Traditional: In That Great Gettin' Up Morning: SATB: Vocal Score

SKU: AP.46941

UPC: 038081535906. English. Traditional Spiritual.

A grandiose choral introduction travels through several keys to open this polished setting of the traditional spiritual, which soon breaks into a joyously brisk treatment featuring call-and-response between sections, terraced dynamic contrasts, and thick divisi textures. Fantastic a cappella writing for advanced choirs.

About Alfred Choral Designs

The Alfred Choral Designs Series provides student and adult choirs with a variety of secular choral music that is useful, practical, educationally appropriate, and a pleasure to sing. To that end, the Choral Designs series features original works, folk song settings, spiritual arrangements, choral masterworks, and holiday selections suitable for use in concerts, festivals, and contests.

SKU: HP.C6232

UPC: 763628162320.

Traditional Spiritual This delightful presentation features the traditional spiritual, 'Let Me Ride' (Swing Down Sweet Chariot), threaded together with 'In that Great Gettin Up Morning. 'Choirs will enjoy the rhythmic energy along with the familiar words and melodies, while telling the stories about the good news of a 'home on the other side.'.

SKU: CF.PPS51F

ISBN 9781491152638. UPC: 680160910137.

The march style is important to the heritage of the modern concert band. Why not get beginners off to a great start by teaching them this essential band style as early as possible? Achieve uses only the first six notes of the Bb-major scale and utilizes two repeated eighth notes as the most difficult rhythm. It is written in traditional march form and style, but without modulation in the trio.
The march style is important to the heritage of the modern concert band, and it is my opinion that even the youngest of students should be taught the march style and form as early as possible. This march sets out to give these students that opportunity. It uses only the first six notes of the Bb-major scale, and the most difficult rhythm is two repeated eighth notes. Yet it has all of the traditional march form and style. The form of this easy march is the traditional intro, first strain, second strain and trio. The only difference from more challenge marches is that the key does not change to the subdominant at the trio. Most everything else is the same as you would find in the American marches of Sousa, Fillmore or King.The march begins forte with a quote from the end of the second strain, something that is common in many marches. This is followed by the first strain at a softer dynamic level. Additional voices are added on the repeat for variety. The second strain has tradition changes in dynamics, first starting out loud, then getting soft with crescendos to the end of the strain. The trio following again in typical fashion with the first time being very soft and legato. There are some suggestions for changing the orchestration, but you can use your creativity to tailor the instrumentation to your musical taste. The repeat of the trio should then be back to a more marcato march style. This should start with the last note of the first ending in m. 70. The march then ends with the traditional stinger.It is my opinion that in marches with this form that the repeats should not be eliminated. By doing so, it changes the form and makes the march lopsided, with the first half of the marching being too short compared to the trio section.It has been my pleasure to have the opportunity to write this piece. I hope you and your students enjoy it and find it useful for your program.—Larry ClarkLakeland, FL 2018.

SKU: UT.CH-106

ISBN 9790215315921. 9 x 12 inches.

The first impulse to compose these 3 Little Suites for Guitar came from the desire to offer very young students compositions not framed by the usual features of �??music for children�?? but, rather, meant to introduce into their musical horizon sonorities, rhythms, and expressive modalities not generally experienced in the more �??traditional�?? courses of study.
As the compositions developed, the project underwent some slight modifications, so that in the end one could say that the three suites became progressively more difficult, though remaining, in their deep essence, quite �??simple�??.
I would recommend paying careful attention to the titles of the pieces and to the expressive markings. Although it was not my intention to write �??descriptive�?? music, I have tried to handle these pieces like stage scripts, giving each a specific �??character�??. For this purpose my long experience as a composer of theatre music has been very helpful.
It would give me great satisfaction if guitarists of every age would enjoy performing these suites. I would like teachers to find in them cues for proposing to their pupils further refinements concerning both technique and expression, never forgetting how inexpressible music truly is.
(Carlo de Nonno).