SKU: WD.080689667237
UPC: 080689667237.
This soulful anthem with a compelling groove will have your entire congregation lifting their hands in pure, jubilant worship. Arranged and orchestrated by Bradley Knight, Think About You is filled with bold assurance of the Lord’s strength and mercy through the many trials and tribulations we face each day. This anthem will remind each individual of the freedom, hope, joy, and never-failing promises that come when we focus all of our thoughts on Jesus!
SKU: BT.9780713663440
ISBN 9780713663440. English.
This book contains 59 tried and tested songs about topics including the world, the seasons, being a friend and caring for animals. There are tuneful hymns and thought-provoking subjects, just what's needed to fill the musicslot in assembly or at Sunday school. Includes CD of backing tracks.
SKU: HL.49018734
ISBN 9790001174503. UPC: 841886015883. 9.0x12.0x0.062 inches.
Traditional form meets modern melody: Raaf Hekkema's 'Suite' is based on the classical form of Bach's French dance suite with Prelude, Allemande, Courante, Saraband, Minuet, and Gigue. Hekkema gives each movement its own modern character: The Prelude is based on a free melody, like the tradition librement opening of a French suite for lute from the 17th century. In the Allemande, an improvisatory melody develops over an ostinato bass whereas the Courante is a fast, softly swinging movement. The Saraband with multiphonic chords resembles a thoughtful etude, and the Minuet plays with the complexity of three long musical eras. The final dance, the Gigue, turns out to be really 'funky'.
SKU: MH.1-59913-072-6
ISBN 9781599130729.
Program Notes: It was a happy coincidence that the commission for SINFONIA XVI: TRANSCENDENTAL VIENNA came from the Henry David Thoreau School located in Vienna, Virginia. Thoreau is one of the magic names in American culture: Henry David Thoreau, one of the leading figures of the Transcendentalist movement, centered in 19th-century New England, left us a body of unique philosophical and poetical writings. To utter the words, Walden Pond, is to invoke an America long past in physical actuality, but still present in the minds and hearts of many American citizens. The name, Vienna, of course, summons thoughts of the Old World: culture, fine food, wine, civilized cities. While contemplating the form that SINFONIA XVI should take, I found myself thinking of two pillars of Viennese culture: expressionism and the waltz. Musically speaking, expressionism reached a zenith in the works of Arnold Schoenberg and Alban Berg. It was Berg, in particular, that I wanted to invoke in the outer movements of my composition. I knew I would also have to include a waltz, and an invocation of the mysterious forces that are contained in both expressionism and transcendentalism. Thus was the structure of the work generated. The outer movements with their vision of the night sky and the stars, Aldebaran and Sirius, frame the central movements, which are essentially two versions of the same material, and are quieter and less dramatic. The outer movements are symmetrical, and share both pitch and rhythmic materials. Accordingly, I see the work as a ternary form, with the central movements forming a unit within the outer frame: A (Movement 1) B (Movements 2 & 3) A' (Movement 4). Harmonically, the work can be summarized by the two pitch-series which occur in the opening bars of Movement 1: the initial 12-note row, with a tonal center on F-sharp (measures 1-6), and the subsequent D-minor Dorian 7-note row (beginning in measure 14). Aspects of these materials occur in all four movements, but they are most strongly present in Movements 1 and 4. Note that the 12-note row is not subjected to the usual serial procedures, but instead is treated as a signifier and is left unchanged. Since the fourth movement takes up where the first movement leaves off, I can conceive of one interpretation of SINFONIA XVI as an evocation of Thoreau himself contemplating two of the brightest stars on a clear, cold night. Aldebaran is an orange, first-magnitude star, located in the constellation Taurus; Sirius, the Dog Star, is the brightest star in the sky, and is located in the constellation Canis Major. Thoreau interrupts his star-gazing to entertain some inward thoughts, waking dreams, as it were, then returns his gaze to the splendid night sky and all its treasures. Although many other interpretations of the material are possible, it is important to remember that the abstract materials of the piece -- pitch, rhythm, structure -- are what count the most. Ensemble instrumentation: 1 Piccolo, 4 Flute 1, 4 Flute 2, 3 Oboe, 1 Eb Clarinet (opt.), 4 Bb Clarinet 1, 4 Bb Clarinet 2, 4 Bb Clarinet 3, 3 Bass Clarinet, 3 Bassoon, 3 Eb Alto Saxophone 1, 3 Eb Alto Saxophone 2, 2 Bb Tenor Saxophone, 2 Eb Baritone Saxophone, 3 Bb Trumpet 1, 3 Bb Trumpet 2, 3 Bb Trumpet 3, 2 Horn 1, 2 Horn 2, 3 Trombone 1, 3 Trombone 2, 3 Euphonium B.C., 2 Euphonium T.C., 5 Tuba, 2 Timpani, 3 Percussion 1, 3 Percussion 2, 3 Percussion 3, 3 Percussion 4.
SKU: BR.EB-9387
ISBN 9790004188576. 0 x 0 inches.
Commissioned by the Kolner Philharmonie (KolnMusik) for the non bthvn projekt 2020 and the Cite de la musique / Philharmonie de Paris Dedicated to Arditti Quartet Each movement of this quartet explores a single state, its lights and its shadows. Each movement, you could say, is a moment . And these moments could last for more or less time without compromising their essential nature. The processes could be extended or compressed, repeated or reversed, but the core ideas - if they are ideas, but maybe they are simply experiences? - are what they are. Despite this, the precise sequence of movements matters a great deal. Heard together they do articulate some kind of linear narrative, maybe even a metaphorical journey (albeit a circular one where the arrival might, who knows, prove to be a new departure). One situation gives way to another and instrumental relationships within the quartet vary, but ultimately the imaginative impulse behind the piece preferences states of unity. Whether or not this unity is expressed texturally - sometimes literal unisons pervade, but not always - there is generally a sense that even seemingly diverse aspects relate to a fundamental condition of concord: a conscious limitation in the pitch structure to spectral emanations of the root notes E-flat and C. At the opening this is unambiguously audible in the perpetual alternation of these two notes in the low cello register. Later the two spectra are woven into a micro-tonal 'double-spectral-mode' (derived from the first 24 partials of the C and E-flat fundamentals), which defines the subtle melodic inflection of the second movement, and the never-quite-chromatic ascending scales of the third. For now this feels like a rich source of melodic possibility, so far only just glimpsed... And why the insistence on E-flat? Probably by way of historical anecdote. Apparently Karl Holz (a member of the Schuppanzigh Quartet) said to Beethoven: We performed your Quartet in E-flat Op. 127 in his [Weber's] honour; he found the Adagio too long; but I told him: Beethoven also has a longer feeling and a longer imagination than anyone standing or not standing today. - Since then, even Linke (another member of the quartet) can no longer stand him: we cannot forgive him for this. Listening again to Op. 127, in light of these comments, I was struck by the opening moment: the unfolding of an E-flat 7th chord over the course of a few bars. Every time I hear it I find myself wishing that Beethoven would have lingered longer there, without resolution or progression, just enjoying that sonority. And maybe - why not? - tune the 7th naturally. And what would it be to stretch that moment into an entire piece? What would Weber think of that?! In the end I was not so extreme in my self-limitation, and other concerns took over, but it was from these thoughts that the composition process began... Lastly, about the title: it comes from a book called 'The Clock of the Long Now' by Stewart Brand, published at the turn of the millennium. It's about the creation of a thousand-year clock to embody the aspiration to thinking in terms of longer time-spans than are presently habitual. If the music of Beethoven embodied a 'longer' feeling and imagination than some of his contemporaries were able to appreciate, what is our relation to time now? Longer or shorter? Maybe it depends who you ask... It's probably more extreme in both directions: attention spans might be diminishing in the digital world, but conversely there is an awareness of distant pasts and potential futures which would have been inconceivable at the time of Beethoven. In any case, the interesting thing is to ponder how societal conditions, assumptions and expectations might - whether consciously or unconsciously - influence the time of art, for listeners and creators alike. And what if time is running out? (Christian Mason)World premiere: Paris, Cite de la musique, January 14, 2020.
SKU: PR.312416820
UPC: 680160050376. 8.5 x 11 inches.
Chen Yi’s most performed and most beloved choral music is a series of 10 Chinese folk songs adapted for S.A.T.B. Chorus (published in 3 volumes: 312-41731, 312-41732, 312-41733). This special version is a setting of the familiar collection, adapted for children’s chorus and strings.Remembering when I studied composition in the Central Conservatory of Music in Beijing, I learned to sing hundreds of Chinese folk songs collected from more than twenty provinces and fifty ethnic groups, and went to countryside to collect original folk music every year. I got to know that the folk songs are a mirror of people’s daily lives, their thoughts and sentiments, local customs and manners. They are sung in regional dialects and use the idioms of everyday speech with their particular intonations, accents and cadences. This correlation between speech and music distinguishes folk songs of one region from another. I learned all songs by heart and sang them back in the exams every week. They melted in my blood and became my natural music language. The more I walk into the music life,the more I treasure the rich culture I have learned from my homeland. When I became the Composer-in-Residence of Chanticleer and was invited to write the first work for its concert program, as well as another version for its Singing-In-The-Schools program, I decided to introduce A Set of Chinese Folk Songs to my American audiences, and add a new flavor to Chanticleer’srich repertoire. The work includes ten folk songs, taken from eight provinces (Anhui, Shaanxi, Yunnan, Shanxi, Taiwan, Sinkiang, Jiangsu and Guizhou) and five ethnic groups (Han, Hasake, Uighur, Miao and Yi). I arranged them for choirs (men’s or children’s chorus) with various combinations in voices, to be sung mostly in Chinese, some in English. From the mysterious mountain songs originally sung in the open air with high and long notes that can carry over great distances, the sweet and delicate melodies of young love compared with nature, the humorous antiphony by little children, and the lively dancing tune by villagers, you may get an idea of various music styles in Chinese folk songs according to geographic, ethnic and linguistic differences, and appreciate the beauty of the Chinese folk music. The pure choir sound and the sophisticated singing by Chanticleer, in terms of pitches, language and musical expressions, really attract and inspire me to create some more new works in the years to come. In thisedition of A Set of Chinese Folk Songs for standard SATB mixed choir (with piano rehearsal score), I divided these ten songs into three volumes. They are Fengyang Song, The Flowing Stream, Guessing, Thinking of My Darling, Mayila, Jasmine Flower, Riding on a Mule, Awariguli, Diu Diu Deng, andMountain Song and Dancing Tune.—Chen Yi.
SKU: HL.283905
UPC: 888680795528. 6.75x10.5 inches.
This song, made popular by Frank Sinatra in the movie A Hole in the Head, is a song of positive thoughts and acts. An ant moves a rubber tree plant, a ram destroys a dam and our troubles and hardships go away when the balloon is popped. The power of positive thinking. This song won the Oscar for Best Original Song at the 32nd Academy Awards in 1960 and its message is still award-winning.
SKU: CY.CC2311
Finally, Maestro Bobo's DVD masterclass is available. Produced in Japan, it contains some of the finest musical advice and insight for musicians, students of brass and tubists. Some of the works performed include: Strauss-Concerto #1, Stevens-Variations in Olden Style, Koetsier-Concertino, Madsen-Sonata & Schumann-Adagio & Allegro. The following are some words from Roger Bobo of his thoughts in producing a DVD masterclass - this will be some of the most valuable 2 1/2 hours spent in front of a screen:Throughout my student and professional days I have been inspired and motivated by watching many masterclasses (usually on television) presented by many of the great musicians of our time. It was many years ago that I first got the idea to try to create such a masterclass of my own but was always held back by thinking, No, I'm not ready yet. The difficult fact is that I still feel that same Not readiness. But having now completed 7 decades on this planet, it seemed prudent to proceed with the masterclass project, ready or not, and fortunately at this time a DVD seemed the perfect medium. --Roger Bobo.
SKU: HL.283908
UPC: 888680795559. 5.0x5.0x0.158 inches.
SKU: CF.CPS267F
ISBN 9781491161777. UPC: 680160920464.
I love to look up at the sky. When I see contrails, I wonder where they are going, and it reminds me of my hometown. Because of the pandemic, many people are still unable to visit their loved ones, and I thought they would want to fly away as soon as possible. This is the concept of this piece. You may be thinking about the places you want to go to or the family and friends you want to see, and you may feel excited, or you may feel lonely. At such times, the sky is always watching over us with its great receptive power. The sky gives us energy and courage. When I'm in a cheerful mood, I just want to flap my wings like a bird to the sky and fly away!.I love to look up at the sky. When I see contrails, I wonder where they are going, and it reminds me of my hometown. Because of the pandemic, many people are still unable to visit their loved ones, and I thought they would want to fly away as soon as possible. This is the concept of this piece. You may be thinking about the places you want to go to or the family and friends you want to see, and you may feel excited, or you may feel lonely. At such times, the sky is always watching over us with its great receptive power. The sky gives us energy and courage. When I'm in a cheerful mood, I just want to flap my wings like a bird to the sky and fly away!
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: CF.YPS245F
ISBN 9781491159927. UPC: 680160918515.
