Swift Settings

SKU: TM.02117SET

Key of Eb.

SKU: ST.EM7

ISBN 9790220218507.

CONTENTS
A silly Sylvan (SSAAT)
Ah cannot sighs, nor tears? (SSAAA (or T) B)
Ah, cruel Amarillis (SST (or A))
All pleasure is of this condition (SSAT (or A) B)
As fair as mourn (SAA (or T))
As matches beauty (S (or A) S (or A) TB)
Change me, O heavAns (SSA (or T) B (or T))
Come shepherd swains (SSA (or T))
Despite thus unto myself (SSA (or T) A (or T) T (or B) B)
Down in a valley (SSATB)
Draw on sweet night (SSAA (or T) TB)
Flourish ye hillocks (SST)
Fly not so swift, my dear (SA (or S) A (or T) B (or T))
Happy streams whose trembling fall (SST (or A) T)
Happy, oh happy he (SA (or S) A (or T) B)
Hard destinies are love and beauty (SSATB)
I live, and yet me thinks (S(or A) S(or A) T)
I love, alas, yet am not loved (SSA (or T) B)
Long have I made these hills (SSAATB)
Love not me for comely grace (SAA (or T) T)
O what shall I do? (SST (or A))
O wretched man (SSAT (or A) T (or B) B)
Oft have I vowed (SSATB)
So light is love (SSA (or T))
Softly, O softly, drop my eyes (SSAATB)
Stay, Corydon, thou swain (SSATTB)
Sweet honey sucking bees (SSAAB)
There is a jewel (Risposta) (SST)
There where I saw (SSATB)
Weep, weep mine eyes (SSA (or T) TB)
When Cloris heard of her Amyntas (S (or A) S (or A) A (or T) T)
Where most my thoughts (SSA (or T) A (or T) T (or B) B)
Ye that do live in pleasures (SSAA (or T) B)
Yet, sweet take heed (SSAAB).

SKU: CF.CPS234

ISBN 9781491156346. UPC: 680160914883. 9 x 12 inches.

Mercury - the Roman god of financial gain, commerce, travelers, boundaries, luck, trickery, merchants, and thieves. A popular deity in Roman culture, he was instantly recognized by his unique winged shoes (talaria) and hat (petasos). With its close proximity to the sun and faster orbit than all other planets, the Romans named this small celestial body after the swift-winged messenger of their culture. It is not surprising that in Holst's major orchestral suite The Planets that Mercury utilizes such light and swift themes. There is some duality to the title of the work. Part of it involves my impression of what a playful chase of the winged messenger sounds like. The other part is the opening motif chasing two themes of Holst around the rest of the work. It was only after developing the first few ideas that I recognized some of the commonalities with some of those same themes from Holst's orchestral work. There are several quotations from that famous piece by Holst (notably as both are stated successively at mm. 13-20). The idea of someone having to chase the Winged Messenger struck me as a unique title around which to craft a work. One of my core beliefs about music is that it can be imbued with meaning by a composer, and as the sonic story unfolds an ensemble, director, and audience members can draw out their own meaning from the experience. Who exactly is chasing Mercury? I leave that up to the wonderfully creative minds of the young ladies and gentlemen who have the opportunity to bring this work to life. The opportunity to compose music and allow student musicians to give this piece new life and draw out different meanings is a humbling experience. Rehearsal Notes and Suggestions As stated earlier, the opening motif (a range of a seventh) comes back frequently in the work in a variety of settings and textures. Throughout the work, it is important for students to recognize the two themes from Holst when they are present in the sound canvas. If the solos (clarinet and alto saxophone) are utilized, the supporting parts around and underneath those lines must be sensitive and play in such a way to properly balance those parts. There are number of muted sections for the trumpet section, and I would advocate for all trumpets acquiring the same mute to contribute to unity in timbre. The bold fanfare sections (the first occurs at m. 37) must be presented with a unified articulation style. As the texture intensifies prior to m. 169, it is crucial for the ensemble to play within themselves and exercise musical courtesy to allow all voices to be heard as they arrive at m. 181. My thanks in advance for your support of this music, and I wish you well as you and your ensemble begin Chasing Mercury!.
Mercury 鈥� the Roman god of financial gain, commerce, travelers, boundaries, luck, trickery, merchants, and thieves. A popular deity in Roman culture, he was instantly recognized by his unique winged shoes (talaria) and hat (petasos). With its close proximity to the sun and faster orbit than all other planets, the Romans named this small celestial body after the swift-winged messenger of their culture. It is not surprising that in Holst鈥檚 major orchestral suite The Planets that Mercury utilizes such light and swift themes.There is some duality to the title of the work. Part of it involves my impression of what a playful chase of the winged messenger sounds like. The other part is the opening motif chasing two themes of Holst around the rest of the work. It was only after developing the first few ideas that I recognized some of the commonalities with some of those same themes from Holst鈥檚 orchestral work. There are several quotations from that famous piece by Holst (notably as both are stated successively at mm. 13鈥�20). The idea of someone having to chase the Winged Messenger struck me as a unique title around which to craft a work.One of my core beliefs about music is that it can be imbued with meaning by a composer, and as the sonic story unfolds an ensemble, director, and audience members can draw out their own meaning from the experience. Who exactly is chasing Mercury? I leave that up to the wonderfully creative minds of the young ladies and gentlemen who have the opportunity to bring this work to life. The opportunity to compose music and allow student musicians to give this piece new life and draw out different meanings is a humbling experience.Rehearsal Notes and SuggestionsAs stated earlier, the opening motif (a range of a seventh) comes back frequently in the work in a variety of settings and textures. Throughout the work, it is important for students to recognize the two themes from Holst when they are present in the sound canvas. If the solos (clarinet and alto saxophone) are utilized, the supporting parts around and underneath those lines must be sensitive and play in such a way to properly balance those parts. There are number of muted sections for the trumpet section, and I would advocate for all trumpets acquiring the same mute to contribute to unity in timbre. The bold fanfare sections (the first occurs at m. 37) must be presented with a unified articulation style. As the texture intensifies prior to m. 169, it is crucial for the ensemble to play within themselves and exercise musical courtesy to allow all voices to be heard as they arrive at m. 181. My thanks in advance for your support of this music, and I wish you well as you and your ensemble begin Chasing Mercury!

SKU: HL.3710214

UPC: 697643113657. 24.0x24.0x0.075 inches.

Series Description: 2002 Black Big Beat represent a modernized, yet timeless interpretation of the legendary 2002 sound. Visually, the cymbals feature a distinctly new hammering pattern for the 2002 family, a slightly darkened, semi-matted finish and simplified black logos to distinguish the Big Beat set. With the 2002 Black Big Beat models, we take the 2002 sound into a new realm, while preserving the legendary 2002 heritage. Alloy: CuSn8 Bronze, also known as 鈥�2002 Bronze鈥� Size: 24-inches Weight: medium thin Volume: medium low to loud Stick Sound: defined Intensity: lively Sustain: medium Bell Character: integrated Sound character: Warm, deep, brilliant, lush. Medium wide range, complex mix. Responsive, giving feel. Warm luscious crashes with swift fade. Airy, defined ping over wide multi-layered wash. Broad, musical, integrated bells. Multifunctional design to work well as both crashes and rides in medium low to loud settings.

SKU: HL.3710211

UPC: 697643113626. 20.0x20.0x0.054 inches.

Series Description: 2002 Black Big Beat represent a modernized, yet timeless interpretation of the legendary 2002 sound. Visually, the cymbals feature a distinctly new hammering pattern for the 2002 family, a slightly darkened, semi-matted finish and simplified black logos to distinguish the Big Beat set. With the 2002 Black Big Beat models, we take the 2002 sound into a new realm, while preserving the legendary 2002 heritage. Alloy: CuSn8 Bronze, also known as 鈥�2002 Bronze鈥� Size: 20-inches Weight: medium thin Volume: medium low to loud Stick Sound: defined Intensity: lively Sustain: medium Bell Character: integrated Sound character: Warm, deep, brilliant, lush. Medium wide range, complex mix. Responsive, giving feel. Warm luscious crashes with swift fade. Airy, defined ping over wide multi-layered wash. Broad, musical, integrated bells. Multifunctional design to work well as both crashes and rides in medium low to loud settings.

SKU: BT.RSK200045

ISBN 9781912352548. English.

Learn to play rock and pop with Rockschool. These specially written arrangements develop the skills and techniques you need to help you achieve your musical goals.

For Rockschool's 2018-2024 Guitar series, Rockschool have commissioned arrangements of titles reflecting popular music's rich heritage in all its forms and have tailored each piece to make it exactly right for the grade. You can also use titles from Rockschool's Classics series as part of the syllabus.

The arrangements have been written and performed by top session musicians who have worked with some of the biggest names in rock, metal and pop. The tracks were recorded at Real World's acclaimed recordingstudios and feature live instruments and first rate performances for an unrivalled level of feel, authenticity and musicianship.

Featuring:

• Nirvana - Smells Like Teen Spirit
• Ed Sheeran - Thinking Out Loud
• Otis Redding - (Sittin' On) The Dock Of The Bay
• Taylor Swift - I Knew You Were Trouble
• Bryan Adams - Summer Of 69
• Creedence Clearwater Revival - Proud Mary
• 6 Rockschool Originals

Plus:

• Band and artist fact files with recommended listening
• In-depth walkthroughs of every track
• Easy-access downloadable audio
• Example tests and exercises
• Amp settings and tone advice for each track

SKU: CF.SPS89

ISBN 9781491156483. UPC: 680160915026. 9 x 12 inches.

Program Notes This composition for wind ensemble is partially inspired by my home town of Sebastian, specifically its location on the east coast of the state of Florida. My childhood included many quick trips to both the nearby Indian River and the beaches on the coast, so swimming and the water were integral parts of my experience growing up. This work is my musical expression of diving underwater and getting swept up by a fast current and discovering wonders beneath the surface. Dive! has two central components: a constant, driving eighth-note pulse and a main theme which is fragmented and passed around at first, but then is presented completely by the low reeds around a minute and a half into the piece. The steady eighth-note pulse reflects the swift current that a diver might follow, while the main theme represents all the wonders that might be hidden under the water. Performance Notes Ideally, the Trombone 3 part should be played on a Bass Trombone. However, if one is not available there are cues for notes that are beneath a tenor trombone's range. Make sure the vibraphone is heard clearly throughout the piece, as this particular sound is very important to the overall color of this piece. The Percussion 5 part requires two performers as some of the hits happen too quickly for one player to switch between instruments. The most important component of this work is the steady eighth-note pulse, and this pulse never changes even though the meter changes frequently to odd or uncommon time signatures; if the eighth notes remain constant and driving, the meter changes will not pose much of a problem.              .
Program NotesThis composition for wind ensemble is partially inspired by my home town of Sebastian, specifically its location on the east coast of the state of Florida. My childhood included many quick trips to both the nearby Indian River and the beaches on the coast, so swimming and the water were integral parts of my experience growing up. This work is my musical expression of diving underwater and getting swept up by a fast current and discovering wonders beneath the surface.Dive! has two central components: a constant, driving eighth-note pulse and a main theme which is fragmented and passed around at first, but then is presented completely by the low reeds around a minute and a half into the piece. The steady eighth-note pulse reflects the swift current that a diver might follow, while the main theme represents all the wonders that might be hidden under the water.Performance NotesIdeally, the Trombone 3 part should be played on a Bass Trombone. However, if one is not available there are cues for notes that are beneath a tenor trombone's range.Make sure the vibraphone is heard clearly throughout the piece, as this particular sound is very important to the overall color of this piece. The Percussion 5 part requires two performers as some of the hits happen too quickly for one player to switch between instruments.The most important component of this work is the steady eighth-note pulse, and this pulse never changes even though the meter changes frequently to odd or uncommon time signatures; if the eighth notes remain constant and driving, the meter changes will not pose much of a problem.聽聽聽聽聽聽聽.

SKU: KN.52600

Recorded by The Vanguard Jazz Orchestra on the album Thad Jones Legacy, this blazing chart, meant to be played as fast as possible, opens with a repeating vamp featuring horn players on Latin percussion instruments. Then excitement builds as horns enter a few at a time until the whole ensemble reaches the first tutti chorus. Solos for tenor and drums (with horns playing percussion again) are included, and the finale is swift and powerful. Duration 5:00.

SKU: HL.51481614

UPC: 196288206934. 9.0x12.0x0.16 inches.

The Five Piano Pieces op. 23 are a transitional work in which Sch枚nberg made the decisive step from free atonal music to composition based on tone rows, which however did not yet necessarily have to contain all twelve chromatic tones. Begun in 1920 as a contribution to a memorial album for Debussy, the cycle was completed 鈥� now as an independent work 鈥� only in 1923. The most famous piece in it is certainly no. 5, 鈥淲altz鈥�, an ironic playing with genre traditions that at the same time is a swift-moving piece of music! Our editor, Ulrich Kr盲mer, is one of the most distinguished Sch枚nberg scholars, while the fingerings are provided by specialist Shai Wosner. The clear and neatly set score is an ideal basis on which to explore this fascinating piano universe.

About Henle Urtext

What I can expect from Henle Urtext editions:

• error-free, reliable musical texts based on meticulous musicological research - fingerings and bowings by famous artists and pedagogues
• preface in 3 languages with information on the genesis and history of the work 
• Critical Commentary in 1 – 3 languages with a description and evaluation of the sources and explaining all source discrepancies and editorial decisions 
• most beautiful music engraving 
• page-turns, fold-out pages, and cues where you need them 
• excellent print quality and binding 
• largest Urtext catalogue world-wide 
• longest Urtext experience (founded 1948 exclusively for Urtext editions)

SKU: PR.114405050

UPC: 680160008377. 11 x 14 inches.

Although structurally it subdivides into five movements, the entire quartet emerges as one vast continuum. There are no formal breaks between movements. However, certain musical signposts can be discerned, associated with each of the movements' terminations and new beginnings. The opening movement, The Nostalgia of Clanging Bell Sonorities, begins floating on recurrent Bbs whose soft rhythmic flow slowly puts into motion strong undercurrents suggestive of the latent power of water... After several suggestions of tolling bells, the movement gradually fades into hushed tones of veiled and very distant sonorities. It uses a unique efffect, for the first time in a musical context, conveyed through the use of extra heavy practice mutes. The second movement, The Spill of Water , disengages itself from the first through its distinct contrast in tempo. Water moves fast, and when it splashes, it tends to run wildly. In this case, it happens to be bubbly water that gushes forth bodly... smashing across rocky shorlines. So, too, the music attempts to conjure such moods. At the end of this movement, a cello cadenza emerges, introducing an introspective type of melodicism. The third movement, The Poignancy of Memory, contains many silences as it tries to convey memory through fragmented remembrances much like often occur in our dream state. Progressing through several slowly building images, it gradually works itself into juxtaposition of musical images. Towards the movement's end, high harmonics are sounding in all four instruments while left hand pizzicato notes in the cello pluch the last remembrances of this central core. Almost imperceptibly, the viola assumes leadership as it dissolves into: The fourth movement, The Fluidity of Motion, which has mostly the viola, but also the cello, articulating lyrical statements against the sheets of sound conjured up by the two violins playing a flood of swirling figures, evokes a kind of static motion in spae. Here, the virtually imperceptible manner in which this hushed whisper continues incessantly, can suggest the potential fluidity with which movement may inch forward... Later into the fourth movement , two fairly extended solos by the second and then the first violins, lead to a kind of spontaneous dialogue among the four instrumentalists. Eventually, this musical conversation gets caught up in: The fifth movement's The Rush of Time, which opens with a hushed flurry of speed, precipitates the Finale. It generates, at first slowly, but then very swiftly, whole shifts of rhythmic fields that initially seem to conflict with one another. Ultimately, this use of 'psycho-rhythmics contributes to an on-rush of motion and time. Rhythmic changes are, at times, abruptly precipitated with but little or no preparation creating a kind of inevitability in forward thrust, while the movement rushes forward with a feeling of gradual and continuous acceleration. It gathers density as more and more notes are piled progressively upon successive beats. The attempt is to spark tension and ignite excitement by means of frenetic confrontations of dissimilitudes. Ultimately - with the help of time - these polarities centrifically spin out their own destinies with their accompanying fall-out and own inevitable resolutions.