SKU: GI.G-9544
ISBN 9781622772810.
Knowing the Score is a comprehensive approach to all aspects of music score reading and analysis that provides a sequential system for efficient and complete score study. Central to this book are more than 300 pages of music scores for band, orchestra, and choir from a wide range of sources. This book is the culmination of Dr. Robert Quebbeman's twenty years of teaching score reading at the university level. No single resource has ever contained such a systematic guide to score reading and analysis. Knowing the Score is divided into two parts. Part 1 covers score study steps, transposition and instrumentation, form graphs and phrasal analysis, music forms in both instrumental and vocal areas, and contemporary scores. Part 2 visually enhances this resource with printed pages from the scores of 84 works from the broad spectrum of classical literature. Of particular importance to this resource are several distinctive features: An emphasis on scores in multiple genres Inclusion of complex and atypical examples Detailed instructions on marking the score Interpretation Preparing musicals and operas Memorizing the score This resource is designed for graduate- or undergraduate-level courses, or for any conductors looking to improve their own score study skills. Knowing the Score is truly the first of its kind. Robert Quebbeman is Professor of Music Emeritus from Missouri State University in Springfield, Missouri.
Know ing the Score is a comprehensive approach to all aspects of music score reading and analysis that provides a sequential system for efficient and complete score study. Central to this book are more than 300 pages of music scores for band, orchestra, and choir from a wide range of sources. This book is the culmination of Dr. Robert Quebbeman's twenty years of teaching score reading at the university level. No single resource has ever contained such a systematic guide to score reading and analysis. Knowing the Score is divided into two parts. Part 1 covers score study steps, transposition and instrumentation, form graphs and phrasal analysis, music forms in both instrumental and vocal areas, and contemporary scores. Part 2 visually enhances this resource with printed pages from the scores of 84 works from the broad spectrum of classical literature. Of particular importance to this resource are several distinctive features: An emphasis on scores in multiple genres Inclusion of complex and atypical examples Detailed instructions on marking the score Interpretation Preparing musicals and operas Memorizing the score This resource is designed for graduate- or undergraduate-level courses, or for any conductors looking to improve their own score study skills. Knowing the Score is truly the first of its kind. Robert Quebbeman is Professor of Music Emeritus from Missouri State University in Springfield, Missouri.
SKU: HL.14023605
ISBN 9780711992412. 9.25x12.0x0.38 inches.
Drowning By Numbers, arranged by the composer from his sound-track for the film by Peter Greenaway for Violin, Viola, and Chamber Orchestra. This work was commissioned by the London Mozart Players, and first performed December 1998 at the Warwick Arts Centre. Duration 20 minutes. Full Score and parts are available on hire from the publishers. Instrumentation: Solo Violin, Solo Viola, 2 Flutes, Oboe, Cor Anglais, 2 B Flat Clarinets, 2 Bassoons, 2 Horns in F, 2 Trumpets in C, Bass Trombone, Piano, Strings (8.6.4.4.2).
SKU: PE.EP6805D
ISBN 9790300763484.
In June of 1980, Aki Takahashi was preparing to leave Buffalo, New York. Morton Feldman, knowing her reputation as a pianist specializing in new music, had invited her to be an artist in residence at the university where he taught. But now it was time for her to go back to Japan. At their last meeting, Feldman gave a musical score to Takahashi as a gift. It was a copy of John Cage's solo piano piece Cheap Imitation with annotations by Feldman. He told her that this was an instrumental version of this piece for flute, piano, and glockenspiel. He signed the title page, just under the original title: INSTRUMENTAL VERSION (Fl, Pf, Glock) Morton Feldman Buffalo, N.Y. Winter 1980Dedicated to Aki Takahashi Four different artists were bound up in this single gesture: John Cage, Erik Satie, Morton Feldman, and Aki Takahashi. The story of this gift, a story of memory and connection, unfolds over most of the 20th century. John Cage was always devoted to the music of Eric Satie. In 1970 Cage was supposed to create a new two-piano transcription of Satie's Socrate for a Cunningham dance, but he was unable to get permission from the publisher. Even worse, he could not even get performance rights to use the published piano-vocal score of Socrate. Cage's creative solution was to make a piano piece that maintained the exact metrical and phrase structure of Satie's Socrate, but with different notes, thus avoiding copyright issues. He called this piece Cheap Imitation. Cunningham responded by calling his dance Second Hand. Feldman arranged Cage's piano version of Cheap Imitation for a trio of flute (doubling on alto flute and piccolo), piano, and glockenspiel. This is the same instrumentation that was used in Feldman's 1978 Why Patterns? and which (somewhat expanded) was the basis for two of his major works in the 1980s: Crippled Symmetry (1983) and For Philip Guston (1984). Feldman made his ar.
SKU: LO.30-3764MD
UPC: 000308156355.
Orche stral Score and Parts for His Love is Stronger (10/5419MD) - Mary McDonald has set this song from Phil Naish and Scott Wesley Brown as a beautiful, uplifting anthem rejoicing in the strength of God's love and grace in the midst of failures and hardships. Even during times of trials and tribulations, believers can rest assured knowing that His Love is Stronger..
SKU: KJ.SO325F
UPC: 8402703215.
Arrange d for string orchestra, Dr. Bergonzi has come up with a true masterpiece with Mendelssohn's Andante. Knowing how difficult it is to find a solid slow piece for young strings, he sensitively arranged and successfully field-tested this gem. It's a superb choice for your next concert.
SKU: MN.56-0036
UPC: 688670220418. English. Psalms 139.
Mary Sidney (1561-1621) penned an English version of Psalm 139 which is set here for soprano solo, SA chorus, and keyboard. The piece begins with a haunting, almost talismanic setting of the text “Thou dost know when I sit down and rise up,” but it is set in Latin, and will return later as an accompaniment beneath the English text which is set to a beautiful, almost folk-like melody, albeit a bit more angular in spots. Yet the angularity suits the text perfectly and is comfortable. The result is a perfect anthem about God’s all-knowing and ever-present care. Duration: 6:00.
SKU: SU.29000010
Composer's Note: This quartet was written by a relatively inexperienced writer for strings (me) so, technically, my notation may be unorthodox (or standardly wrong). But I find that most string quartet players, knowing that, will go ahead and make the proper adjustments themselves. This is better than trying to alter the musical concept to fit the correct technical point. Hippocrates is the name of a little robot in a science fiction series by L. Ron Hubbard. There are 7 stories in the 2 volume series entitled Ole Doc Methuselah. — Chick Corea String Quartet Duration: 21' Composed: 2004 Published by: Crystal Silence Music Also Available:.
SKU: HL.1187372
ISBN 9781705191927. UPC: 196288129301. 9.0x12.0 inches.
Scenes from the Wild is a song cycle for tenor and chamber orchestra, based on the book by Dara McAnulty: Diary of a Young Naturalist. The diary, March 2018-19, begins with an echo of Dara's early memories, then traces the year through his autism and being bullied at school, but primarily through real events that describe his interaction with the natural world. His fascination for all flora and fauna and his horror at their destruction lead on to the start of his activism; by the end of this year he emerges, just before his 15th birthday, knowing where he must go.
SKU: BT.1340-06-070-MS
ISBN 9789043127875. 9x12 inches. English-German-French-Dut ch.
On April 6, 1999, exactly 25 years after ABBA had won the Eurovision Song Contest with the song Waterloo, the musical Mamma Mia! opened in London. Soon, the funny and appealing love story, based on 22 ABBA classics, became a great success. Arranger Peter Kleine Schaars has selected three well-known titles from the musical (Mamma Mia; Knowing Me, Knowing You and Money, Money, Money), added the worldwide hit Waterloo, and applied his musical imagination. The result is a smart ABBA medley that will appeal to young and old alike. This arrangement is playable by any wind ensemble, the percussion part is optional.Part 1 Fl Ob Bb/Eb Clar S Sax Tpt Part 2 FlCor Ang Bb Clar Eb Clar A Sax Tpt Hn Part 3 Eb Clar T Sax Bsn Hn Trom Euph Part 4 T Sax Bsn Trom Euph Part 5 Bass Clar Bari Sax Bsn Trom Euph Tuba Cont Bsn Opt. Mallets Timp Drum Peter Kleine Schaars selecteerde uit de succesvolle musical Mamma Mia! drie bekende ABBA-hits (Mamma Mia, Knowing Me, Knowing You en Money, Money, Money), voegde de wereldhit Waterloo eraan toe enliet zijn muzikale fantasie de vrije loop. Het resultaat is een vlotte medley die jong en oud zal aanspreken. Dit arrangement is voor elk blazersensemble speelbaar, de slagwerkpartij is optioneel.Der Arrangeur Peter Kleine Schaars wählte drei bekannte Titel aus dem Musical Mamma Mia!, ergänzte sie um den Welthit Waterloo ,und ließ seiner musikalischen Phantasie freien Lauf. Das Ergebnis ist ein raffiniertes ABBA-Medley, das Jung und Alt anspricht. Diese Bearbeitung kann jedes Bläserensemble ab fünf Bläsern spielen; die Schlagzeugstimme ist optional.Part 1 Fl Ob Kl B/Es S-Sax Trp Part 2 Fl Cor Ang Kl B A-Kl A-Sax Trp Hn Part 3 A-Kl T-Sax Fg Hn Pos Euph Part 4 T-Sax Fg Pos Euph Part 5 B-Kl B-Sax Fg Pos Euph Tuba Kb Opt. Mallets Timp DrumPeter Kleine Schaars a sélectionné quatre des plus célèbres titres extraits de la comédie musicale Mamma Mia ! qui triomphe sur les scènes du monde entier. Le résultat est séduisant : un superbe arrangement qui séduira un public de 7 77 ans.Part 1 Fl Htb Cl. Si b/Mi b Sax. S. TrpPart 2 Fl Cor Angl. Cl. Si b Cl. Alto Sax. A. Trp CorPart 3 Cl. Alto Sax. T. Basson Cor Trb Euph.Part 4 Sax. T. Basson Trb Euph.Part 5 Cl. Basse Sax. B. Basson Trb Euph. Tuba C. CordesOpt. Mallets Timb. Batt.Per questo volume per strumentazione variabile a cinque voci, Peter Kleine Schaars ha arrangiato Mamma Mia, Knowing Me, Knowing You e Money, Money, Money, tre titoli famosi del musical Mamma Mia!, aggiungendo anche Waterloo. Il risultato è un raffinato medley degli ABBA.Part 1 Fl Ob Bb/Eb Clar S Sax Tpt Part 2 Fl Cor Ang Bb Clar Eb Clar A Sax Tpt Hn Part 3 Eb Clar T Sax Bsn Hn Trom Euph Part 4 T Sax Bsn Trom Euph Part 5 Bass Clar Bari Sax Bsn Trom Euph Tuba Cont Bsn Opt. Mallets Timp Drum.
SKU: CF.CM9570
ISBN 9781491153581. UPC: 680160911080. 6.75 x 10.5 inches. Key: Bb major. Latin. Psalms 47 from the Bible.
Psalm 47 was commissioned by the Sigma Alpha Iota Chapter of Hardin Simmons University (Abilene, Texas), Suzanne Watts, conductor, back in 1978. I was a graduate student at the time, and the premiere was a great success. Consequently, the work has received many performances since that time; however, it remained unpublished until now. In a modified tripartite structure, the psalmist uses the imperative verb tense as a command to the people: (you clap), (you shout), (you sing) to exemplify that praise and joy should be public, intelligent, cheerful, and constant. The psalmist admonishes that praise and joy are visual, aural, palpable, and most definitely contagious. The contrasting slow section with a soprano solo should be like an accompanied arioso, where the soloist is supported by lush, major/minor seventh chords in inversion (accompanied recitative). The soloist actually becomes the narrator in this section, the preacher or deliverer of the news that the people will be protected, sustained and blessed. The rapid tempo of the A-section returns and the staggered entrances in the last section/coda indicate the ecstasy knowing that belief can manifest itself in individualized, energized, emotional responses that can change the world. Rise up and claim the power of JOY!.Psalm 47A was commissioned by the Sigma Alpha Iota Chapter of Hardin Simmons University (Abilene, Texas), Suzanne Watts, conductor, back in 1978. I was a graduate student at the time, and the premiere was a great success. Consequently, the work has received many performances since that time; however, it remained unpublished until now. In a modified tripartite structure, the psalmist uses the imperative verb tense as a command to the people:A (you clap), (you shout), (you sing) to exemplify that praise and joy should be public, intelligent, cheerful, and constant. The psalmist admonishes that praise and joy are visual, aural, palpable, and most definitely contagious. The contrasting slow section with a soprano solo should be like an accompanied arioso, where the soloist is supported by lush, major/minor seventh chords in inversion (accompanied recitative). The soloist actually becomes the narrator in this section, the preacher or deliverer of the news that the people will be protected, sustained and blessed. The rapid tempo of the A-section returns and the staggered entrances in the last section/coda indicate the ecstasy knowing that belief can manifest itself in individualized, energized, emotional responses that can change the world. Rise up and claim the power of JOY!.Psalm 47 was commissioned by the Sigma Alpha Iota Chapter of Hardin Simmons University (Abilene, Texas), Suzanne Watts, conductor, back in 1978. I was a graduate student at the time, and the premiere was a great success. Consequently, the work has received many performances since that time; however, it remained unpublished until now. In a modified tripartite structure, the psalmist uses the imperative verb tense as a command to the people: (you clap), (you shout), (you sing) to exemplify that praise and joy should be public, intelligent, cheerful, and constant. The psalmist admonishes that praise and joy are visual, aural, palpable, and most definitely contagious. The contrasting slow section with a soprano solo should be like an accompanied arioso, where the soloist is supported by lush, major/minor seventh chords in inversion (accompanied recitative). The soloist actually becomes the narrator in this section, the preacher or deliverer of the news that the people will be protected, sustained and blessed. The rapid tempo of the A-section returns and the staggered entrances in the last section/coda indicate the ecstasy knowing that belief can manifest itself in individualized, energized, emotional responses that can change the world. Rise up and claim the power of JOY!.Psalm 47 was commissioned by the Sigma Alpha Iota Chapter of Hardin Simmons University (Abilene, Texas), Suzanne Watts, conductor, back in 1978. I was a graduate student at the time, and the premiere was a great success. Consequently, the work has received many performances since that time; however, it remained unpublished until now.In a modified tripartite structure, the psalmist uses the imperative verb tense as a command to the people: (you clap), (you shout), (you sing) to exemplify that praise and joy should be public, intelligent, cheerful, and constant. The psalmist admonishes that praise and joy are visual, aural, palpable, and most definitely contagious. The contrasting slow section with a soprano solo should be like an accompanied arioso, where the soloist is supported by lush, major/minor seventh chords in inversion (accompanied recitative). The soloist actually becomes the narrator in this section, the preacher or deliverer of the news that the people will be protected, sustained and blessed. The rapid tempo of the A-section returns and the staggered entrances in the last section/coda indicate the ecstasy knowing that belief can manifest itself in individualized, energized, emotional responses that can change the world.Rise up and claim the power of JOY!
SKU: CF.YPS245
ISBN 9781491159910. UPC: 680160918508.
In December of 2020, after almost a year of living socially distanced, isolated, and not knowing when we would return to life as we knew it, I began to think about what life used to look like. I realized that I sometimes might have taken all the beautiful things in my life for granted. Personally, the year 2020 was a time of loss where someone close to me left, and at the same time, I was also able to have other successes. This dichotomy inspired me to realize that there is hope in all that we do; it is how we perceive life. Boundless Hope represents my thoughts, feelings, and emotions during this time. The piece is roughly based on the Lydian mode, introducing the raised fourth degree in m. 2 of the mallet percussion and then at m. 15 in the main melody. The Lydian mode naturally gives a sense of positivity, hopefulness, inspiration, and heavenly colors. That was my exact intention with this piece: using the mode to define the mood showing gratitude for all that we have, and yearning to return to normalcy with a new and fresh perspective. Measure 30 should be slightly faster, followed by a rit. into the grandiose recapitulation of the theme in m. 38. At m. 45, the wind chimes should start before the clarinet entrance, with the subsequent measures representing dark and warm colors. This piece is very personal to me, and I appreciate you playing the composition.In December of 2020, after almost a year of living socially distanced, isolated, and not knowing when we would return to life as we knew it, I began to think about what life used to look like. I realized that I sometimes might have taken all the beautiful things in my life for granted. Personally, the year 2020 was a time of loss where someone close to me left, and at the same time, I was also able to have other successes. This dichotomy inspired me to realize that there is hope in all that we do; it is how we perceive life. Boundless Hope represents my thoughts, feelings, and emotions during this time. The piece is roughly based on the Lydian mode, introducing the raised fourth degree in m. 2 of the mallet percussion and then at m. 15 in the main melody. The Lydian mode naturally gives a sense of positivity, hopefulness, inspiration, and heavenly colors. That was my exact intention with this piece: using the mode to define the mood showing gratitude for all that we have, and yearning to return to normalcy with a new and fresh perspective. Measure 30 should be slightly faster, followed by a rit. into the grandiose recapitulation of the theme in m. 38. At m. 45, the wind chimes should start before the clarinet entrance, with the subsequent measures representing dark and warm colors.This piece is very personal to me, and I appreciate you playing the composition.
SKU: BT.1105-04-120-MS
On the 6th of April 1999, exactly 25 years after ABBA had won the Eurovision Song Contest with the song Waterloo, the musical Mamma Mia! opened in London. The funny and appealing love story, based on 22 ABBA classics, became an immediate success. Arranger Peter Kleine Schaars has selected five of the most famous titles from the musical, added the hit Waterloo and used his musical imagination. The result is a catchy ABBA medley that will appeal to young and old.Op 6 april 1999, precies 25 jaar nadat Abba het Eurovisie Songfestival won met Waterloo, werden in Londen de deuren geopend voor de musical Mamma Mia! Al snel werd het onderhoudende liefdesverhaal - gebaseerd op 22 klassiekersvan Abba - een groot succes. Peter Kleine Schaars selecteerde vijf titels uit de musical, voegde de wereldhit Waterloo toe en liet zijn muzikale fantasie de vrije loop. Het resultaat is een dynamische Abba-medleymet de nummers Mamma Mia, Knowing Me, Knowing You, Money, Money, Money, Dancing Queen, I Do, I Do, I Do en Waterloo.2 5 Jahre nachdem ABBA den Grand Prix d'Eurovision mit dem Lied Waterloo gewonnen hatte, fand die Uraufführung des Musicals Mamma Mia! in London statt. Die mitreißende Liebesgeschichte, basierend auf 22 ABBA-Klassikern, wurde schnell zu einem großen Erfolg. Peter Kleine Schaars wählte die sechs berühmtesten Titel aus dem Musical, ergänzte sie um den Welthit Waterloo, und ließ seiner musikalischen Phantasie freien Lauf. Das Ergebnis ist ein raffiniertes ABBA-Medley, das Jung und Alt anspricht.Depuis quelques temps, un nouveau phénomène s’accentue dans le paysage artistique anglo-saxon : la comédie musicale pop. Le succès le plus récent s’appelle Mamma Mia!, une mise en histoire des plus grands tubes d’ABBA. La nostalgie est une puissante publicité synonyme de bonheur.
