SKU: FG.55011-685-6
Mikko Heinio's Mot natten (Towards night), three nocturnes and two interludes for cello and guitar was composed in 2018. This suite found its inspiration and name in Finnish poet Bo Carpelan's (1926-2011) posthumous poetry collection Mot natten (2013), though the movements are not tied to specific poems. The first nocturne, Obscuro ('twilight'), dominated by pizzicatos, is followed by a more dynamic interlude, Spasimo ('spasm'). The fragile second nocturne, Sospiro ('sigh'), is coloured by delicate micro-interval chords plucked on the guitar between the left hand and the nut. The interlude Passi ('steps') leads with taps on the sound box straight into the third nocturne, Battito ('beat'), the way having been paved by the heartbeat of strong guitar pizzicatos. The duration is c. 11'30''. The product includes one full score and separate parts for guitar and violoncello.
SKU: CF.YAS216F
ISBN 9781491160763. UPC: 680160919369.
This elegant arrangement blends the familiar Christmas carols It Came Upon a Midnight Clear and The First Noel. The melody is passed to all sections of the orchestra with delicate pizzicato accompaniments, giving developing players the opportunity to work on slurs, dotted rhythms, legato phrasing, and tone production in the key of C major. A peaceful interlude builds toward a restatement of the opening First Noel theme that crescendos toward a triumphant finale. A wonderful selection sure to be a joy to perform in your winter concert.This elegant arrangement blends the familiar Christmas carols It Came Upon a Midnight Clear and The First Noel. The melody is passed to all sections of the orchestra with delicate pizzicato accompaniments, giving developing players the opportunity to work on slurs, dotted rhythms, legato phrasing, and tone production in the key of C major. A peaceful interlude builds toward a restatement of the opening First Noel theme that crescendos toward a triumphant finale. A wonderful selection sure to be a joy to perform in your winter concert.
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.YAS216
ISBN 9781491160503. UPC: 680160919093.
SKU: PR.11441271S
UPC: 680160587094. 8.5 x 11 inches. Poem by Du Fu (712-770 in Tang Dynasty).
It's like the welcome rain on a quiet spring night that nurtures the budding seeds, our new society is pushing us forward to the new future. This music reflects the scenes and the expression according to the meaning of the poem when it's being unfolded line by line. Although the tempo is set 60-70 quarter notes per minute throughout (played vividly, never slow down), the tension is being built up from the quiet background in the beginning, to the sustained climax towards the end. The musical image in Rehersal A and B (measures 1 - 41) represents the first four lines of the poem. The woodwind instruments response to the rustling of fast moving notes on muted string triplets, decorated by occasional strokes produced by metallic string sound and high piano gestures. The music in Rehersal C and D (measures 42-87) represents the next two lines of the poem. It's so dark, a little light in the boat is shimmering on the lake... The breathy key slaps on the flute creates a mysterious atmosphere, in a dialogue with other instruments. The cello glissandi recite the poem in the tone of Mandarin, echoed by the string harmonics. The music in Rehersal E, F, G (m 88 - 161) is a toccata, starting with the piano, which builds up a big shape, to reach the climax in m. 116, and keeps the vivid scene towards the coda (Rehersal H, m. 162 - the end), which stands on the energetic peak at the end of the piece.Commissioned by the Music From Copland House ensemble, supported by a grant from the NYSCA’s Composer’s Commissions program in 2002, my mixed ensemble piece Happy Rain on a Spring Night is written for all five instruments in the ensemble: flute, clarinet, violin, cello and piano, and premiered on Oct. 18, 2004, at Merkin Hall in New York. The musical imagination came from an ancient Chinese poem with the same title, written by Du Fu (712-770) in the Tang Dynasty. Happy Rain on a Spring Nightby Du Fu (712-770 in the Tang Dynasty) Happy rain comes in time,When spring is in its prime.With night breeze it will fall,And quietly moisten all.Clouds darken wild roads,Light brightens a little boat.Saturated at dawn,With flowers blooming the town. (English translation by Chen Yi from the original poem in Chinese) It’s like the welcome rain on a quiet spring night that nurtures the budding seeds; our new society is pushing us forward to the new future. The music reflects the scenes and the expression according to the meaning of the poem when it’s being unfolded line by line. Although the tempo is set 60-70 quarter notes per minute throughout (played vividly, never slowing down), the tension is being built up from the quiet background in the beginning, to the sustained climax towards the end. The musical image in Rehearsal A and B (measures 1-41) represents the first four lines of the poem. The woodwind instruments respond to the rustling of fast moving notes on muted string triplets, decorated by occasional strokes produced by metallic string sound and high piano gestures. The music in Rehearsal C and D (measures 42-87) represents the next two lines of the poem. It’s so dark, a little light in the boat is shimmering on the lake... The breathy key slaps on the flute create a mysterious atmosphere, in a dialogue with other instruments. The cello glissandi recite the poem in the tone of Mandarin, echoed by the string harmonics. The music in Rehearsal E, F and G (m 88-161) is a toccata, starting with the piano, which builds up a big shape, to reach the climax in m. 116, and keeps the vivid scene towards the coda (Rehearsal H, m. 162-192), which stands on the energetic peak at the end of the piece. According to the principle of the Golden Section, I have constructed the piece with two large parts (m. 1-115 and m. 116-192). The GS falls onto the beginning of the climax section of the piece, which is exciting and loud. All subdivisions of the structures coincide with the numbers of proportions based on the GS principle. The music has textures changed according to the proportional arrangement throughout the piece. First Part (m. 1-115, total 115 measures), including two sectionsSection I (m. 1-69, total 69 measures), including two divisionsFirst Division (m. 1-41, total 41 measures), including two subdivisions:Subdivision I (m. 1-25, total 25 measures)Rehearsal A, violin triplets + cello metalic sound in small intervals, followed by woodwinds.Subdivision II (m. 26-41, total 16 measures)Rehearsal B, cello triplets + violin metallic sound in small intervals, overlapped by woodwinds.Second Division (m. 42-69, total 28 measures)Rehearsal C, breathy key slaps on flute, in dark.Section II (m. 70-115, total 46 measures), including two divisionsFirst Division (m. 70-87, total 18 measures)Rehearsal D, soft cello reciting, followed by string harmonics & woodwind “echo” passages.Second Division (m. 88-115, total 28 measures)Rehearsal E, starts to buildup the excitement, with piano toccata in the beginning. When it reachesthe patterns on the top of the keyboard, the lowest passages on piano and cello punch in, andreview the pitch material with small intervals.Second Part (m.116-192, total 77 measures), including two sectionsSection I (m. 116-161, total 46 measures), including two divisionsFirst Division (m. 116-133, total 18 measures)Rehearsal F, the excitement reaches the climax, GS located. All instruments join in.Second Division (m. 134-161, total 28 measures)Rehearsal G, combination of E and F, continue to buildup.Section II (m. 162-192, total 31 measures)Rehearsal H, coda, keep the excitement on the peak.
SKU: AP.50872
ISBN 9781470668334. UPC: 038081587202. English.
The popular carols Away in a Manger and The First Noel are woven together in this uniquely expressive arrangement by Jared Barnes, entitled On a Winter's Night. The piece begins serenely with Away in a Manger and uses brief, evolving interludes to gradually propel the music toward a climactic statement of The First Noel. Sure to become a favorite of performers and audiences alike! (3:30).
SKU: AP.50872S
ISBN 9781470668341. UPC: 038081587219. English.
SKU: HL.48000909
UPC: 073999257076. 8.25x11.75x0.2 inches.
Contents: I Took That Trip towards an Early Daybreak * What Is There Arising from behind Your Eyelids * I am Walking over Tiny Spots of Snow * Deep is the Night * In the Great Wild Woodlands * In Between Grey Stones * Lucky Cat * To You I Would Make a Gift of Sunflowers * I am Not Speaking, I am Singing * Vocalise * Melancholy * The Squirrel * O Wonderful World * Song of My Heart * Like a Pale Mask, the Hour of Parting * Spring Song * Summer Night * Herbsttag * Winter.
SKU: CL.024-5055-00
The story tells it all: Santa Claus is on his way! His sleigh is filled with gifts! The weather is clear, perfect for the reindeer to guide him on his Christmas Eve trek. Away we go! Santa knows how to put on a show. He’s getting closer, above the roofs, and as he descends, you’ll hear the reindeer hoofs. Toward the chimney Santa goes, hoping he fits…oh no… it’s a tight squeeze! As he lands with a thump, but Santa’s all right; he never fails! After all, he’s tough as nails. Recovered from his fall he leaves presents for one and all. Then back to the sleigh, so much to do. Don’t worry, he won’t forget about you. The stars will always be his guide on Santa’s Magical Midnight Ride! Scored for maximum sound effects within the percussion section, this will be the hit of any holiday concert!
SKU: CL.024-5055-01
SKU: FG.55011-741-9
ISBN 9790550117419.
Harri Wessman's Pan and the Nymph Pitys (1979) for flute and guitar bears the first symptoms of his later style, the texture being softly dissonant. In an old mythological dictionary the composer found that Pan had had some love affair with an other nymph than famous Syrinx as well, with Pitys (greek pine-tree). So the listener may think of Pan in the vital A-sections and imagine the nymph in the languishing B-section and coda of the ABA form.Towards the Night (1978) for flute and guitar belongs to Wessman's previous world of tonal entertainment music. It is a melodious ballad, characterized by a short-long rhythm, a lot of seventh and altered chords and a passage, where the guitar takes the leed and plays the melody in tremolo.This product includes a playing score (folder, B4 sized).
SKU: HL.48025426
ISBN 9781835680032. UPC: 196288207559.
Silent night: This arrangement of the traditional carol by Franz Gruber and Joseph Muhr (translated into English by John Freeman Young) was written by Anna Lapwood and the Pembroke College Girls? Choir for their end of term party for the families of the choristers. The aim was to produce an arrangement manageable for the youngest choristers whilst stretching the older ones with some slightly jazzy harmonies. It was written in one 75-minute rehearsal, and performed to the parents straight after. The choir has written a new pieceat the end of every term since. Gaudete: This arrangement of the 16th-century carol was written during a full weekend of group composition with Anna Lapwood and the Pembroke College Girls' Choir, a process with which they had experimented previously. The choir decided to create rhythmic impetus and drive, which is delivered from the outset in the introductory material. This figure is repeated under the refrain for the first three verses, while the verses themselves are presented in simple unison. The final verse is harmonised and crescendos towards the uplifting key change for the final refrain, giving a sense of climax, which may be highlighted further with an optional tambourine.
SKU: DZ.DZ-3752
ISBN 9782897956691.
The Guitar Foundation of America (GFA) is committed to cultivating Inclusion, Diversity, Equity and Access in the international guitar community and in the repertoire published for the instrument. Many factors, including a composer's race, gender, and sexual orientation, have historically created a narrow representation of our community in the classical music canon. For this first volume of the GFA Spotlight Series, the GFA commissioned seven new works by composers of color. The second volume of this series will follow with seven transcriptions of existing pieces by composers of color. These commissioned pieces and transcriptions were premiered by students in the GFA Mentorship Program in 2021.With this collection, the guitar takes a step towards a more inclusive and representative repertoire that nurtures creativity and inclusion for generations of guitarists to come. Growing the canon enriches the musical experiences of our entire international guitar community through exposure to diverse perspectives and voices, complementing the invaluable lessons we learn from the existing contributions of pieces that form the canon.
SKU: OU.9780193396289
ISBN 9780193396289. 10 x 7 inches.
For SATB and piano or orchestra This setting of Adolphe Adam's beloved Christmas carol employs rich choral textures and a flowing piano accompaniment to create a rousing overall effect. Opening gently, the intensity builds gradually towards a stirring, powerful ending.
SKU: BT.MUSAM971938
ISBN 9780711990678. English.
Ten Christmas songs and carols in melody line arrangement with specially recorded backing tracks and full performance versions for both instruments. Both parts are of equal standard, aimed towards players between grades3-5.Includes two CDs containing four tracks for each song: a full performance demonstration, one backing track omitting both duet parts, one containing the first duet part only, and one the second part. So whether or not youhavea duet partner, Guest Spot Duets includes all you need to enjoy playing great songs.
SKU: BT.MUSAM971949
ISBN 9780711990685.
SKU: FG.55011-485-2
ISBN 9790550114852.
Mental pictures inspired by the surrounding and the poet Emily Dickinson's verses are often tinged with Nieminen's works. Nieminen describes his second quartet, as follows: The quartet was created out of the need to describe childhood memories and in distinction to polar nights. The conception of time is present in both of them. Mental pictures turning to the past and the stillness of polar nights in the darkness of which time goes and the amount of light increases without noticing it..
SKU: BT.DHP-1064079-020
9x12 inches. English-German-French-Dutch.
The Golden Age is a programmatic composition in four movements. I Overture For the Netherlands, the seventeenth century was a period of great flourishing in the fields of economy, culture and politics; thus it is called the Golden Age. Overseas trade boomed, and the Dutch East India Company (known as the VOC by the Dutch) was founded and expanded to become a powerful -and, at the time - modern enterprise. II ¡Adiós españoles!(Farewell, Spaniards!) In 1567, the Spanish army invaded, led by the Duke of Alva. There was a fierce resistance against the Spanish tyranny; toward the end of the sixteenth century, the Dutch proclaimed theRepublic. However, the Spanish continued the war. Only with the Treaty of Münster in 1648 did the Dutch get their much sought-after independence. This was also the end of the Eighty Years’ War. III Rembrandt’s Night WatchThe field of culture, particularly literature, painting, sculpture, architecture, the art of printing, and cartography developed fast. It was in the Golden Age that the celebrated painter Rembrandt van Rijn created his famous Night Watch. IV The Admiral Overseas trade entailed the colonization of large areas in Asia, from where precious products that yielded lots of money were brought in. Surrounding countries were also involved in such practices. Colonizers poached on each other’s territories in the literal and figurative sense - in this context the Anglo-Dutch Sea Wars are legendary. The fourth movement starts with the English patriotic song Rule Britannia, after which the Dutch Admiral Michiel de Ruyter makes the English change their tune; one can even hear the roaring of cannons. When the smoke of battle has cleared, a small fragment of a Dutch song about Michiel de Ruyter appears, followed by a fitting closing. The Golden Age is een programmatische compositie in vier delen. Overtureverklankt de Gouden Eeuw, voor Nederland een periode van grote bloei. Dan volgt ¡Adiós españoles! over het einde van de Tachtigjarige Oorlog.Rembrandt’s Night Watch beschrijft de ontwikkeling op cultureel gebied: in de Gouden Eeuw schilderde Rembrandt van Rijn zijn beroemde Nachtwacht. Deel vier, The Admiral, begint met Rule Britannia,waarna de Nederlandse admiraal Michiel de Ruyter de Engelsen een toontje lager laat zingen, er is zelfs kanongebulder te horen. Dan klinkt een fragment van het Nederlandse liedje dat aan Michiel de Ruyter is gewijd, waarna een passendslot volgt.The Golden Age ist eine programmatische Komposition in vier Sätzen über das so genannte “Goldene Zeitalter“ in der Geschichte der Niederlande. In dieser Periode erlebte das Land eine Blütezeit des (Übersee-)Handels, der Kultur und Politik, es befreite sich von der spanischen Herrschaft, brachte Kunstwerke wie Rembrandt’s Nachtwache hervor und entwickelte sich zu einer Kolonialmacht. Die Aufmerksamkeit der Zuhörer ist bei Kees Schoonenbeeks spannender musikalischer Geschichtsstunde garantiert!Après une guerre qui dura 80 ans, l'Espagne reconnut finalement l'indépendance des Provinces-Unies néerlandaises, qui devinrent alors l’une des plus importantes puissances maritimes et économiques du XVIIe siècle. Cette période est connue sous le nom de Siècle d’or (The Golden Age) et correspond une phase de développement exceptionnel des Pays-Bas tant sur le plan colonial et militaire que sur le plan culturel, intellectuel et artistique. Dopo una guerra che durò 80 anni, la Spagna riconobbe l’indipendenza delle Province-Unite olandesi che divennero potenze marittime ed economiche del XVII secolo. Questo periodo è conosciuto con il nome di Secolo d’Oro (The Golden Age) e corrisponde ad una fase di sviluppo eccezionale dei Paesi Bassi sia sul piano coloniale e militare, sia sul piano culturale, intellettuale e artistico.
