SKU: BT.DHP-1175784-070
ISBN 9789043153096.
The Beatles remain today, extremely popular amongst all generations. Many arrangements of their famous hits have been created in a variety of instrumentations. Hardly any versions for flexible 5-voiced wind ensemble exist. With this arrangement, you can now play all of their chart hits with almost any combination of wind instruments. The Beatles zijn nog altijd buitengewoon populair onder alle generaties. Van hun beroemde nummers zijn veel bewerkingen in diverse instrumentaties verschenen, maar er bestaan nauwelijks versies voor vijfstemmig blazersensemble met een flexibele bezetting. Dit arrangement maakt het mogelijk om alle grote Beatles-hits te spelen in vrijwel elke combinatie van blaasinstrumenten. Die Beatles erfreuen sich bis heute über alle Generationen hinweg großer Beliebtheit. Von ihren berühmtesten Hits gibt es zahlreiche Arrangements in unterschiedlichen Besetzungen. Es gibt jedoch kaum Versionen für 5-stimmiges variables Bläserensemble. Dieses Arrangement ermöglicht es Ihnen, die besten Hits der Beatles in fast jeder möglichen Kombination von Blasinstrumenten zu spielen. Les Beatles jouissent toujours d’une grande popularité parmi toutes les générations. De nombreux arrangements de leurs chansons ont été réalisés, mais très rarement pour ensemble vents flexible cinq voix. Cet arrangement vous permet désormais de jouer leurs tubes avec de nombreuses combinaisons d’instruments.
SKU: BT.DHP-1175842-140
The 1960s is one of the most fascinating eras in the history of popular music. Many great hits from then have been turned into new versions during later decades after initial success. But everyone, both young and old, remembers the original songs well. Richard Johnsen has made great arrangements of You Can't Hurry Love, Son-of-A-Preacher Man, Stand By Me and Think, for this spectacular medley, The Golden Sixties. De jaren zestig: een fascinerend tijdperk uit de geschiedenis van de popmuziek. Veel grote hits uit die periode zijn in de decennia die erop volgden verschillende keren in een nieuw jasje gestoken, maar iedereen jong en oud kent ook de originele songs. Richard Johnsen bewerkte You Can't Hurry Love, Son-Of-A-Preacher Man, Stand By Me en Think, waarmee hij deze fraaie en spectaculaire medley The Golden Sixties in het leven riep.Die 1960er Jahre gehören zu den faszinierendsten Zeiten in der Geschichte der Popmusik. Viele bekannte Hits aus dieser Zeit erschienen in den Jahrzehnten nach ihrem ursprünglichen Erfolg mehrmals in neuen Versionen. Aber jeder, sowohl die Jungen als auch die Alten, erinnert sich auch noch an die Originalversion der Songs. Richard Johnsen hat tolle Arrangements von You Can't Hurry Love, Son-Of-A-Preacher Man, Stand By Me und Think geschrieben und das fantastische Medley The Golden Sixties erstellt.Les années 1960 sont l’une des décennies les plus fascinantes de l’histoire du pop. Depuis leur premier succès, de nombreux tubes de l’époque ont été fréquemment repris. Mais tous, jeunes et vieux, gardent aussi un souvenir des chansons originales. Ce medley spectaculaire de Richard Johnsen est un excellent arrangement de You Can’t Hurry Love, Son-Of-A-Preacher Man, Stand By Me et Think. Gli anni ’60 sono uno dei periodi più affascinanti per la musica pop. Molte hit di quegli anni, dopo il successo inziale, sono state riviste in nuove versioni negli ultimi decenni. Ma proprio tutti, sia giovani che meno giovani, ricordano molto bene la versione originale. Richard Johnsen ha sapientemente arrangiato per questo spettacolare medley i brani You Can't Hurry Love, Son-Of-A-Preacher Man, Stand By Me e Think.
SKU: BT.DHP-1175842-010
SKU: AP.47037S
UPC: 038081541143. English.
One of the biggest hits of 2017 was this driving rock-shuffle from Imagine Dragons. The song was all over the airwaves in commercials, movies, and TV shows. Its unique style and solid scoring by arranger Victor López make it a natural on or off the field.
SKU: HL.244643
ISBN 9781785585005. UPC: 888680747336. 9.0x12.0x0.61 inches. English.
This comprehensive collection contains the most well-known, best-loved pieces of music that every pianist should have in their repertoire. You'll find classical favorites, famous film themes, laid-back jazz, chart hits, wedding music, Christmas classics and handy must-haves like “Auld Lang Syne†and “Happy Birthday to You,†all organized into themed sections for navigation. With everything from Mozart to Mariah Carey, Einaudi to Elton John and John Williams to Justin Bieber, this is the ultimate dip-in resource for pianists!
SKU: CF.YAS186F
ISBN 9781491151884. UPC: 680160909384. 9 x 12 inches.
A stunning and heart-wrenching composition based on the Jewish folk son Shlof, Mayn Kind. You can hear the emotional content pour out of this piece written in memory of an outstanding orchestra director. The piece beginnings with original material to set the tone, followed by a violin solo on the song. It them develops through a variety of different harmonic presentation before building to a nice key change and climatic moment. The piece ends as it began, but with a more hopeful tone. An amazing piece.Sleep, My Child was commissioned by the Madison Middle School Band and Orchestra in Tampa, Florida, and is dedicated to the memory of their Director of Orchestras Kevin Frye. Director of Bands Chris Shultz championed the commissioning of this piece to honor Kevin after he passed away in December 2016. Mr. Frye was a beloved member of the staff at Madison Middle as well as the music community of Tampa and the state of Florida. I was a personal friend of Kevin’s. We were in several musical groups together when we were young that were formative to both of our musical careers. I also guest-conducted his Madison Middle School Orchestra several times over the past four years. His musicianship, teaching skills and love for his students were exemplary.When taking on the challenge of writing a piece to honor Kevin’s legacy, Mr. Shultz and I decided to try and include several important aspects of Kevin’s life into the piece. Kevin was proudly Jewish, a fantastic trumpet player and loved Jazz. With that in mind, and after a lot of research, a Jewish folk song Shlof, Mayn Kind was selected as the basis for the piece, not to be religious, but to honor his faith and heritage. Plus it is a beautiful song and I felt the title reflected the sentiment I was looking to express, which is of someone taking rest after a long battle with illness, so a lullaby seemed appropriate.I also wanted to incorporate Jazz into the piece, but in a concert setting, so you will hear as the piece develops, the harmonies of the folk song expand into ones found more commonly in Jazz compositions. Not in a far out way, but in a subtle way to again honor this part of his life. For example the climactic moment of the piece at the fermata in m. 57 is a Dbmaj9#11 chord. It appropriately give the piece the angst that I was looking for at this moment in the piece, while honoring the importance of Jazz in Kevin’s musical life.The piece was also conceived to include both the Madison band and orchestra in the performance at the premiere. I wanted the pieces to work separately by the band and separately by the orchestra, but I also wanted them to be able to play the piece together to honor Kevin.The piece begins with original material designed to set the mood of the piece with a tempo/style marking of pensive, but also as material that I used as connective musical tissue between statements of the folk song. After this introduction, the folk song is presented by a solo violin (or clarinet) with orchestral accompaniment in a simple straight forward presentation of the song. This is followed by a woodwind section statement of the folk song accompanied by muted trumpets. During this presentation the harmony starts to expand with more color notes in the chords. The low brass are added half way through this statement to add depth and lushness.The introductory material returns, but with some angry hits in the lower voices. This leads to a full ensemble state of new material that is used to transition to the climax of the piece, and to build tension. After the build, the piece modulates to a shortened statement of the folk song with more advanced harmonies and an active counter line in the violas, horns, saxes and first clarinets to further build the tension. This tension is released at the fermata in m. 57 as mentioned above. After a thoughtful pause, the piece concludes with a completion of the folk song again with a solo violin (or clarinet) followed by a return of the introductory material to tie the piece together. The piece ends hopeful, with a solo trumpet (Kevin’s instrument) that is dissonant at first, but then resolves as if to say, Everything will be OK! It has been my distinct honor to have been asked to write this piece in Kevin’s memory! I hope that in some small way the piece helps to bring comfort to his family, students, colleagues and to all those that knew him!–Larry ClarkLakeland, FL 2017.
About Carl Fischer Young String Orchestra Series
Thi s series of Grade 2/Grade 2.5 pieces is designed for second and third year ensembles. The pieces in this series are characterized by:--Occasionally extending to third position--Keys carefully considered for appropriate difficulty--Addition of separate 2nd violin and viola parts--Viola T.C. part included--Increase in independence of parts over beginning levels
SKU: HL.241131
ISBN 9781785583070. 6.75x9.75x0.247 inches. English.
Changing Voices is an exciting collection of songs specifically arranged for changing or 'cambiata' male voices. These arrangements are intended to be sung by boys aged approximately 11 years and upwards; precisely the time when many boys give up singing as their changing voices cease to fit comfortably within traditional vocal ranges. Progressive in difficulty and ranging from classic sea shanties to contemporary pop hits, the pieces in this collection provide a dynamic and eclectic selection of music for boys' choral groups of all abilities. As well as the printed score, this book is supported by SoundWise: you get an e-book digital edition of your music to read on any device and full demonstration recordings of each piece, plus accompaniment-only, solo-only and rehearsal backing tracks.
SKU: BT.DHP-1175836-140
The iconic American rock band ‘Red Hot Chili Peppers’ were founded in the early 80’s, and are to this day one of a few bands with such a long and impressive record of musical achievement. Richard Johnsen made a perfectly playable arrangement, withoutcutting out any stylistic qualities of the originals. The medley consists of the songs Californication, Under the Bridge and Snow (Hey Oh). Rock your audience! De iconische Amerikaanse rockband Red Hot Chili Peppers werd begin jaren tachtig opgericht en is de dag van vandaag één van de weinige bands met zo’n lange staat van dienst. Richard Johnsen creëerde een prima speelbaar arrangement met behoud vande stijlkenmerken van de oorspronkelijke nummers. De medley bestaat uit de songs Californication, Under the Bridge en Snow (Hey Oh). Laat uw publiek rocken! Die kultige amerikanische Rockband Red Hot Chili Peppers wurde in den frühen 1980er Jahren gegründet und ist heute eine der wenigen Bands, die schon so lange unglaublich erfolgreich ist. Richard Johnsen hat ein gut spielbares Arrangement erstellt,ohne dabei die Songs stilistisch zu verändern. Dieses Medley besteht aus den Liedern Californication, Under the Bridge und Snow (Hey Oh). Bringen Sie Ihr Publikum zum Rocken! Fondé au début des années 1980, l’iconique groupe rock américain Red Hot Chili Peppers est aujourd’hui l’un des seuls bands aux succès musicaux si nombreux et si impressionnants. Richard Johnsen a créé cet arrangement très jouable sans perdre lestyle de leurs chansons. Ce medley comprend les chansons Californication, Under the Bridge et Snow (Hey Oh). Vous ferez « rocker » votre public ! La leggendaria band americana Red Hot Chili Peppers è stata fondata nei primi anni ‘80 ed è ancora oggi uno dei pochi gruppi che può vantare un impressionante elenco di riconoscimenti in ambito musicale. Richard Johnson ha realizzato un arrangiamento perfettamente eseguibile nel rispetto della qualit stilistica degli originali. Il medley contiene Californication, Under the Bridge e Snow (Hey Oh). Rock per il vostro pubblico!
SKU: CF.YPS208F
ISBN 9781491152966. UPC: 680160910465.
A stunning and heart-wrenching composition based on the Jewish folk son Shlof, Mayn Kind. You can hear the emotional content pour out of this piece written in memory of an outstanding orchestra director. The piece beginnings with original material to set the tone, followed by a clarinet solo on the song. It then develops through a variety of different harmonic presentation before building to a nice key change and climatic moment. The piece ends as it began, but with a more hopeful tone. An amazing piece.Sleep, My Child was commissioned by the Madison Middle School Band and Orchestra in Tampa, Florida, and is dedicated to the memory of their Director of Orchestras Kevin Frye. Director of Bands Chris Shultz championed the commissioning of this piece to honor Kevin after he passed away in December 2016. Mr. Frye was a beloved member of the staff at Madison Middle as well as the music community of Tampa and the state of Florida. I was a personal friend of Kevin’s. We were in several musical groups together when we were young that were formative to both of our musical careers. I also guest conducted his Madison Middle School Orchestra several times over the past four years. His musicianship, teaching skills and love for his students were exemplary.When taking on the challenge of writing a piece to honor Kevin’s legacy, Mr. Shultz and I decided to try and include several important aspects of Kevin’s life into the piece. Kevin was proudly Jewish, a fantastic trumpet player and loved Jazz. With that in mind, and after a lot of research, a Jewish folk song Shlof, Mayn Kind was selected as the basis for the piece, not to be religious, but to honor his faith and heritage. Plus it is a beautiful song, and I felt the title reflected the sentiment I was looking to express, which is of someone taking rest after a long battle with illness. Thus, a lullaby seemed appropriate.I also wanted to incorporate Jazz into the piece, but in a concert setting, so you will hear as the piece develops, the harmonies of the folk song expand into ones found more commonly in Jazz compositions. Not in a far out way, but in a subtle way to again honor this part of his life. For example the climactic moment of the piece at the fermata in m. 57 is a Dbmaj9#11 chord. It appropriately give the piece the angst that I was looking for at this moment in the piece, while honoring the importance of Jazz in Kevin’s musical life.The piece was also conceived to include both the Madison band and orchestra in the performance at the premiere. I wanted the pieces to work separately by the band and separately by the orchestra, but I also wanted them to be able to play the piece together to honor Kevin.The piece begins with original material designed to set the mood of the piece with a tempo/style marking of pensive, but also as material that I used as connective musical tissue between statements of the folk song. After this introduction, the folk song is presented by a solo violin (or clarinet) with orchestral accompaniment in a simple straight forward presentation of the song. This is followed by a woodwind section statement of the folk song accompanied by muted trumpets. During this presentation the harmony starts to expand with more color notes in the chords. The low brass are added half way through this statement to add depth and lushness.The introductory material returns, but with some angry hits in the lower voices. This leads to a full ensemble state of new material that is used to transition to the climax of the piece, and to build tension. After the build, the piece modulates to a shortened statement of the folk song with more advanced harmonies and an active counter line in the violas, horns, saxes and first clarinets to further build the tension. This tension is released at the fermata in m. 57, as mentioned above. After a thoughtful pause, the piece concludes with a completion of the folk song again with a solo violin (or clarinet) followed by a return of the introductory material to tie the piece together. The piece ends hopeful, with a solo trumpet (Kevin’s instrument) that is dissonant at first, but then resolves as if to say - everything will be OK! It has been my distinct honor to have been asked to write this piece in Kevin’s memory! I hope that in some small way the piece helps to bring comfort to his family, students, colleagues and to all those that knew him!–Larry ClarkLakeland, FL 2017.
