Do You Hear What I Hear: Orchestra: Parts

Heres a rare treat! Two of our most talented writers have joined forces to create a refreshing new setting of this holiday standard. Emilys vocal arrangement features creative style and key changes and is underscored beautifully by Johns artisticorchestration. A stunning finale for your combined groups this season.

SATB-Do You Hear What I Hear? blends fresh arrangements of carols and beautiful new songs with compelling narrative and optional drama to create an exciting musical for Christmas. Accompany with piano and/or organ full or chamber orchestra or the outstanding ChoirTrax CD. Available: SATB 2-Part Mixed Instrumental Pak (Orchestra) Instrumental Pak (Chamber Orchestra) ChoirTrax CD Preview Cassette Preview Pak RehearsalTrax Pak.

Hal Leonard Student Piano Library-Following up on the success of the Christmas Piano Solos books for levels 1-5 in the Hal Leonard Student Piano Library these books contain additional holiday selections for each grade level that will work great with any piano method. Each song includes an optional teacher accompaniment. The MIDI enhanced CD includes orchestrated accompaniments for practice and performance. 8 songs: Blue Christmas · Do You Hear What I Hear · Frosty the Snow Man · Here Comes Santa Claus (Right down Santa Claus Lane) · Joy to the World · Over the River and Through the Woods · Rudolph the Red-Nosed Reindeer · The Snow Lay on the Ground.

Exit Music for Orchestra was composed by Bent Sørensen in 2006-07. Exit Music was commissioned by the Bergen International Festival for the Bergen Philharmonic Orchestra and is dedicated to Per Nørgård on the occasion of his 75th birthday.Programme note It began with a dream as it always does when I compose. I dreamt that I was standing in an open doorway on a hill in an otherwise open landscape. I do not know what was behind the door but in front of it - towards the landscape - I 'saw' my music disappearing. I stood looking for the music and started to hear it to remember it in time with its disappearance.The dream continued to recur as strange pictures in my daydreams and I continued to try to write down the music that had vanished. It was also the dream that gave the piece its title- Exit Music. Exit Music is based on three simple songs (the songs that vanish through the doorway): a little lullaby which continues to reappear in fragments; a strange polyphonic pop song that refers to a section of my opera Under the Sky; and a passionate little love song which concludes the piece on the strings very quietly and in unison. These simple songs are then constantly overpainted by enervating repeated motes in fairly simple rhythms which push the songs out of the room. (Bent Sørensen)

To Brahms Beethoven's legacy was a heavy burden: 'I will never compose a symphony! You have no idea what spirits come over someone in my position when he always hears such a giant (Beethoven) marching behind him.' Fortunately his statement never came true. Brahms's four symphonies are among the highlights of orchestral music and now available as package at an attractive price.

One of the most entertaining and useful sounds that string performers can bring to a concert stage is the pizzicato effect of the plucked string. What better way to describe (and to hear) this resonant phenomenon than in Leroy Anderson's classic Plink, Plank, Plunk. The title says it all! (2:38)

Niels Marthinsen's Symphony No. 2 - Snapshot Symphony (2009). 1st movement Fiesta Mexicana: fortissimo accelerando (ca. 6 minutes) 2nd movement Arabian Nights: adagio intensivo e furioso (ca. 11 minutes) 3rd movement Great Fireworks in China: giocoso esplosivo e marcatissimo (ca. 8 minutes)   Programme note I’ve never been to Mexico and Arabia or to China. But I love the way those countries sound in Hollywood movies and inpop culture generally: When Clint Eastwood rides south of the border when Disney’s Alladin or Mulan takes me far east when arabic pop music roars past me out of the open windows of a car... and bull fighter music and the sound of acrobatic beat-em-up’s in John Woo’s Hong Kong karate movies – and so on: powerful images splashed all over my eye balls and ear drums. My recollections of this ethnic-pop-film-music has turned itself into a symphony. And I don’t even have to just remember what I have heard: A few internet clicks gives me access to incredible sound libraries containing live-and-kicking ethnic music from my three favorite countries just waiting to be put together in new combinations and energize my personal imagery.  The symphony is like a huge slide show – musical snapshots from my travels in the western pop culture versions of three exotic locations: Mexico Arabia and China – original and popular melodies welded together by my personal musical language and associations. I use all the effects of modern pling-plong-music plus a few of my own inventions to create a spectacular contemporary orchestral sound sporting a bee hive of melodies from either East or West played simultaneously in different keys and differents tempos at once while kept firmly in place by

Symphony No. 6 'At The End Of Day' (1997-99) for Orchestra by Per Nørgård. Programme note: ”… with the Lord a day is like a thousand years and a thousand years is like a day”  (New Testament 2 Peter 3:8)  My SYMPHONY NO. 6 was commissioned by the Danish National Radio Symphony Orchestra the Göteborg Symphony Orchestra and the Oslo Philharmonic Orchestra to be premiered at the millenium 2000.  The subtitle AT THE END OF THE DAY can be understood literally or it can mean “when all is added up”. However in my opinion nothing ever quite adds up there is always “something” missing any ending will be provisional ...  This symphony appears to end only a few minutes into the first movement the first passage as the music fades away to almost-silence after a start of flying colours. But then there is still “something” a small motive (first heard in the initial sound-waves) which reappears hesitant but persistent and this embryo is what leads on the musical progression. An agitated section of many instrumental voices comes next until all the voices become obsessed with the same phrase a see-saw motive based on thirds. This section evolves into almost martial ferocity when broken off by a tutti descent into an extreme bass-world (a bass-world which actually permeates the whole symphony emplyoing instruments that I have never used before: double-bass tuba double-bass trombone double-bass clarinet and bass flute).  The second movement the second passage apparently takes off where the first passage ended but now the events are more ambiguous and the same music may be perceived as fast-moving one moment and slow-moving the next. This section is a kind of passacaglia the characteristic baroque bass-variation.  Without a break follows the third and last passage in a

Here's a rare treat! Two of our most talented writers have joined forces to create a refreshing new setting of this holiday standard. Emily's vocal arrangement features creative style and key changes and is underscored beautifully by John Moss' artistic orchestration. A stunning finale for your combined groups this season. Available: SATB SAB 2-Part Concert Band String Pak. Performance Time: Approx. 4:00.