SKU: BP.HB452
Arranged for 3-5 octaves, level 2. This powerful arrangement of the hymn by Thomas Campbell abounds with full chords guaranteed to get the listener's attention. Few bell changes will make this easy to put together, while the occasional key changes provide just enough challenge for beginning ringers. Watch for some unexpected harmonies on the last verse and an extra challenge for your bass ringers near the end!
SKU: HL.49030396
ISBN 9790220122743. 9.0x12.0x0.067 inches. Vocalise.
No traditional tunes of any kind are made use of in this piece, in which I have wished to express my personal feelings about my own country (Australia) and people, and also to voice a certain kind of emotion that seems to me not untypical of native-born Colonials in general.Perhaps it is not unnatural that people living more or less lonelily in vast virgin countries and struggling against natural and climatic hardships (rather than against the more actively and dramaticly exciting counter wills of their fellow men, as in more thickly populated lands) should run largely to that patiently yearning, inactive sentimental wistfulness that we find so touchingly expressed in much American art; for instance in Mark Twains Huckleberry Finn, and Stephen C. Foster's adorable songs, My Old Kentucky Home, Old Folks at Home, etc. I have also noticed curious, almost Italian-like, musical tendencies in brass band performances and ways of singing in Australia (such as a preference for richness and intensity of tone and soulful breadth of phrasing over more subtly and sensitively varied delicacies of expression) which are also reflected here.Percy Aldridge Grainger.
SKU: HL.1104294
UPC: 196288102014.
The textbook written by Krzysztof Trebunia-Tutka is the first so comprehensive a publication in Poland which focuses on highlander music. It consists of 3 volumes: A Handful of Theory, Fingering Notation and Stave Notation, as well as the recordings, which should be studied by those who want to explore the secrets of highlander music. Krzysztof Trebunia-Tutka gathered songs transmitted from generation to generation by oral tradition, which were inherently impossible to notate. Thanks to that, a rich highlander tradition gains a new life. The textbook is suitable for beginners who just start their adventure with highlander music, people experienced in that kind of traditional music, as well as for the admirers of the highlander culture. What is particularly worthy of noticing is the original notation of melody - the so-called fingering notation - which is an attempt to notate the music by the fingering system and performance directions. The author straightforwardly explains the nuances of the highlander culture, delineates its history and the most important figures. The publication includes practical hints about fingering, holding the instrument and the bow, and the interpretation of the melody. The score is divided into 10 groups, and each song has its equivalent in fingering and stave notation. It is also a peculiar anthology of the most important and the most beautiful highlander melodies and tunes, often already forgotten or rarely performed. Beautiful graphic design is a modern rendition of the framework of highlander tradition. The employment of high-quality linen and strands provides comfort while using the volumes - it is also a guarantee of durability. Similar to that of the tradition.
SKU: HL.14042212
For Flute (doubling Piccolo), Clarinet in B flat*, Very large Tam-Tam (sounding from a high gallery), and Choir (SSATTBB).* Notated in C in the score.'According to Hindu Cosmology, welive at the end of a cycle, the Kali Yuga - the Dark Age. There are two important sayings of Christ that should accompany his disciples always during these challenging times.The first is The Gates of Hell shall not prevail against my Church (Matthew 16, v. 18); and the second I am with you always unto the end of the world (Matthew 28, v. 20).These sayings form the basis of this work, which falls into two main sections, each with the same structure and with linked material. Each section begins with Kali Yuga, which I havetried to represent in a chaotic, unstructured way, in contrast to the cosmic Cries of Humanity to Christ (Kyrie eleison - Lord, have mercy), and Christ's responses from Saint Matthew's Gospel.The work ends with a serene'Coda' of the sacred monosyllable OM, representing the peace and beatitude of God's presence. The intermingling of Christianity and Hinduism is an important simile for our times; in the same way, early Christianity did nothesitate to incorporate Jewish and Greek thought.'- John Tavener
SKU: GI.G-9566
ISBN 9781622773589.
What do coaches, master teachers, and studies of the psychology of learning have to teach us about conducting? It turns out, quite a bit. In this concise yet insightful volume, Richard Sparks draws from years of experience in the professional choral world and from his time teaching at two leading universities to help choral conductors transform their craft and create truly artful experiences. He gains inspiration from legendary college basketball coach John Wooden and shares striking and refreshing parallels between coaching sports teams and conducting music ensembles. Sparks draws equally from research in the fields of teaching and the psychology of learning—and what a conductor can take from those areas as well. Just as an artisan builds a set of skills and learns the tools of the trade, conductors too must build a box of tools to help them learn, understand, and interpret music, lead rehearsals, and conduct. The Conductor’s Toolbox conveniently and succinctly compiles these tools. Highlights include: Assessing yourself and your choir Using modeling Developing good habits in yourself and your choir Learning and teaching new skills Rehearsing more efficiently Teaching fundamental elements of music Selecting repertoire that improves your and your choir’s skills Improving your planning and pacing of rehearsals This book is for the young conductor starting out who wants to build a truly solid craft. It is also for the experienced conductor who wonders how to move to the next level, reenergize, and grow. Richard Sparks was Professor of Music and Chair of Conducting & Ensembles at the University of North Texas from 2009–2019, and he served as Director of Choral Activities at Pacific Lutheran University from 1983–2001. He has founded and led a number of professional choral organizations and guest conducted ensembles including the Santa Fe Desert Chorale and the Swedish Radio Choir. Choral Music Skill Building Evaluation Form. This evaluation form, created by Alan Davis and available here as a free PDF download, touches on many of the skill building ideas discussed in The Conductor's Toolbox. A unique and deftly effective instructional reference guide and manual that is unreservedly recommended for personal, professional, community, college, and university library collection, The Conductor's Toolbox should be considered essential reading for anyone seeking a career in orchestral conducting in any form or format. —James A. Cox, Library Bookwatch, October 2019.
SKU: ET.PNO47
ISBN 9790207024060.
Sami's Piece was written for a jazz musician, and should be played with a jazz feel (and a nod to polyrhythmic Balkan folk music). It's an exuberant work, relatively short, but dizzying, full of surprises, musical humor, and changes of atmosphere. It was premiered in 2003 at the Hirzenberg Festival in Zofingen, Switzerland, by the Swiss pianist Samuel Wettstein, to whom the work is dedicated. Performing notes - Attentive use of the pedals to control resonance and legato will prevent blurriness. - When played on an upright piano that is slightly out of tune, the work gains an unexpected charm. - As is customary, accidentals remain valid until the end of the measure in which they appear.
SKU: CF.CM9583
ISBN 9781491154052. UPC: 680160912551. 6.875 x 10.5 inches. Key: Eb major. English. Thomas Moore (1779-1852).
Thomas Moore (17791852) was an Irish poet, singer, songwriter and entertainer. In his poem, On Music, Moore emphasizes the power that music has in our lives and the ability it has to evoke memories and feelings from the past. Music transcends that which can be spoken or felt. The beauty of making music together is to establish meaningful connections with others and to share a common language through song. We are reminded, however, that relationships with each other can be fluid or unstable, but as the words of the poem remind us, music will not betray. No matter the experiences that we face, the relationships that we foster, or the memories that we create, music will always be there for us in times of need and in times of celebration. What does music mean to you? How does it enrich your life? On Music Thomas Moore When through life unblest we rove, Losing all that made life dear, Should some notes we used to love, In days of boyhood, meet our ear, Oh! how welcome breathes the strain! Wakening thoughts that long have slept, Kindling former smiles again In faded eyes that long have wept. Like the gale, that sighs along Beds of oriental flowers, Is the grateful breath of song, That once was heard in happier hours. Filld with balm the gale sighs on, Though the flowers have sunk in death; So, when pleasures dream is gone, Its memory lives in Musics breath. Music, oh, how faint, how weak, Language fades before thy spell! Why should Feeling ever speak, When thou canst breathe her soul so well? Friendships balmy words may feign, Loves are even more false than they; Oh! tis only musics strain Can sweetly soothe, and not betray. Note to the performer: Liberty can be taken with the tempo markings and rubato should be used throughout in order to further stress the beauty and significance of the text. With its vocal-like descant, the flute should be treated as an additional voice rather than mere accompaniment to enhance the texture of the piece.Thomas Moore (1779a1852) was an Irish poet, singer, songwriter and entertainer. In his poem, On Music, Moore emphasizes the power that music has in our lives and the ability it has to evoke memories and feelings from the past. Music transcends that which can be spoken or felt. The beauty of making music together is to establish meaningful connections with others and to share a common language through song. We are reminded, however, that relationships with each other can be fluid or unstable, but as the words of the poem remind us, music will not betray. No matter the experiences that we face, the relationships that we foster, or the memories that we create, music will always be there for us in times of need and in times of celebration. What does music mean to you? How does it enrich your life? On Music a Thomas Moore When through life unblest we rove, Losing all that made life dear, Should some notes we used to love, In days of boyhood, meet our ear, Oh! how welcome breathes the strain! Wakening thoughts that long have slept, Kindling former smiles again In faded eyes that long have wept. Like the gale, that sighs along Beds of oriental flowers, Is the grateful breath of song, That once was heard in happier hours. Fillad with balm the gale sighs on, Though the flowers have sunk in death; So, when pleasureas dream is gone, Its memory lives in Musicas breath. Music, oh, how faint, how weak, Language fades before thy spell! Why should Feeling ever speak, When thou canst breathe her soul so well? Friendshipas balmy words may feign, Loveas are even more false than they; Oh! atis only musicas strain Can sweetly soothe, and not betray. Note to the performer: Liberty can be taken with the tempo markings and rubato should be used throughout in order to further stress the beauty and significance of the text. With its vocal-like descant, the flute should be treated as an additional voice rather than mere accompaniment to enhance the texture of the piece.Thomas Moore (1779-1852) was an Irish poet, singer, songwriter and entertainer. In his poem, On Music, Moore emphasizes the power that music has in our lives and the ability it has to evoke memories and feelings from the past. Music transcends that which can be spoken or felt. The beauty of making music together is to establish meaningful connections with others and to share a common language through song. We are reminded, however, that relationships with each other can be fluid or unstable, but as the words of the poem remind us, music will not betray. No matter the experiences that we face, the relationships that we foster, or the memories that we create, music will always be there for us in times of need and in times of celebration. What does music mean to you? How does it enrich your life? On Music - Thomas Moore When through life unblest we rove, Losing all that made life dear, Should some notes we used to love, In days of boyhood, meet our ear, Oh! how welcome breathes the strain! Wakening thoughts that long have slept, Kindling former smiles again In faded eyes that long have wept. Like the gale, that sighs along Beds of oriental flowers, Is the grateful breath of song, That once was heard in happier hours. Fill'd with balm the gale sighs on, Though the flowers have sunk in death; So, when pleasure's dream is gone, Its memory lives in Music's breath. Music, oh, how faint, how weak, Language fades before thy spell! Why should Feeling ever speak, When thou canst breathe her soul so well? Friendship's balmy words may feign, Love's are even more false than they; Oh! 'tis only music's strain Can sweetly soothe, and not betray. Note to the performer: Liberty can be taken with the tempo markings and rubato should be used throughout in order to further stress the beauty and significance of the text. With its vocal-like descant, the flute should be treated as an additional voice rather than mere accompaniment to enhance the texture of the piece.Thomas Moore (1779-1852) was an Irish poet, singer, songwriter and entertainer. In his poem, On Music, Moore emphasizes the power that music has in our lives and the ability it has to evoke memories and feelings from the past. Music transcends that which can be spoken or felt. The beauty of making music together is to establish meaningful connections with others and to share a common language through song. We are reminded, however, that relationships with each other can be fluid or unstable, but as the words of the poem remind us, music will not betray. No matter the experiences that we face, the relationships that we foster, or the memories that we create, music will always be there for us in times of need and in times of celebration. What does music mean to you? How does it enrich your life? On Music - Thomas Moore When through life unblest we rove, Losing all that made life dear, Should some notes we used to love, In days of boyhood, meet our ear, Oh! how welcome breathes the strain! Wakening thoughts that long have slept, Kindling former smiles again In faded eyes that long have wept. Like the gale, that sighs along Beds of oriental flowers, Is the grateful breath of song, That once was heard in happier hours. Fill'd with balm the gale sighs on, Though the flowers have sunk in death; So, when pleasure's dream is gone, Its memory lives in Music's breath. Music, oh, how faint, how weak, Language fades before thy spell! Why should Feeling ever speak, When thou canst breathe her soul so well? Friendship's balmy words may feign, Love's are even more false than they; Oh! 'tis only music's strain Can sweetly soothe, and not betray. Note to the performer: Liberty can be taken with the tempo markings and rubato should be used throughout in order to further stress the beauty and significance of the text. With its vocal-like descant, the flute should be treated as an additional voice rather than mere accompaniment to enhance the texture of the piece.Thomas Moore (1779–1852) was an Irish poet, singer, songwriter and entertainer. In his poem, On Music, Moore emphasizes the power that music has in our lives and the ability it has to evoke memories and feelings from the past. Music transcends that which can be spoken or felt. The beauty of making music together is to establish meaningful connections with others and to share a common language through song.We are reminded, however, that relationships with each other can be fluid or unstable, but as the words of the poem remind us, music will not betray. No matter the experiences that we face, the relationships that we foster, or the memories that we create, music will always be there for us in times of need and in times of celebration. What does music mean to you? How does it enrich your life?On Music – Thomas MooreWhen through life unblest we rove,Losing all that made life dear,Should some notes we used to love,In days of boyhood, meet our ear,Oh! how welcome breathes the strain!Wakening thoughts that long have slept,Kindling former smiles againIn faded eyes that long have wept.Like the gale, that sighs alongBeds of oriental flowers,Is the grateful breath of song,That once was heard in happier hours.Fill’d with balm the gale sighs on,Though the flowers have sunk in death;So, when pleasure’s dream is gone,Its memory lives in Music’s breath.Music, oh, how faint, how weak,Language fades before thy spell!Why should Feeling ever speak,When thou canst breathe her soul so well?Friendship’s balmy words may feign,Love’s are even more false than they;Oh! ’tis only music’s strainCan sweetly soothe, and not betray.Note to the performer: Liberty can be taken with the tempo markings and rubato should be used throughout in order to further stress the beauty and significance of the text. With its vocal-like descant, the flute should be treated as an additional voice rather than mere accompaniment to enhance the texture of the piece.
SKU: PR.114408750
UPC: 680160013289. 8.5 x 11 inches.
This work was commissioned by the Friends of the Phoenix Public Library for the dedication of the new Music Room and made possible in part through the funds from the Arizona Commission on the Arts, and Meet the Composer-Arizona. Diary of a Journey was composed between July and September 1995 for the group Arpeggio. During the early summer of 1995, my wife and I took a vacation to Prague and Budapest. It was the first trip for both of us to these former Iron Curtain capitals. The train ride through the beautiful country-side, the dilapidated small villages and towns, the magnificent architecture and the feeling of grandeur in the two major cities left an indelible impression on me. I longed to write some kind of an essay about it. Diary of a Journey is the result of some of these thoughts, which were sketched (musically) as we visited each place. There are four 'snapshots' or movements which do not portray a specific scene, but rather try to capture the impressions I gathered from the people we observed and met, and the many awe-inspiring experiences we had. Throughout the journey, I felt that people were clinging to a tenacious hope for a better future, no matter how long it will take to realize it. In the first movement each player portrays a struggle against all odds, and with great energy and even wit tries to overcome the obstacles, ending on one serene high note as a resting point after all the conflict. The second 'snapshot' tries to capture the deep faith of a newly regained religiosity. It is chant-like, and uses as its basic melodic material a famous Czech hymn, penned by the great religious reformer John Huss. This movement is played very freely, without bar-lines and with the hymn shining through the fervent chanting. The third movement is a kind of 'demonic' scherzo. Fast and furious, the three instruments vie with one another in a true perpetual motion frenzy, which is at times relieved by short, more pastoral melodic fragments. A rather wild ending should leave everyone breathless. Finally, in the fourth 'snapshot' the instruments play a bit more as a team, meaning that is that there is more melody with accompaniment, and more imitative music giving the impression of a group effort. The energy is still at a high level but long lyrical lines abound, accompanied and interrupted at times by undulating fast notes still depicting the struggle against the blight which any visitor notices all around these countries, yet also showing the determination of the people to conquer adversity. --Samuel Adler.
SKU: CF.YAS220
ISBN 9781491162682. UPC: 680160921430. Key: E minor.
Heart of Gold (A Greensleeves Fantasy) is a fresh take on a traditional favorite, drawing its name from the lyrics of the original secular song, “Greensleeves was my delight, Greensleeves was my heart of gold.†The piece starts with an introduction that flows into the familiar poignant melody, using beautiful and unexpected harmonies for a contemporary sound. The Second Violins and Viola have an opportunity to shine as well as they take over the theme with a wonderful swelling crescendo leading to the heart of the piece. A Solo Violin and Solo Cello restate the melody against the pizzicato accompaniment motif established in the beginning. The Optional Piano part adds magic and enhances the orchestration throughout.Performance Notes: Start the introduction very quietly. Exaggerate the dynamics throughout. Make the pizzicato nice and full while staying under the melody in the first violins. At measure 13, this countermelody in the first violins should be felt and not obscure the Greensleeves melody played by the second violins and violas, so make sure to balance it accordingly. At measure 20, exaggerate the crescendo and once forte is reached, maintain that intensity all the way to the decrescendo at measure 36. The solo violin line should be played with lots of expression and soar above the pizzicato figures. Pizzicato figures should be light and full, played closer to the fingerboard. At measure 45, the cello solo should be strong and connected singing high above the rest of the sections. Make sure the arco strings in this section do not overpower the cello line.
About Carl Fischer Young String Orchestra Series
This 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: CF.YAS220F
ISBN 9781491163023. UPC: 680160921775. Key: E minor.
SKU: BT.MUSAM1001440R
ISBN 9781783058921. English.
Hailed as the most comprehensive and complete beginner's Guitar method ever, the Justinguitar.com Beginner's Course from Justin Sandercoe will take you through everything from buying a Guitar to basic improvisation, now including two CDs full of content. If you have ever thought about picking up a Guitar, this book should be your first port of call. In renowned music teacher Justin Sandercoe 's friendly and authoritative way, he takes you through the basics of being a Guitarist from the absolute beginning to playing some impressive songs. You will learn all the essential chords, the fundamental scales and rhythm strumming and picking. giving you demonstrations of every chord, technique and exercise to help you hear exactly how everything should sound. Justinguitar.com has been world-renowned since it was initially set up in 2003. The Independent The CDs have been specially recorded by Justin newspaper has called him one of the most influential guitarists in history, and his combined total of 100 million viewers would certainly agree. His online videos have gained him huge recognition, but he is also a teacher at the Guitar Institute, and has taught thousands of students privately, including Katie Melua and Cathy Dennis. The course has been 20 years in the making, and has incorporated everything that a beginning guitarist needs to know, but that is often skipped over in less rewarding methods; things like music theory, aural training and songs specifically chosen to reinforcetechniques learned. Speaking of songs, if you want more songs to learn as a fantastic complement to this book, check out the Justinguitar.com Beginner's Songbook . Topics covered in this Beginner's Course include: Choosing equipment like a Guitar, an amplifier and accessories Open, barre and power chords as well as rhythm Guitar techniques Scorching lead playing such as the 12-bar blues and basic improvisation.
SKU: BR.OB-5299-19
Jean-Francois Monnard's new Urtext edition is the first to be based on a musicologically well-founded source comparison. Ravel's first sketch of the score as well as his final handwritten score were laid down as the principal sources.
ISBN 9790004339312. 10 x 12.5 inches.
Jean-Francois Monnard's new Urtext edition is the first to be based on a musicologically well-founded source comparison. Ravel's first sketch of the score as well as his final handwritten score were laid down as the principal sources.Jean-Francois Monnard's new Urtext edition is the first to be based on a musicologically well-founded source comparison. Ravel's first sketch of the score as well as his final handwritten score were laid down as the principal sources. In his preface, Monnard examines Ravel's sound aesthetics against the background of concert reception and historical recordings. Moreover, he also provides insights into Ravel's ideas concerning the tempo: ,,I must say that the Bolero is rarely conducted the way I think it should. Mengelberg speeds up and slows down excessively. Toscanini takes it twice as fast as it should be and broadens the tempo at the close, which is indicated nowhere. No: the Bolero should be played in one single tempo from the beginning to the end, in the plaintive and monotonous style of Spanish-Arabian melodies. The performance material to Ravel's Bolero can now also be purchased in its entirety for the first time.Jean-Francois Monnard's new Urtext edition is the first to be based on a musicologically well-founded source comparison. Ravel's first sketch of the score as well as his final handwritten score were laid down as the principal sources.
SKU: BR.PB-5524
ISBN 9790004212134. 6.5 x 9 inches.
SKU: BR.OB-5299-15
ISBN 9790004339299. 10 x 12.5 inches.
SKU: BR.OB-5299-23
ISBN 9790004339329. 10 x 12.5 inches.
SKU: BR.OB-5299-16
ISBN 9790004339305. 10 x 12.5 inches.
