be appropriately heard while supporting the melody. Do not use brass mallets. Balter 10 Phenolic mallets or equivalent (such as clear Balter Lexan or white Medium Hard Poly models) are most appropriate. Think of the m. 10 accented quarter notes tied to the half notes (and similar later examples) as being akin to Horn rips in a Hollywood movie. They are to be emphasized slightly but should not be blaring. Even though they are the only things happening on counts 2 and 3, care must be given that the young players donat get carried away and give them more emphasis than is musically desired. At m. 21, be careful that the bass line isnat plodding or over-emphasized due to the accents. Those players should be aware of the sudden drop in volume and lack of accents at m. 25. Attention to sudden dynamic shifts will add interest to the piece and present a more musical performance. Throughout this entire section, try to get all winds to sustain a single breath through four bars until the breath marks. If they are unable to do so, please explain the concept of staggered breathing between members of their section. There may be a tendency among the players to blast out m. 57 to the end. Notes should have more power than the section from mm. 21-56, but are still to be approached musically. Explaining such concepts during their early musical development will go far in helping them develop good traits that will pay off dividends in the future.Fanfare and Jubilation is a Grade 1 work that is playable by any beginning band with any instrumentation due to extensive doubling. The mood is regal and optimistic and is non-programmatic, conveying no picturesque image or storyline. It is appropriate for any occasion. Accents are to be emphasized more than non-accented notes, but are not to be hammered hard. Stress that accented notes are to be played with the same good tone as the other notes and that pitches should not suffer from the additional emphasis. Think of the accents as more of an additional emphasis from the air column and not the tongue. Percussion accents are to played with more emphasis than non-accented notes, but shouldn't be perceived as being much louder. Timpani is only two pitches and is optional. The piece will not suffer at all if you don't have access to Timpani or a timpanist. Bells cover a wide range...the lower octave sections should not be played louder just because they're low pitched, as those notes will still be appropriately heard while supporting the melody. Do not use brass mallets. Balter 10 Phenolic mallets or equivalent (such as clear Balter Lexan or white Medium Hard Poly models) are most appropriate. Think of the m. 10 accented quarter notes tied to the half notes (and similar later examples) as being akin to Horn rips in a Hollywood movie. They are to be emphasized slightly but should not be blaring. Even though they are the only things happening on counts 2 and 3, care must be given that the young players don't get carried away and give them more emphasis than is musically desired. At m. 21, be careful that the bass line isn't plodding or over-emphasized due to the accents. Those players should be aware of the sudden drop in volume and lack of accents at m. 25. Attention to sudden dynamic shifts will add interest to the piece and present a more musical performance. Throughout this entire section, try to get all winds to sustain a single breath through four bars until the breath marks. If they are unable to do so, please explain the concept of staggered breathing between members of their section. There may be a tendency among the players to blast out m. 57 to the end. Notes should have more power than the section from mm. 21-56, but are still to be approached musically. Explaining such concepts during their early musical development will go far in helping them develop good traits that will pay off dividends in the future.Fanfare and Jubilation is a Grade 1 work that is playable by any beginning band with any instrumentation due to extensive doubling. The mood is regal and optimistic and is non-programmatic, conveying no picturesque image or storyline. It is appropriate for any occasion.Accents are to be emphasized more than non-accented notes, but are not to be hammered hard. Stress that accented notes are to be played with the same good tone as the other notes and that pitches should not suffer from the additional emphasis. Think of the accents as more of an additional emphasis from the air column and not the tongue.Percussion accents are to played with more emphasis than non-accented notes, but shouldn’t be perceived as being much louder. Timpani is only two pitches and is optional. The piece will not suffer at all if you don’t have access to Timpani or a timpanist. Bells cover a wide range…the lower octave sections should not be played louder just because they’re low pitched, as those notes will still be appropriately heard while supporting the melody. Do not use brass mallets. Balter 10 Phenolic mallets or equivalent (such as clear Balter Lexan or white Medium Hard Poly models) are most appropriate.Think of the m. 10 accented quarter notes tied to the half notes (and similar later examples) as being akin to Horn rips in a Hollywood movie. They are to be emphasized slightly but should not be blaring. Even though they are the only things happening on counts 2 and 3, care must be given that the young players don’t get carried away and give them more emphasis than is musically desired.At m. 21, be careful that the bass line isn’t plodding or over-emphasized due to the accents. Those players should be aware of the sudden drop in volume and lack of accents at m. 25. Attention to sudden dynamic shifts will add interest to the piece and present a more musical performance. Throughout this entire section, try to get all winds to sustain a single breath through four bars until the breath marks. If they are unable to do so, please explain the concept of staggered breathing between members of their section.There may be a tendency among the players to blast out m. 57 to the end. Notes should have more power than the section from mm. 21-56, but are still to be approached musically. Explaining such concepts during their early musical development will go far in helping them develop good traits that will pay off dividends in the future.
SKU: CF.BPS137
ISBN 9781491158487. UPC: 680160917082. 9 x 12 inches.
SKU: CF.YPS255
ISBN 9781491161531. UPC: 680160920181.
This programmatic work depicts our superhero Daring Dog, as he goes on a journey to conquer the villain. Daring Dog is a superhero, only... not everyone knows it yet. We meet Daring Dog and his sidekick at m. 15 in the beginning section. At m. 24, we hear as his mother gives him a stern lecture to stop messing around and be more serious. Daring Dog tries to explain how he has saved the world numerous times at m. 32. At m. 42, he decides he must do what is necessary to defeat the villain, despite what his mother thinks, and begins planning. At m. 52, we can hear him running in the snare drum, and the villain approaches. Barking and growling (flutter tongue in flute, and growling in brass), at m.78 the fight is on. Measure 82 reveals a huge terrible monster, and Daring Dog is terrified. He sticks out his sword with his eyes closed, and *POOF!* the monster evaporates. (It was probably imaginary the whole time.) The end section is a triumphant celebration that Daring Dog has, indeed, saved the world again! Daring Dog is a fun piece for all ages! Difficult enough to be a wonderful recruitment piece, and easy enough to be playable by young bands, this piece can truly span all levels. Actors might also depict the story while the band plays for even more fun.  .This programmatic work depicts our superhero Daring Dog, as he goes on a journey to conquer the villain. Daring Dog is a superhero, only... not everyone knows it yet. We meet Daring Dog and his sidekick at m. 15 in the beginning section. At m. 24, we hear as his mother gives him a stern lecture to stop messing around and be more serious. Daring Dog tries to explain how he has saved the world numerous times at m. 32. At m. 42, he decides he must do what is necessary to defeat the villain, despite what his mother thinks, and begins planning. At m. 52, we can hear him running in the snare drum, and the villain approaches. Barking and growling (flutter tongue in flute, and growling in brass), at m.78 the fight is on. Measure 82 reveals a huge terrible monster, and Daring Dog is terrified. He sticks out his sword with his eyes closed, and *POOF!* the monster evaporates. (It was probably imaginary the whole time.) The end section is a triumphant celebration that Daring Dog has, indeed, saved the world again!Daring Dog is a fun piece for all ages! Difficult enough to be a wonderful recruitment piece, and easy enough to be playable by young bands, this piece can truly span all levels. Actors might also depict the story while the band plays for even more fun. .
SKU: CF.SPS94
ISBN 9781491161449. UPC: 680160920037.
On November 5th, 2017, a mass shooting took place at the First Baptist Church in Sutherland Springs, Texas. Twenty-six innocent people lost their lives that day, including an unborn child. Overture to a Small Town is dedicated to these victims and the loved ones they left behind. From the biggest cities to the smallest towns, the senseless bloodshed must end. Despite the darkness of this tragedy, it is my intent through this music to portray a sense of hope, dignity, and innocence deserved by all America's cities and towns. The opening moments of this piece should be treated delicately, ensuring that the brass section moves together in one unified voice, and that the crotales evoke distant flickers of light. Similarly, in mm. 120-127, articulations in the flutes, trumpets and mallets should be strong enough to be heard, but without being aggressive. The textural layering in mm. 48-53 should be executed with machine-like precision of both rhythm and articulation. This passage should evoke the sound of many voices rising together. There should be a great contrast between the opening Piano dynamic and the final Forte dynamic. In mm. 65-69, both mallet percussionists may play the indicated notes in any octave they choose. Both players should move rapidly between notes in any order. This passage should sound fluid and ethereal. In mm. 69-73: If there is no English Horn available to the ensemble, the Trumpet should play this passage solo. If there is an English Horn, both instruments should play the passage together. This impressionistic composition about these vanished structures, although written for more advanced ensembles, has only one flute, clarinet, trumpet, horn and trombone part. As a result, smaller bands can play this composition without having to look for a flex-band arrangement. Use this to develop the essential skills of syncopation and counting while also offering the security of only having one part for each instrument voice. An exciting contrasting selection for bands looking for a harmonically interesting composition, this also works well as a contest selection.  .On November 5th, 2017, a mass shooting took place at the First Baptist Church in Sutherland Springs, Texas. Twenty-six innocent people lost their lives that day, including an unborn child. Overture to a Small Town is dedicated to these victims and the loved ones they left behind. From the biggest cities to the smallest towns, the senseless bloodshed must end. Despite the darkness of this tragedy, it is my intent through this music to portray a sense of hope, dignity, and innocence deserved by all America’s cities and towns. The opening moments of this piece should be treated delicately, ensuring that the brass section moves together in one unified voice, and that the crotales evoke distant flickers of light. Similarly, in mm. 120-127, articulations in the flutes, trumpets and mallets should be strong enough to be heard, but without being aggressive. The textural layering in mm. 48-53 should be executed with machine-like precision of both rhythm and articulation. This passage should evoke the sound of many voices rising together. There should be a great contrast between the opening Piano dynamic and the final Forte dynamic. In mm. 65-69, both mallet percussionists may play the indicated notes in any octave they choose. Both players should move rapidly between notes in any order. This passage should sound fluid and ethereal. In mm. 69-73: If there is no English Horn available to the ensemble, the Trumpet should play this passage solo. If there is an English Horn, both instruments should play the passage together.This impressionistic composition about these vanished structures, although written for more advanced ensembles, has only one flute, clarinet, trumpet, horn and trombone part. As a result, smaller bands can play this composition without having to look for a flex-band arrangement. Use this to develop the essential skills of syncopation and counting while also offering the security of only having one part for each instrument voice. An exciting contrasting selection for bands looking for a harmonically interesting composition, this also works well as a contest selection. .
SKU: BT.DHP-1043546-140
Claudio Monteverdi composed this toccata as an instrumental introduction for the opera L’Orfeo (1607). According to the composer, this introduction should be played three times before the rising of the curtain. This is actually the first overture in the history of opera.)The story of Orfeo, who enchanted nature with his music, is tragic, as he loses his beloved Eurydice and decides to retrieve her from the underworld. On their return journey, one glance back at her is fatal: he loses her for the second time.)This arrangement for wind band is very suitable as a concert opener. The toccata is played three times just like the original. The first time it is played by a quintetconsisting of two trumpets and three trombones.)Various ways of performing this toccata are possible. The tension builds up more intensely if the quintet starts off stage. Eventually, these five players join the band, after which the tutti version follows two times. You can also have the brass play from the gallery during the second or third time for a double choir effect. Claudio Monteverdi componeerde deze toccata als instrumentale inleiding tot de opera L’Orfeo (1607). Dit arrangement voor harmonieorkest is dan ook heel geschikt als openingswerk. De toccata wordt drie keer gespeeld, de eerste keer door een kwintet van twee trompetten en drie trombones. De opbouw van de spanning is intenser als het kwintet in de coulissen of achter het podium begint. Vervolgens voegen deze vijf muzikanten zich bij de rest van het orkest, waarna de tutti-versie nog twee keer klinkt.Claudio Monteverdi schrieb diese Toccata als instrumentales Vorspiel zur Oper l'Orfeo. Sie sollte drei Mal vor der Hebung des Vorhangs gespielt werden. Damit hatte er tatsächlich die erste Ouvertüre der Operngeschichte geschaffen! Wie im Original, wird auch in dieser Bearbeitung die Toccata drei Mal gespielt: zunächst von einem Trompeten- und Posaunenquintett, dann zwei Mal vom gesamten Blasorchester. Ein ideales Eröffnungswerk!Claudio Monteverdi (1567-1643) a composé cette toccata instrumentale pour l’ouverture de son opéra tragique L’Orfeo (1607). Selon le souhait du compositeur, cette pièce d’introduction doit être jouée trois fois rideau baissé. Ce faisant, Monteverdi a composé la première ouverture dans l’histoire de l’opéra. Cet arrangement pour Orchestre d’Harmonie est idéal pour débuter un concert. Fidèle la version originale, la Toccata est interprétée trois fois dont la première par un quintette composé de trois trombones et de deux trompettes.Claudio Monteverdi (1567-1643) compose questa Toccata strumentale per l’ouverture dell’opera tragica L’Orfeo (1607). Il compositore desiderava che questo brano di apertura fosse eseguito tre volte a sipario chiuso. Così facendo, compose la prima ouverture nella storia dell’opera. Questo arrangiamento per banda è ideale per iniziare un concerto. Fedele alla versione originale, la Toccata è interpretata tre volte, di cui la prima dal quintetto composto da tre tromboni e due trombe.
SKU: PE.EP14445
ISBN 9790014135041. 297 x 420 mm inches. German.
ARKA stammt aus dem Sanskrit und bedeutet so viel wie Strahl, Blitz, Sonne, Licht, aber auch Lied, Feuer und Hymnus, und entwickelt in meiner Vorstellung sehr viele unterschiedliche Assoziationsfelder. In ARKA stecken auch die Worter arc (beten) und ka (Wasser), und es kann auch ubersetzt werden mit: ,,Das Wasser stromt aus dem heraus, der mehr weiss.
Mein neues Werk fur Pipa, Oboe, Pauke, Schlagzeug und Orchester entstand im Auftrag der Kammerakademie Neuss und auf Anregung des Oboisten Christian Wetzel. Es entstanden drei Rituale mit zum Teil szenischen Elementen fur die Solisten und das Orchester.
Inspirationsquelle in der Vorbeschaftigung waren zwei Quellen und Bucher. Das Daodejing von Laozi in der hervorragenden Neuubersetzung von Viktor Kalinke, eine der wichtigsten Quellen chinesischen Denkens und der Philosophie dieser grossen Kulturtradition und die chinesische Tradition der 5-Elementelehre und der Wandlungsphasen. Als zweites Buch hat mich ,,Die Glut von Roberto Calasso inspiriert, ein Buch uber die indischen Veden in Verbindung mit den Ursprungen des Buddhismus und den damit verbunden Ritualen.
In den letzten 20 Jahren habe ich mich intensiv mit ostasiatischer Musik, Kunst und Philosophie beschaftigt und habe das auch durch langere Studienreisen und kompositorische Projekte vertiefen konnen. U.a. wurde 2012 mein Chorwerk PRAN in Kolkata in Indien uraufgefuhrt (Goethe-Institut), ebenfalls 2012 ,,in between VI fur Sho und Sheng in Tokyo und 2013 ,,Mirror and Circle fur Pipa, Cello und chinesisches Orchester in Taipeh/Taiwan (Auftragswerk der taiwanesischen Regierung). Mit der chinesischen Pipa-Virtuosin Ya Dong arbeite ich seit 2000 zusammen und habe fur sie mehrfach komponiert (Urauffuhrungen u.a. in Hannover/EXPO 2000, Rottweil 2001, Taipeh 2013, Magdeburg 2016). Auch mit Christian Wetzel arbeite ich seit uber 20 Jahren zusammen und habe ebenfalls haufig fur ihn komponiert (UA u.a. in Bonn 1999, Hannover/EXPO 2000, Rottweil 2001, Darmstadt 2004 und etliche weitere Projekte).
Jedes dieser drei Rituale hat eine Lange von ca. 6-7 Minuten und stellt unterschiedliche Qualitaten und Besonderheiten der beiden Soloinstrumente heraus, immer in Verbindung mit der Interaktion zwischen Soli und Orchester. Die Besetzung war fur mich ausserst reizvoll, da beide Instrumente in dieser Kombination noch nie so erklungen sind. Die Pipa ist ein ungemein modernes und ungewohnliches Instrument, reich an Farben und vor allem an perkussiven Effekten. Das Tonmaterial wurde zum grossten Teil aus den Namen der beiden Solisten gewonnen und ergibt interessanter zwei gespiegelte Viertonmotive. In der asiatischen Kultur spielen der Spiegel und der Kreis eine wichtige Rolle, und so werden die Tone, Rhythmen und Formen eingewoben in diese drei Rituale, welche am Ende des dritten Satzes wieder kreisformig an den Anfang des ersten Rituals anknupfen. Ein von den Streichern und der Pauke erzeugtes Gerausch, verbunden mit dem Rhythmus der grossen Trommel, welcher einen Herzschlag symbolisieren soll. Die drei Untertitel der Rituale Himmel, Erde und (atmospharischer) Raum spielen im vedischen und chinesischen Denken eine grosse Rolle und war fur mich beim Komponieren ebenfalls eine sehr starke Inspirationsquelle. In vielen meiner Kompositionen gibt es Raumeffekte, Annaherungen an das Publikum, das Verschieben von Perspektiven, die Dekonstruktion und das Hinterfragen der ublichen Konzertsituation, so u.a in meinem Beuys-Zyklus oder in den Zyklen ,,CUT und ,,in between.
In ARKA geht es mir besonders um die Interaktion zwischen westlichem und ostlichem Denken, um das gegenseitige Durchdringen dieser auf den ersten Blick so unterschiedlichen Denk- und Lebensweisen, um eine Verschmelzung scheinbarer Gegensatze - um Annaherung!
Bernd Franke. Leipzig, 11.10.2019
for low voice and piano This beautiful collection of 14 songs for low voice offers Christmas settings by some of Oxford's best-loved composers. Suitable for solo singers and unison choirs alike, each song is presented with piano accompaniment, and high-quality, downloadable backing tracks are included on a companion website. With a wonderful selection of pieces, including favourites such as Bob Chilcott's 'The Shepherd's Carol' and John Rutter's 'Candlelight Carol', this is the perfect collection for use in carol services and Christmas concerts or for enjoying at home. Also available in a volume for high voice and piano.
AGNI is the Hindu god of fire; the elemental and transformative force inherent in everything:
Every flame, every fire, every light, every warmth is AGNI.
AGNI is omnipresent, establishing everything and ending everything.
AGNI is often depicted with seven tongues which represent different aspects of his being.
These include: creating, sustaining, cleansing, purifying, priestly, martial, devastating, destructive, and consuming.
Derived from Franke's concerto of the same name, this solo work for bass clarinet compositionally traces the transformative processes initiated by the divine fire. The solo takes seven pieces from the concerto, presenting vivid character pieces exploring the creative possibilities and wide tonal range offered by the bass clarinet.
This version of AGNI for bass clarinet solo was premiered on 4 December 2020 in Leipzig by Volker Hemken, the principal bass clarinetist of the Gewandhausorchester Leipzig. EP14437a convinces with its excellent and clear notation, making the piece a new standard for bass clarinet.
Ikons, commissioned by the Vancouver Cultural Olympiad 2010, exists in two forms. This 14-minute acoustic version, premiered by the Turning Point Ensemble, calls for an octet of live musicians to execute complex rhythms and quarter-tone harmonies.
The interactive, electronic version, created with visual artist Eric Metcalfe and designed to be presented separately, incorporates samples from this acoustic version into a sculptural environment of seven pyramidal structures that respond sonically to the viewer.
Roxanna Panufnik's Sonnets without Words is a contemporary piece for Horn in F and piano. Written for horn player Ben Goldscheider, Panufnik has reimagined the lyrical vocal lines from three of her previous settings of Shakespeare's sonnets (Mine eye, Music to hear and Sweet Love Remember'd for voice and piano) into a purely instrumental work.
Score and horn part.
Stephen McNeff's Trig is a short 7-minute contemporary work for solo cello, written to celebrate the bicentennial of the Royal Academy of Music in 2022 and in memorium cellist Mike Edwards 1948-2010.
Trig was premiered by Henry Hargreaves on 19 March 2021, livestreamed from the Royal Academy of Music.
to an utterance - study was commissioned by Klangforum Wien for the premiere commercial audio recording on a portrait CD in 2020 and first performed by Joonas Ahonen at the Berlin Philharmonie on 4th September 2020 at the Musikfest Berlin.
Roxanna Panufnik's Spirit Moves, for brass quintet, was commissioned by the Fine Arts Brass Ensemble. This 15-minute piece is scored for two trumpets in Bb (one doubling piccolo trumpet and the other doubling flugel horn), horn in F, trombone and tuba. This brass quintet is so called because the outer movements are highly spirited and the central one is spiritual.
This product consists of score and parts.
A gently flowing 3-minute arrangement by Roderick Williams for SATB (with divisi) with piano accompaniment that captures the beauty of this famous traditional Hebridean love song. The song text uses both old dialect and English, each verse ending with the words, 'Sad am I without thee'.
for high voice and piano This beautiful collection of 14 songs for high voice offers Christmas settings by some of Oxford's best-loved composers. Suitable for solo singers and unison choirs alike, each song is presented with piano accompaniment, and high-quality, downloadable backing tracks are included on a companion website. With a wonderful selection of pieces, including favourites such as Bob Chilcott's 'The Shepherd's Carol' and John Rutter's 'Candlelight Carol', this is the perfect collection for use in carol services and Christmas concerts or for enjoying at home. Also available in a volume for low voice and piano.
for SATB and organ This energetic setting of words by St Ambrose of Milan is a real showstopper. With pop-influences and a sparkling organ part, Young effortlessly fuses modern and traditional sound worlds, while changes in key and metre build up to an invigorating finish. Perfect for accomplished choirs looking for something different.
for SA unaccompanied This simple, charming two-part motet features long melismatic phrases that reflect the text (1 Corinthians 2: 9), such as the rising melodic line over three bars on the word 'ascended' (ascendit).
for SAATB unaccompanied. This glorious musical depiction of the honour, strength, power and authority of the Holy Trinity by Thomas Tallis is the third issue in the CMS's series of great English Responds from the 16th century, edited by Sally Dunkley. Scored for SAATB, it can be performed either as a motet or as a full Responsory with plainsong alternating with polyphony.
Based on a traditional Scottish/Irish 'farewell' song, this short piece is one of six works written to express my love of Scotland. After living there for nearly half my life, and raising a family, I moved back to England in 2018, and remarried in 2019.
Of course, there were many different emotions attached to the move south: especially the joy and excitement of new beginnings, and reconnection with friends from my youth.
But this piece expresses the wrench I experienced after a last family meal in Glasgow, and the realisation of all I was about to leave behind.
I have taken the melody of the original song, and expanded it, exploring the detail of its patterns, so that it becomes a timeless meditation.
The six pieces in the 'farewell' series are for 6 violas, string quintet, string quartet, trio, violin and clarinet duo, and solo clarinet.
The Parting Glass was composed in 2020 during the coronavirus lockdown, which intensified the feeling of separation from my Scottish family, as well as from other musicians.
It was commissioned by Vittorio Ceccanti for the ContempoArtEnsemble.
Maple arose from a commission to write a work for solo cello, to be performed alongside readings from artist John Newling's collection of letters entitled 'Dear Nature'; a poetic manifestation of our relationship with the natural world.
The piece is in eight short sections, to be interspersed with readings of groups of the poems. It may also be performed as a single movement. It begins with a seed - the seed of a maple tree, as it hangs on the mature tree, ready to drop. The seeds are like propellers, sometimes travelling more than a mile before landing on the ground. Maple follows the growth of the tree to maturity - which in reality would take at least a hundred years. 'Roots, shoots' grows downwards and upwards from a pedal note, and the dance-like 'Flowers' is followed by the stately 'Tree', and then the warm, cascading 'Autumn'. Maple is very often the wood of choice for the back of a stringed instrument, and the last section uses open strings to explore the full resonance of the cello.
The piece starts with a 'seed' of only five notes, which grows into different configurations. It is intended to be played in an improvisatory style.
Maple was co-commissioned by Brighton Festival, Ars et Terra Festival with SACEM and Ditchling Arts and Crafts Museum, to be performed by Margarita Balanas as part of the Brighton Festival's 'Dear Nature' project.
First performed by Noriko Kawai for Huddersfield Contemporary Music Festival, in a broadcast from the Radio Theatre, BBC Broadcasting House, November 2020.
Full of beautifully crafted, delicate tintinnabulations - Richard Morrison, The Times
SKU: CF.PPS52F
ISBN 9781491152645. UPC: 680160910144.
Ballet of the Dinosaur Hatchlings is an imaginative and fun selection for a beginning band with less than one year of instruction. Wind parts use only five pitches and only the percussion parts use eighth notes. Two sound effects are required in the piece. First, the hatching eggs are portrayed by a ratchet, and second, the snapping dinosaurs jaws are represented by a slapstick. Ballet of the Dinosaur Hatchlings is an intriguing piece that beginning students are sure to love.Ballet of the Dinosaur Hatchlings is a descriptive novelty selection for a beginning band with less than one year of instruction. Wind parts use only five pitches. Only percussion parts use eighth notes. Two sound effects are required. First, the hatching eggs are portrayed by the ratchet beginning at m. 2, and second, the snapping dinosaurs jaws, which are first heard at m. 14, are represented by an accented note augmented by a slapstick. Directors are encouraged to use more elaborate sound effects if they are inclined to do so. The story described by the music is as follows:• Dinosaur eggs begin to hatch (the ratchet, mm. 1-8).• The parent dinosaurs guard the nest (Low Brass and Woodwinds mm. 9-12).• The hatchlings begin walking (m. 13).• The hatchlings snap their jaws as they learn to eat (m. 14, Xylophone and Slapstick).• Thunder (Timpani, m. 29).• The parent dinosaurs seek shelter for all (m. 33, Low Brass and Woodwinds).• The hatchlings follow while they continue snapping their jaws (m. 41).• More thunder (mm. 53-54).• All the dinosaurs roar loudly at the clouds (m. 55) as the thunder becomes louder.