SKU: CY.CC2703
--Gabriel Faure's Opus 7 is a grouping of three songs written between 1870 and 1878 and then published together almost 20 years later.The songs are:--Apres une reve (After a Dream) - Faure's most famous song, text by Romain Bussine--Hymne - also an ethereal love song, text by Charles Baudelaire--Barcarolle - a flowing song in 6/8 time from a poem by Marc Monnier--Mr. Sauer has beautifully arranged these songs for advanced performers and provided English translations of the lyrics for better understanding of the spirit of each song.--Length of the three song set is about 7 minutes.
SKU: ST.H474
ISBN 9790220222900.
A Short Sonata is a work written at around Grade 8 standard for euphonium and piano. In each of the work's three movements, different qualities of the instrument are utilised and explored. In the first movement, an Allegro in 6/8 time, these qualities are the instrument's general agility, and its ability to play fast-moving melodies in a way that drives the music forward. Throughout, different ways of phrasing similar material are used to create interest and a varied sound. In the second, slow movement, the resonant and majestic way in which the euphonium can deliver lyrical melodic lines is explored. The movement is made up of four long phrases which peak dynamically at the third, giving room for interpretation and feeling. The third movement exploits the instrument's ability to play loudly and aggressively, using lots of accented notes, hairpin crescendos and quick double-tonguing. A Short Sonata was the winner of the first Stainer & Bell Award for Brass Composition, held at the Royal Welsh College of Music & Drama in Cardiff in May 2010.
SKU: CF.CPS239
ISBN 9781491157855. UPC: 680160916450. 9 x 12 inches.
The energy and drive of this piece uses simple time signatures of 4/4 and 3/4 and mixes groups of three notes and syncopation to the rhythm and the melody. There is also a use of a musical term called hemiola, when groups of two beats are replaced by groups of three beats, creating a shift between duple and triple meter. Syncopation adds a modern, jazzy, popular feel to this exciting concert band composition. Along with syncopation and popular influences are countermelodies to the main theme that are as important as the melody for balance and blend. This adds a feeling of baroque or renaissance style to the texture. Yet the melodies, chords, and structure are recognizable and enjoyable to listen to and perform. The middle 3/4 section is slightly slower featuring brass and saxophones and played legato. Then at the key change, it becomes more articulate and contrapuntal. The a tempo at m. 88 returns to the original thematic material, differing slightly from the beginning, and the coda has some added technical and challenging woodwind passages. The cymbal/triangle part has a lot of directions on choking, hi-hat sound, etc., that will add nice color to the piece if performed as indicated.The energy and drive of this piece uses simple time signatures of 4/4 and 3/4 and mixes groups of three notes and syncopation to the rhythm and the melody. There is also a use of a musical term called hemiola, when groups of two beats are replaced by groups of three beats, creating a shift between duple and triple meter. Syncopation adds a modern, jazzy, popular feel to this exciting concert band composition.Along with syncopation and popular influences are countermelodies to the main theme that are as important as the melody for balance and blend. This adds a feeling of baroque or renaissance style to the texture. Yet the melodies, chords, and structure are recognizable and enjoyable to listen to and perform. The middle 3/4 section is slightly slower featuring brass and saxophones and played legato. Then at the key change, it becomes more articulate and contrapuntal. The a tempo at m. 88 returns to the original thematic material, differing slightly from the beginning, and the coda has some added technical and challenging woodwind passages. The cymbal/triangle part has a lot of directions on choking, hi-hat sound, etc., that will add nice color to the piece if performed as indicated.
SKU: CF.CPS239F
ISBN 9781491157848. UPC: 680160916443. 9 x 12 inches.
SKU: BT.AMP-414-400
ISBN 9789043148566. English-German-French-Dutch.
Part of the Anglo Music Play-Along Series, Philip Sparke’s 15 Easy Christmas Carols is aimed at the young instrumentalist who can play just over an octave. Specifically tailored to suit the individual instrument, this book introducesthe beginning player to the world’s most popular Christmas tunes by selecting simple yet attractive melodies that fit their limited range. This book will provide invaluable additional material to complement any teaching method and includes both pianoaccompaniment and a demo/play-along CD.Philip Sparkes 15 Easy Christmas Carols sind Teil der Anglo Music Play-Along Reihe und richten sich an junge Instrumentalisten, die den Tonumfang von einer Oktave beherrschen. Auf jedes Instrument zugeschnitten, führen diese Ausgaben,für die einfache und zugleich ansprechende Melodien ausgewählt wurden die sich für diesen begrenzten Tonumfang eignen, den Anfänger an die weltweit beliebtesten Weihnachtslieder heran. Dieser Band bietet wertvolles Ergänzungsmaterial, das zu jederInstrumentalschule passt und sowohl eine Klavierbegleitung als auch eine Play-Along-CD enthält.Faisant partie de l’Anglo Music Play-Along Series, les 15 Easy Christmas Carols(15 chants de Noël faciles) de Philip Sparke visent les jeunes instrumentistes qui arrivent jouer un peu plus d’une octave. Adapté pourconvenir chaque instrument spécifique, ce recueil introduit le joueur débutant aux chants de Noël les plus populaires en sélectionnant des mélodies simples les plus intéressantes qui correspondent leur registre limité. Ce recueil fournit dumatériel supplémentaire indispensable qui complète n’importe quelle méthode pédagogique et inclut un accompagnement pour piano ainsi qu’une version sur CD avec démos.
SKU: PR.16500100F
ISBN 9781491114421. UPC: 680160669783. 9 x 12 inches.
Commissioned for a consortium of high school and college bands in the north Dallas region, FOR THEMYSTIC HARMONY is a 10-minute inspirational work in homage to Norwood and Elizabeth Dixon,patrons of the Fort Worth Symphony and the Van Cliburn Competition. Welcher draws melodic flavorfrom five American hymns, spirituals, and folk tunes of the 19th century. The last of these sources toappear is the hymn tune For the Beauty of the Earth, whose third stanza is the quatrain: “For the joy of earand eye, For the heart and mind’s delight, For the mystic harmony, Linking sense to sound and sight,”giving rise to the work’s title.This work, commissioned for a consortium of high school bands in the north Dallas area, is my fifteenth maturework for wind ensemble (not counting transcriptions). When I asked Todd Dixon, the band director whospearheaded this project, what kind of a work he most wanted, he first said “something that’s basically slow,” butwanted to leave the details to me. During a long subsequent conversation, he mentioned that his grandparents,Norwood and Elizabeth Dixon, were prime supporters of the Fort Worth Symphony, going so far as to purchase anumber of high quality instruments for that orchestra. This intrigued me, so I asked more about his grandparentsand was provided an 80-page biographical sketch. Reading that article, including a long section about theirdevotion to supporting a young man through the rigors of the Van Cliburn International Piano Competition fora number of years, moved me very much. Norwood and Elizabeth Dixon weren’t just supporters of the arts; theywere passionate lovers of music and musicians. I determined to make this work a testament to that love, and tothe religious faith that sustained them both. The idea of using extant hymns was also suggested by Todd Dixon,and this 10-minute work is the result.I have employed existing melodies in several works, delving into certain kinds of religious music more than a fewtimes. In seeking new sounds, new ways of harmonizing old tunes, and the contrapuntal overlaying of one tunewith another, I was able to make works like ZION (using 19th-century Revivalist hymns) and LABORING SONGS(using Shaker melodies) reflect the spirit of the composers who created these melodies, without sounding likepastiches or medleys. I determined to do the same with this new work, with the added problem of employingmelodies that were more familiar. I chose five tunes from the 19th century: hymns, spirituals, and folk-tunes.Some of these are known by differing titles, but they all appear in hymnals of various Christian denominations(with various titles and texts). My idea was to employ the tunes without altering their notes, instead using aconstantly modulating sense of harmony — sometimes leading to polytonal harmonizations of what are normallysimple four-chord hymns.The work begins and ends with a repeated chime on the note C: a reminder of steeples, white clapboard churchesin the country, and small church organs. Beginning with a Mixolydian folk tune of Caribbean origin presentedtwice with layered entrances, the work starts with a feeling of mystery and gentle sorrow. It proceeds, after along transition, into a second hymn that is sometimes connected to the sea (hence the sensation of water andwaves throughout it). This tune, by John B. Dykes (1823-1876), is a bit more chromatic and “shifty” than mosthymn-tunes, so I chose to play with the constant sensation of modulation even more than the original does. Atthe climax, the familiar spiritual “Were you there?” takes over, with a double-time polytonal feeling propelling itforward at “Sometimes it causes me to tremble.”Trumpets in counterpoint raise the temperature, and the tempo as well, leading the music into a third tune (ofunknown provenance, though it appears with different texts in various hymnals) that is presented in a sprightlymanner. Bassoons introduce the melody, but it is quickly taken up by other instruments over three “verses,”constantly growing in orchestration and volume. A mysterious second tune, unrelated to this one, interrupts it inall three verses, sending the melody into unknown regions.The final melody is “For the Beauty of the Earth.” This tune by Conrad Kocher (1786-1872) is commonly sung atThanksgiving — the perfect choice to end this work celebrating two people known for their generosity.Keeping the sense of constant modulation that has been present throughout, I chose to present this hymn in threegrowing verses, but with a twist: every four bars, the “key” of the hymn seems to shift — until the “Lord of all, toThee we praise” melody bursts out in a surprising compound meter. This, as it turns out, was the “mystery tune”heard earlier in the piece. After an Ivesian, almost polytonal climax, the Coda begins over a long B( pedal. At first,it seems to be a restatement of the first two phrases of “For the Beauty” with long spaces between them, but it soonchanges to a series of “Amen” cadences, widely separated by range and color. These, too, do not conform to anykey, but instead overlay each other in ways that are unpredictable but strangely comforting.The third verse of “For the Beauty of the Earth” contains this quatrain:“For the joy of ear and eye, –For the heart and mind’s delightFor the mystic harmonyLinking sense to sound and sight”and it was from this poetry that I drew the title for the present work. It is my hope that audiences and performerswill find within it a sense of grace: more than a little familiar, but also quite new and unexpected.
SKU: CF.YPS225
ISBN 9781491158401. UPC: 680160917006. 9 x 12 inches.
Music from Italy has been popular in America for generations. Here are three Italian melodies opening with a happy tune, Tiritomba. Santa Lucia is a moderately slow song in 3/4 time that is great for emphasis on phrasing. Finiculi, Finicula is a good piece to reinforce 6/8 time and is fun to play. Performance Time: 4:00.Music from Italy has been popular in America for generations. Here are three Italian melodies opening with a happy tune, Tiritomba. Santa Lucia is a moderately slow song in 3/4 time that is great for emphasis on phrasing. Finiculi, Finicula is a good piece to reinforce 6/8 time and is fun to play.Performance Time: 4:00.
SKU: CF.YPS225F
ISBN 9781491158418. UPC: 680160917013. 9 x 12 inches.
SKU: BT.DHP-1185927-404
ISBN 9789043155076. English.
Look, Listen & Learn sets the bar for brass and woodwind teaching nowadays. These exciting method book/CD packs for beginners contain songs, music puzzles and games to increase the pupils’ understanding of music, information about their instrument, and lots of fun pieces to play. The three volumes of the method that form the basis of this series are enhanced by several books with supplementary material designed to correspond with the progress of the method.
In Meet the Masters, the melodies are arranged in increasing order of difficulty and can be used in conjunction with all three volumes of the Look, Listen & Learn method series. Pupils takea journey through music history and meet the most important composers of classical music, from Tielman Susato to Anton n Dvo ák, together with pertinent historical commentary. The present edition includes printed music for piano accompaniments, expertly arranged at a moderate level of difficulty, which are also available in recorded versions online to stream or download.
SKU: BT.DHP-1185916-404
ISBN 9789043154765. English.
Look, Listen & Learn has set the standard for contemporary brass and woodwind teaching. These exciting method book/CD packs for beginners engage students and develop their understanding of music and their instrument through songs, puzzles, games and lots of fun pieces to play. Three progressive method books form the basis of the series, enhanced by several corresponding supplementary volumes.
Some of the most beautiful melodies from the world of music theatre over the last several decades are collected together in Play Musicals. They have been arranged in increasing order of difficulty in such a way that they can be used in conjunction with all three volumes ofLook, Listen & Learn. Students can also play along to the provided accompaniment tracks which are available to download or stream.
SKU: CF.CPS227F
ISBN 9781491153215. UPC: 680160910717.
Music by Yukiko Nishimura is some of the most sensitive music that we publish. This heart-warming composition exudes emotion and musical depth. A perfect way to improve the musicianship of young ensembles.Bluebell is an arrangement of a piece originally written for string orchestra. A short introduction was added for this arrangement, and the key has been changed as well. Bluebell is the kind of flower which looks like a small bell; it is a dainty little flower.The main melody is very simple and easy to express. The inner melodies are important, too. Each inner melody should be played as a main melody even if it is a bass line.This piece consists of three sections. The second section is based on the main melody, so the atmosphere is consistent through the music. The harmony changes are very dramatic here. The bass lines should be heard clearly. The glockenspiel has an important role in this music.
SKU: CF.SPS71F
ISBN 9781491143551. UPC: 680160901050.
Nordanvind is a tour de force symphonic rhapsody that is built on three Scandinavian folk songs. Composer Carl Strommen has composed these Viking-influenced melodies into a concert setting that brings out all of the history of the Scandinavian people. The piece is at times bold and aggressive, at other times beautiful. Carl employs all of the instrumental colors of the concert band to create a new work for more advanced ensembles.
SKU: CF.SPS78
ISBN 9781491152553. UPC: 680160910052. Key: Bb major.
Festival March is presented in a new edition arranged by Richard Summers. It is a tour de force composition for advanced bands and hearkens back to a bygone era during the golden age of the band movement. Directors and students will hear operatic music from composer Victor Herbert who is best known for his Christmas classic, Toyland. This is a richly scored masterpiece that deserves to return to standard status in concert band repertoire. We are proud to bring you this new setting of this cherished classic.Festival March by Victor Herbert was written for the Pittsburgh Symphony and first performed under Herbert’s direction in Chicago on Dec. 9, 1901 celebrating the 12th anniversary of Chicago’s Auditorium Theatre. Also known as the Auditorium Festival March, he included it many times for programs of a festival nature. The main theme Auld Lang Syne, a famous Scottish folk song, is incorporated many times along with brass fanfares, interludes and march melodies. This band arrangement is very similar to the original orchestral composition. The missing string parts, the addition of the saxophone section and other band instruments, editing of the superimposed triplets against sixteenth notes, to one or the other, and articulations suitable for the band, were major challenges. The style of early twentieth-century American music is captured here. This arrangement will give band musicians access to a fine piece of music that could only be appreciated by orchestra musicians up to now. Although suitable for many occasions, this piece is a great way to begin or end a December holiday concert. Notes to the ConductorVictor Herbert’s music can be interpreted in a romantic style, which is the conductor’s responsibility to read in nuance and musicality. The beginning and other triple-tonguing sections of this piece have a March of the Toys quality to it. The interludes and Auld Lang Syne sections are legato and musical. The March sections can also be shaped musically.About the ComposerVictor Herbert was born in Ireland in 1861 and raised in Germany. When he moved to America in 1886, he joined the Metropolitan Opera as principal cellist and eventually composed many works including forty-three operettas on Broadway from the 1890s to World War I, including Naughty Marietta and Babes in Toyland. Victor Herbert conducted the Pittsburgh Symphony from 1898 to 1904 and then was the conductor of his own Victor Herbert Orchestra. He formed ASCAP with a group of composers in 1914 and was the director until his death in 1924. Among his thirty-one compositions for orchestra, Festival March was a favorite of his and was eventually published by Carl Fischer Music. .
SKU: CF.SPS78F
ISBN 9781491153239. UPC: 680160910731.
Festival March is presented in a new edition arranged by Richard Summers. It is a tour de force composition for advanced bands and hearkens back to a bygone era during the golden age of the band movement. Directors and students will hear operatic music from composer Victor Herbert who is best known for his Christmas classic, Toyland. This is a richly scored masterpiece that deserves to return to standard status in concert band repertoire. We are proud to bring you this new setting of this cherished classic.About the CompositionFestival March by Victor Herbert was written for the Pittsburgh Symphony and first performed under Herbert’s direction in Chicago on Dec. 9, 1901 celebrating the 12th anniversary of Chicago’s Auditorium Theatre. Also known as the Auditorium Festival March, he included it many times for programs of a festival nature. The main theme Auld Lang Syne, a famous Scottish folk song, is incorporated many times along with brass fanfares, interludes and march melodies. This band arrangement is very similar to the original orchestral composition. The missing string parts, the addition of the saxophone section and other band instruments, editing of the superimposed triplets against sixteenth notes, to one or the other, and articulations suitable for the band, were major challenges. The style of early twentieth-century American music is captured here. This arrangement will give band musicians access to a fine piece of music that could only be appreciated by orchestra musicians up to now. Although suitable for many occasions, this piece is a great way to begin or end a December holiday concert. Notes to the ConductorVictor Herbert’s music can be interpreted in a romantic style, which is the conductor’s responsibility to read in nuance and musicality. The beginning and other triple-tonguing sections of this piece have a March of the Toys quality to it. The interludes and Auld Lang Syne sections are legato and musical. The March sections can also be shaped musically.About the ComposerVictor Herbert was born in Ireland in 1861 and raised in Germany. When he moved to America in 1886, he joined the Metropolitan Opera as principal cellist and eventually composed many works including forty-three operettas on Broadway from the 1890s to World War I, including Naughty Marietta and Babes in Toyland. Victor Herbert conducted the Pittsburgh Symphony from 1898 to 1904 and then was the conductor of his own Victor Herbert Orchestra. He formed ASCAP with a group of composers in 1914 and was the director until his death in 1924. Among his thirty-one compositions for orchestra, Festival March was a favorite of his and was eventually published by Carl Fischer Music. .
SKU: CF.CPS227
ISBN 9781491152539. UPC: 680160910038.
SKU: BT.DHP-1185925-404
ISBN 9789043155052. English.
SKU: CY.CC2821
Haydn's Concerto for Trumpet (Concerto per il Clarino) in E-flat major was written in 1796 for his friend Anton Weidinger. Weidinger invented a keyed Trumpet which could play chromatically. The Concerto is the first of its kind because of this new technique and Haydn includes melodies and scales in the middle and low register, unknown to the earlier valveless instruments.The work is in the traditional three movements, Fast-Slow-Fast exploiting scales, arpeggios, trills, legato and marcato techniques. Justin Bland has skillfully arranged this great work for Solo Trumpet, 9-part Brass Ensemble and Timpani. Instrumentation is:Solo Trumpet in E-Flat, Trumpet in E-flat, 2 Trumpets (Cornets) in B-flat, Flugelhorn, Horn, 2 Trombones, Euphonium, Tuba and Timpani.The work is appropriate for advanced performers.
SKU: BT.AMP-047-020
Suite from Hymn of the Highlands draws three expressive musical pictures of the Scottish highlands. The first movement, Ardross Castle, features solo passages for clarinet and bassoon and features a fascinating bagpipe melody. The second movement, Alladale, is a saxophone trio with an accompaniment featuring the percussion section. The final movement, Dundonnell, features two highly contrasting melodies, a wild presto and the bagpipe melody first heard in the first movement.Suite from Hymn of the Highlands schetst drie indrukwekkende muzikale beelden van de Schotse Hooglanden. Hoewel is gekozen voor een Schots thema, zijn er geen volksliedjes gebruikt. Het eerste deel, Ardross Castle, wordtgekenmerkt door solo’s voor klarinet en fagot of euphonium, voordat een doedelzakmelodie wordt ge ntroduceerd. Het tweede deel, Alladale, is een trio voor saxofoon waarin het slagwerk een belangrijke rol speelt. Dit leidtnaar de finale, Dundonnell, die contrastrijk heen en weer beweegt tussen een wild presto en de doedelzakmelodie uit het eerste deel. Met de zwaarddans Strathcarron is deze suite uit te breiden tot een vierdelig erk.
SKU: CF.YBS92
ISBN 9780825822674. UPC: 798408022679. 9 X 12 inches. Key: Eb major.
What a rousing holiday selection! Combining three of the most beloved melodies associated with Chanukah, including The Dreidel Song; Rock Of Ages and Chanukah, Chanukah, this lively overture will keep your students on their toes, and will lend a lively air to your seasonal concert. Exceptionally nice!
SKU: CY.CC2629
A visual stereogram represents a 3-D image while looking though a pair of 2-D images. There are special viewers that are used to give this effect where two images viewed through the special device can give a 3-D or stereographic effect. Brubeck's Stereograms for Bass Clef Instruments are musical versions of the graphic form. Brubeck uses familiar folk melodies to create his Stereograms and adds jazzy twists to many of them. The musical version may contain two or three individual parts within a single melodic line, thus the musical 3-D Stereogram is created. Bach’s unaccompanied works have underlying multiple parts in them and Brubeck has been inspired by the Master to create a similar texture in these works. They are suitable encore pieces or performance pieces, alone or grouped into ad hoc suites.Brubeck's music requires rhythmic accuracy and multiple tonal colors, and are especially useful as sight reading tools to keep the performer sharp and on his/her toes. He has also added octave suggestions to allow them to be playable by the widest array of bass clef instruments.Each Stereogram is dedicated to a special musical hero in Brubeck's life. Excellent as study etudes or sight-reading pieces, Stereograms can be performed/practiced by Trombonists, Bass Trombonists, Tubists and Euphoniumists.The thirteen melodies used in Volume I are: You Are My Sunshine, This Little Light of Mine, The Itsy Bitsy Spider, When the Saints Go Marching In, Just a Closer Walk With Thee, Frère Jacques, On Top of Old Smokey, If You're Happy and You Know It, London Bridge is Falling Down, Twinkle Twinkle Little Star, Jesus Loves Me, Have You Ever Seen a Lassie, Go Tell Aunt Rhody.
SKU: MB.21675
ISBN 9780786681037. 8.5 X 11 inches.
The solos in this book are all based on melodies composed by women. They are especially well suited to performance on the soprano recorder, and they provide excellent material for developing skills in rapid tonguing, extended breath-control, phrasing, and the playing of high notes. Although arranged primarily for soprano recorder, most of these solos can be played on tenor or alto recorder. On the alto, use C fingerings. Three of the worlds most famous melodies are here: Mildred Hills Happy Birthday originally Good Morning to You , Euphemia Allens- Chopsticks originally The Celebrated Chop Waltz , and Effie Corcketts Rock-a-Bye, Baby. Less well known delights include Faustina Hodges- Because Im Twenty-Five and Florence Percys Fly Away, as well as Amanda Aldridges Dance of the Warriors-and the list goes on and on. A separate flute edition is available.