Playful

SKU: LM.VV096

ISBN 9790560050966.

BAILLIEUX Thierry : Gone with the stream - St John's dream - The funny spinning wheel - Bubbling spring - Pretty dragonfly - Playful play.

SKU: SU.91480701

SSA Chorus & Piano Duration: 2' Composed: 2013 Published by: Subito Music Publishing Also available: The Playful Rainbow (complete) (91480700) 2. Duty SSA Chorus & Piano, opt. Flute (91480702) 3. Evensong SA & Unison Chorus & Piano (91480703) 4. Knock, Knock SSA & Piano, opt. Flute and Tom-toms (91480704) Minimum order quantity: 8 copies. To order quantities fewer than 8, please call customer service at (973) 857-3440. YouTube:.

SKU: HL.338837

UPC: 840126913989. 6.75x10.5x0.029 inches.

A warm, easy-jazz stroll sets the stage for a playful romp with this familiar carol. The setting is also unique and beckoning. The walking bass line keeps pace while harmonic twists and turns that offer a playfulness not usually enjoyed with this song.

SKU: FT.FM419

ISBN 9790570483181.

Three jazz inflected pop pieces for beginning to intermediate players. Rockin' Downtown: This piece harks back to early jazz rock. Don't swing the rhythm - play them straight. Play the opening statement aggressively, a bit brash. The middle section should be a little more playful. Give the closing two bars some 'shake' in the tone if you can. The Real And Only Blues: This should be played sweet and mournful, with a gentle swing to the rhythms. Treat each line as if it were a sentence, maybe even write words to go with it so that you have something to say with each phrase. Cart Full Of Monkeys: This is whimsical pop, unpredictable, like monkey behaviour. Don't be a complete slave to the tied rhythms in the opening and closing musical statements - use them more as a starting point for playfulness.

SKU: PR.114422850

ISBN 9781491137550. UPC: 680160691005.

Amid his beloved catalog of music for low brass, NEWBURYPORT SONATA is Eric Ewazen’s first recital work for tuba. The composer’s preface tells us, “This work was written during the year of Covid quarantine, and it reflects the strong emotions of that time. The final movement is full of energy and a return to life! There is almost a march-like feel to the music, with a lively and even playful rhythm as the tuba lines are bold, strong, and ultimately energetic and exciting.” The work is also available as NEWBURYPORT QUINTET for Tuba and String Quartet.
The Newburyport Sonata began life as the NEWBURYPORT QUINTET for Tuba and Strings, commissioned by David Yang, director of the Newburyport Chamber Music Festival in Massachusetts. The quintet version was premiered by members of the festival, featuring tuba soloist Scott Devereaux of the U.S. Army Field Band.I’ve long been a fan of low brass instruments and had the pleasure of attending the very first Tuba/Euphonium Convention at Indiana University, which was a real celebration of low brass! As a former cellist (I’ve long been a fan of instruments with a tenor/bass range, the world of euphoniums and tubas) I wanted to write a piece showcasing both the wonderful virtuosity the instrument is capable of, and also its expressive lyricism, which shaped the NEWBURYPORT QUINTET. This adaptation for tuba and piano consequently has a wide variety of musical gestures and moods, exploring the color of the instruments.The first movement is in compound rhythm, with a lilting, energetic 6/8 feel supporting a cantabile line in the Tuba. In a traditional form, there are contrasting themes, sometimes playful and sometimes heroic, which share a lively, rolling rhythm. The second movement is a heartfelt appassionata, with the Tuba sometimes singing in a soulful minor key, and sometimes expressing powerful emotions.This work was written during the year of Covid quarantine, and it reflects the strong emotions of that time. The final movement is full of energy and a return to life! There is almost a march-like feel to the music, with a lively and even playful rhythm as the tuba lines are bold, strong, and ultimately energetic and exciting.In writing this piece, I collaborated greatly with Scott, who played through passages I wrote and gave me technical suggestions on how to flatter the gorgeous sound of the Tuba, allowing it to really sing!The quintet version is also available from the publisher, www.presser.com/114-42284.

SKU: CF.CPS234

ISBN 9781491156346. UPC: 680160914883. 9 x 12 inches.

Mercury - the Roman god of financial gain, commerce, travelers, boundaries, luck, trickery, merchants, and thieves. A popular deity in Roman culture, he was instantly recognized by his unique winged shoes (talaria) and hat (petasos). With its close proximity to the sun and faster orbit than all other planets, the Romans named this small celestial body after the swift-winged messenger of their culture. It is not surprising that in Holst's major orchestral suite The Planets that Mercury utilizes such light and swift themes. There is some duality to the title of the work. Part of it involves my impression of what a playful chase of the winged messenger sounds like. The other part is the opening motif chasing two themes of Holst around the rest of the work. It was only after developing the first few ideas that I recognized some of the commonalities with some of those same themes from Holst's orchestral work. There are several quotations from that famous piece by Holst (notably as both are stated successively at mm. 13-20). The idea of someone having to chase the Winged Messenger struck me as a unique title around which to craft a work. One of my core beliefs about music is that it can be imbued with meaning by a composer, and as the sonic story unfolds an ensemble, director, and audience members can draw out their own meaning from the experience. Who exactly is chasing Mercury? I leave that up to the wonderfully creative minds of the young ladies and gentlemen who have the opportunity to bring this work to life. The opportunity to compose music and allow student musicians to give this piece new life and draw out different meanings is a humbling experience. Rehearsal Notes and Suggestions As stated earlier, the opening motif (a range of a seventh) comes back frequently in the work in a variety of settings and textures. Throughout the work, it is important for students to recognize the two themes from Holst when they are present in the sound canvas. If the solos (clarinet and alto saxophone) are utilized, the supporting parts around and underneath those lines must be sensitive and play in such a way to properly balance those parts. There are number of muted sections for the trumpet section, and I would advocate for all trumpets acquiring the same mute to contribute to unity in timbre. The bold fanfare sections (the first occurs at m. 37) must be presented with a unified articulation style. As the texture intensifies prior to m. 169, it is crucial for the ensemble to play within themselves and exercise musical courtesy to allow all voices to be heard as they arrive at m. 181. My thanks in advance for your support of this music, and I wish you well as you and your ensemble begin Chasing Mercury!.
Mercury – the Roman god of financial gain, commerce, travelers, boundaries, luck, trickery, merchants, and thieves. A popular deity in Roman culture, he was instantly recognized by his unique winged shoes (talaria) and hat (petasos). With its close proximity to the sun and faster orbit than all other planets, the Romans named this small celestial body after the swift-winged messenger of their culture. It is not surprising that in Holst’s major orchestral suite The Planets that Mercury utilizes such light and swift themes.There is some duality to the title of the work. Part of it involves my impression of what a playful chase of the winged messenger sounds like. The other part is the opening motif chasing two themes of Holst around the rest of the work. It was only after developing the first few ideas that I recognized some of the commonalities with some of those same themes from Holst’s orchestral work. There are several quotations from that famous piece by Holst (notably as both are stated successively at mm. 13–20). The idea of someone having to chase the Winged Messenger struck me as a unique title around which to craft a work.One of my core beliefs about music is that it can be imbued with meaning by a composer, and as the sonic story unfolds an ensemble, director, and audience members can draw out their own meaning from the experience. Who exactly is chasing Mercury? I leave that up to the wonderfully creative minds of the young ladies and gentlemen who have the opportunity to bring this work to life. The opportunity to compose music and allow student musicians to give this piece new life and draw out different meanings is a humbling experience.Rehearsal Notes and SuggestionsAs stated earlier, the opening motif (a range of a seventh) comes back frequently in the work in a variety of settings and textures. Throughout the work, it is important for students to recognize the two themes from Holst when they are present in the sound canvas. If the solos (clarinet and alto saxophone) are utilized, the supporting parts around and underneath those lines must be sensitive and play in such a way to properly balance those parts. There are number of muted sections for the trumpet section, and I would advocate for all trumpets acquiring the same mute to contribute to unity in timbre. The bold fanfare sections (the first occurs at m. 37) must be presented with a unified articulation style. As the texture intensifies prior to m. 169, it is crucial for the ensemble to play within themselves and exercise musical courtesy to allow all voices to be heard as they arrive at m. 181. My thanks in advance for your support of this music, and I wish you well as you and your ensemble begin Chasing Mercury!

SKU: GI.WW1779

UPC: 785147022367. English. Text Source: English Folk Song.

The Fox is a fun, playful, folk song written for treble voices of all ages. The story of a family of sly foxes, this energetic, engaging, and playful arrangement will delight both your singers and your audiences. Full instrumental accompaniment track Downloadable mandolin part.

SKU: P2.80184

Quartet No. 1 by James Meador was written in the summer of 2004 and premiered in August of that same year by the UL Lafayette Trombone Quartet at a benefit concert for the Acadiana Symphony Orchestra in Lafayette, Louisiana. The piece consists of two movements, each designed to highlight the choral characteristics of the trombone quartet (or trombone choir), but with a strong emphasis on dissonance.
Novus Sonorous opens with a rhythmic and dissonant introduction before leading into a three way struggle for the melody. A singing line eventually emerges and leads us into a powerful chordal motive, then backs down to another closely scored and dissonant chorale. The opening statement returns briefly and carries us back to the mighty chordal section before a mournful and ponderous conclusion.
Ludus Tonalis begins with an intense and again closely scored, very dissonant chorale figure, then immediately jumps into a playful mixed meter section bouncing around from 7/8 to 2/4 to 6/8. This section leads into a sort of rhythmic fanfare where the melody is derived from entrances of the chord tones, then dies down into somewhat of a dark portrayal of the main theme in a choral style. Once again we encounter the playful section before closing out the piece on a forceful and energetic drive to the end.