Treat the Earth Well

SKU: PE.EP73535B

ISBN 9790577022833. Words by Vikram Seth.

Earth and Sky was commissioned by the BBC for the Proms 2000 season. In keeping with the millennial theme, a work presenting a vision of the future was requested. Trying to be helpful, the BBC provided me with the predictions of various pundits, but their ideas seemed dizzyingly contradictory. Then the simple thought struck me that however varied and complex the answers, the big questions will always remain the same. We may now have a map of the human genome, but how to use the map? How shall I know where I should go? How may I see the I that's me?
As a musician I am hopeful that, no matter how the world develops, future generations will still come together to dance and sing and play. The mysterious power of music to bind us socially and inspire us individually seems to be built into our genes. So, a song of questions; a song about music---these were the ideas which I took to Vikram Seth, who had generously agreed to write the words for me. The resulting poem provided lots of inspiration. It is entirely monosyllabic, enabling considerable variety of rhythmic treatment. I love its permutations and its imagery of paradox and inversion and I have amused myself by playing similar games with the musical material. But there is seriousness as well as fun---the text's juxtaposition of the certainty of death with the search for purpose in life achieves great poignancy when sung by young voices.
(Alec Roth)

This product is Printed on Demand and may take several weeks to fulfill.

SKU: PE.EP73535

ISBN 9790577022581. Words by Vikram Seth.

Earth and Sky was commissioned by the BBC for the Proms 2000 season. In keeping with the millennial theme, a work presenting a vision of the future was requested. Trying to be helpful, the BBC provided me with the predictions of various pundits, but their ideas seemed dizzyingly contradictory. Then the simple thought struck me that however varied and complex the answers, the big questions will always remain the same. We may now have a map of the human genome, but how to use the map? How shall I know where I should go? How may I see the I that's me?
As a musician I am hopeful that, no matter how the world develops, future generations will still come together to dance and sing and play. The mysterious power of music to bind us socially and inspire us individually seems to be built into our genes. So, a song of questions; a song about music---these were the ideas which I took to Vikram Seth, who had generously agreed to write the words for me. The resulting poem provided lots of inspiration. It is entirely monosyllabic, enabling considerable variety of rhythmic treatment. I love its permutations and its imagery of paradox and inversion and I have amused myself by playing similar games with the musical material. But there is seriousness as well as fun---the text's juxtaposition of the certainty of death with the search for purpose in life achieves great poignancy when sung by young voices.
(Alec Roth)

This product is Printed on Demand and may take several weeks to fulfill.

SKU: AP.48868

UPC: 038081561929. English.

New 2-part voicing! Here's an inspired setting that faithfully retains the Hawaiian character of Israel Kamakawiwo'ole's cover. In this well-crafted treble version, both sections of the choir take a turn singing the classic melody, while the opposite part interjects with independent aloha's. This easy-to-do treatment performs well with the light piano part, an optional ukulele/guitar, or the professional SoundTrax accompaniment. It's a special arrangement that honors the depth of the original, the spirit of Brother Iz, and the beauty of the earth.

About Alfred Pop Choral Series

The Alfred Pop Series features outstanding arrangements of songs from the popular music genre. These publications provide exciting, contemporary, and educationally-sound arrangements for singers of all ages, from elementary through high school, to college and adult choirs.

SKU: CF.CPS219

ISBN 9781491152454. UPC: 680160909957.

Solar Flare, by Tyler Arcari, depicts the huge explosion on the Sun that appears as a sudden bright flash. The piece incorporates a whirlwind of mixed meters to?depict this phenomenon. Arcari showcases his fresh, exciting, and well-scored compositional style in this piece. Solar Flare makes for? an excellent concert opener.
A solar flare is a huge explosion on the sun that appears as a sudden increase in brightness or flash. Sometimes these explosions push large amounts of energy and even parts of the sun flying out into space. These events can be so powerful that they cause events on Earth such as auroras, as well as more serious issues like disrupting radio and electronic instruments. To our naked eye, these dangerous explosions are beautiful and quiet. The celestial is a fascinating place, hopefully captured in some small part by this work. About the Work: Solar Flare began as a piece with two goals: to write a space piece in 7/8 and to write a teaching 7/8 space piece. The piece uses a 2-2-3 pattern, so using this in pre-performance warm-ups might be beneficial. The piece is loosely based on a minor second descending to a minor third. This motif is used at the onset of the piece in the mallet percussion and then again in the woodwinds. The melody presents itself at m. 19 in the clarinets. This melodic material is varied and traded throughout the instrument groups until m.67. Measures 6972 should be treated as a transitional fanfare to the new material at m. 73. Measures 99115 to the end of the piece feature a style similar to the beginning that helps to transition to m. 115, which is the climax of the work. An ostinato pattern (2-2-3) is presented with fragments of the melody appearing in the alto voices. This momentum culminates in a large, abrasive area at m. 125 where the suspension-resolution in the brass and horn melodic fragment need to be the focus. This momentum continuously grows until the last note where we resolve finally. Care should be taken that the ^ accent on the final note is one meant to be played heavy, and not short.
A solar flare is a huge explosion on the sun that appears as a sudden increase in brightness or flash. Sometimes these explosions push large amounts of energy and even parts of the sun flying out into space. These events can be so powerful that they cause events on Earth such as auroras, as well as more serious issues like disrupting radio and electronic instruments. To our naked eye, these dangerous explosions are beautiful and quiet. The celestial is a fascinating place, hopefully captured in some small part by this work. About the Work: Solar Flare began as a piece with two goals: to write a space piece in 7/8 and to write a ateaching 7/8a space piece. The piece uses a 2-2-3 pattern, so using this in pre-performance warm-ups might be beneficial. The piece is loosely based on a minor second descending to a minor third. This motif is used at the onset of the piece in the mallet percussion and then again in the woodwinds. The melody presents itself at m. 19 in the clarinets. This melodic material is varied and traded throughout the instrument groups until m.67. Measures 69a72 should be treated as a transitional fanfare to the new material at m. 73. Measures 99a115 to the end of the piece feature a style similar to the beginning that helps to transition to m. 115, which is the climax of the work. An ostinato pattern (2-2-3) is presented with fragments of the melody appearing in the alto voices. This momentum culminates in a large, abrasive area at m. 125 where the suspension-resolution in the brass and horn melodic fragment need to be the focus. This momentum continuously grows until the last note where we resolve finally. Care should be taken that the a^a accent on the final note is one meant to be played heavy, and not short.
A solar flare is a huge explosion on the sun that appears as a sudden increase in brightness or flash. Sometimes these explosions push large amounts of energy and even parts of the sun flying out into space. These events can be so powerful that they cause events on Earth such as auroras, as well as more serious issues like disrupting radio and electronic instruments. To our naked eye, these dangerous explosions are beautiful and quiet. The celestial is a fascinating place, hopefully captured in some small part by this work. About the Work: Solar Flare began as a piece with two goals: to write a space piece in 7/8 and to write a ateaching 7/8a space piece. The piece uses a 2-2-3 pattern, so using this in pre-performance warm-ups might be beneficial. The piece is loosely based on a minor second descending to a minor third. This motif is used at the onset of the piece in the mallet percussion and then again in the woodwinds. The melody presents itself at m. 19 in the clarinets. This melodic material is varied and traded throughout the instrument groups until m.67. Measures 69a72 should be treated as a transitional fanfare to the new material at m. 73. Measures 99a115 to the end of the piece feature a style similar to the beginning that helps to transition to m. 115, which is the climax of the work. An ostinato pattern (2-2-3) is presented with fragments of the melody appearing in the alto voices. This momentum culminates in a large, abrasive area at m. 125 where the suspension-resolution in the brass and horn melodic fragment need to be the focus. This momentum continuously grows until the last note where we resolve finally. Care should be taken that the a^a accent on the final note is one meant to be played heavy, and not short.
A solar flare is a huge explosion on the sun that appears as a sudden increase in brightness or flash. Sometimes these explosions push large amounts of energy and even parts of the sun flying out into space. These events can be so powerful that they cause events on Earth such as auroras, as well as more serious issues like disrupting radio and electronic instruments. To our naked eye, these dangerous explosions are beautiful and quiet. The celestial is a fascinating place, hopefully captured in some small part by this work. About the Work: Solar Flare began as a piece with two goals: to write a space piece in 7/8 and to write a teaching 7/8 space piece. The piece uses a 2-2-3 pattern, so using this in pre-performance warm-ups might be beneficial. The piece is loosely based on a minor second descending to a minor third. This motif is used at the onset of the piece in the mallet percussion and then again in the woodwinds. The melody presents itself at m. 19 in the clarinets. This melodic material is varied and traded throughout the instrument groups until m.67. Measures 69-72 should be treated as a transitional fanfare to the new material at m. 73. Measures 99-115 to the end of the piece feature a style similar to the beginning that helps to transition to m. 115, which is the climax of the work. An ostinato pattern (2-2-3) is presented with fragments of the melody appearing in the alto voices. This momentum culminates in a large, abrasive area at m. 125 where the suspension-resolution in the brass and horn melodic fragment need to be the focus. This momentum continuously grows until the last note where we resolve finally. Care should be taken that the ^ accent on the final note is one meant to be played heavy, and not short.
A solar flare is a huge explosion on the sun that appears as a sudden increase in brightness or flash. Sometimes these explosions push large amounts of energy and even parts of the sun flying out into space. These events can be so powerful that they cause events on Earth such as auroras, as well as more serious issues like disrupting radio and electronic instruments. To our naked eye, these dangerous explosions are beautiful and quiet. The celestial is a fascinating place, hopefully captured in some small part by this work. About the Work: Solar Flare began as a piece with two goals: to write a space piece in 7/8 and to write a teaching 7/8 space piece. The piece uses a 2-2-3 pattern, so using this in pre-performance warm-ups might be beneficial. The piece is loosely based on a minor second descending to a minor third. This motif is used at the onset of the piece in the mallet percussion and then again in the woodwinds. The melody presents itself at m. 19 in the clarinets. This melodic material is varied and traded throughout the instrument groups until m.67. Measures 69-72 should be treated as a transitional fanfare to the new material at m. 73. Measures 99-115 to the end of the piece feature a style similar to the beginning that helps to transition to m. 115, which is the climax of the work. An ostinato pattern (2-2-3) is presented with fragments of the melody appearing in the alto voices. This momentum culminates in a large, abrasive area at m. 125 where the suspension-resolution in the brass and horn melodic fragment need to be the focus. This momentum continuously grows until the last note where we resolve finally. Care should be taken that the ^ accent on the final note is one meant to be played heavy, and not short.
A solar flare is a huge explosion on the sun that appears as a sudden increase in brightness or flash. Sometimes these explosions push large amounts of energy and even parts of the sun flying out into space. These events can be so powerful that they cause events on Earth such as auroras, as well as more serious issues like disrupting radio and electronic instruments. To our naked eye, these dangerous explosions are beautiful and quiet. The celestial is a fascinating place, hopefully captured in some small part by this work.About the Work:Solar Flare began as a piece with two goals: to write a space piece in 7/8 and to write a “teaching 7/8” space piece. The piece uses a 2-2-3 pattern, so using this in pre-performance warm-ups might be beneficial. The piece is loosely based on a minor second descending to a minor third. This motif is used at the onset of the piece in the mallet percussion and then again in the woodwinds. The melody presents itself at m. 19 in the clarinets. This melodic material is varied and traded throughout the instrument groups until m.67. Measures 69–72 should be treated as a transitional fanfare to the new material at m. 73.Measures 99–115 to the end of the piece feature a style similar to the beginning that helps to transition to m. 115, which is the climax of the work. An ostinato pattern (2-2-3) is presented with fragments of the melody appearing in the alto voices. This momentum culminates in a large, abrasive area at m. 125 where the suspension-resolution in the brass and horn melodic fragment need to be the focus. This momentum continuously grows until the last note where we resolve finally. Care should be taken that the “^” accent on the final note is one meant to be played heavy, and not short.

SKU: PR.114423470

ISBN 9781491137314. UPC: 680160687473.

A commission from the Santa Fe Chamber Music Festival, for any combination of instruments of her choosing, quickly sparked Shulamit Ran to create a trio for Flute, Viola, and Harp. She writes of this instrumentation: “something about its color palette reminded me of the image I have of Santa Fe as a sun-drenched city of warm hues, a thriving arts scene, and a spirit of relaxed tolerance.” In this subtle, yet dramatic work, the instruments begin the journey with distinct, contrasting musical personalities, which gradually begin to coalesce, though not without surprise twists along the road.
Being commissioned by the Santa Fe Chamber Music Festival to create a new work for the major milestone of its 50th anniversary was both an honor and a special delight. My choice of the flute, viola, and harp combination for this composition was reached quickly and almost instinctively, motivated not only because I relished the thought of composing for an instrumental ensemble I had not previously written for, but also because something about its color palette reminded me of the image I have of Santa Fe as a sun-drenched city of warm hues, a thriving arts scene, and a spirit of relaxed tolerance.In All Roads Leading I treat the instruments intermittently as three distinct characters who have their own individual “voices” and musical materials, while at other times they coalesce into a single, more unified entity. In the sections expressive of the instruments’ individual “souls”—as I like to call them—the music ranges from the songful, to the impassioned, but also the volatile. In contrast, where all three instruments act as a single entity, the music tends to be highly rhythmic, sometimes dance-like, even angular, and spiky.As the work progresses, the boundaries between these contrasting approaches become deliberately blurrier and more intertwined, perhaps reminding one of a tale with various twists and turns in the plot. And although eschewing a formal recapitulation, various motivic threads as well as emotive “states” are eventually brought full circle, as if to fulfill an intended role that crystallizes only as All Roads Leading plays out its full journey. Simultaneously with the general unwinding and relaxation that is reached nearthe end, a mutation of an earlier more threatening element appears at the very closing of the work, perhaps a reminder that the unknown always lies ahead.