Trance

SKU: PR.144404960

UPC: 680160545476.

Although my wife Elizabeth took me on a two-week Caribbean cruise as a pre-70th birthday vacation gift, two short works for string instruments emerged during the trip: Trance for solo violoncello and Sojournen for solo viola. This cello piece invokes two of the many meanings of spell: an incantation and also a short period of time. The solo is a trance-like, fleeting scherzo in a three-part through-composed design. The entire piece is constructed from very limited material stated in the opening gestures with much use made of open strings. Following an introduction, the three brief sections serve as mini-etudes for glissandi tremolandos, measured tremolos, and double-stopped rapid bowing. I think an omnipresent autumnal aural breeze was in my mind since the soloist's oration -- indeed under a spell -- never lets up, even at very low dynamic levels. This constant motion requires dexterity, finesse and an elegant control from the performer. Trance is approximately five minutes in duration, was written while at sea and completed on December 15, 2003, in Saint Johns, Antigua. The score is dedicated to the American cellist Jeffrey Zeigler.

SKU: AP.1-ADV7676

ISBN 9783892217374. UPC: 805095076769. English.

This suite was inspired most notably by the saxophone quartets of Phil Woods and was written in a conscious attempt to wed certain stylistic elements of classical and jazz music. The players are not asked to improvise, but the piece does feature sections that sound spontaneous and freely created. The piece is difficult, but no more so than other quartets, like Glazunov and Desenclos, that are standard repertoire for this instrumentation. Talented high school and all college groups will find success working on this piece. Trance Dance, is a rhythmically grooving 12/8 feel that features the tenor and baritone saxophones.

SKU: CF.FE189S

ISBN 9780825877520. UPC: 798408077525. 9.5 x 13 inches.

Nuptial Scene was commissioned by the Jerusalem Symphony Orchestra in cooperation with the city of Jerusalem for the celebration of the fourth Testimonium, a festival to preserve Jewish heritage. The work was written in September, 1975, and premiered in Jerusalem in February, 1976, with the Jerusalem Symphony, Juan Pablo Izquierdo conducting, and Adi Etzion as soloist. It is dedicated to Recha Freier, the originator and prime mover of the festival. Nuptial Scene is based on a simple medieval poem of prenuptial instruction. Part of it is in Catalan and part in Hebrew. The poem originated in Catalonia, where a highly developed Jewish community existed until the expulsion of 1492. A mother is instructing her daughter in the ways and strategies of marriage and rejoicing with a new song for a new bride. When I initially planned the setting for this lovely poem, I realized that the age of the daughter would be about twelve, for girls in that historical period were married at puberty. This set in motion a scheme for the composition, since my oldest daughter was thirteen at that time, and I used her psyche to give me direction. When a girl of twelve or thirteen thinks of a wedding, she is completely captivated by its frills -- the dress, the party, the dancing. In her imagination, the reality of a husband or any kind of domestic responsibility would be nonexistent. Therefore, during the mother's ardent pleas, instructions, admonitions, and even innuendos, the daughter's mind wanders and dreams of dancing. Musically, the rather straight, somber rhythm and melody of the song are interrupted by an independent, faster dance speed of the bongos and by scattered fragments of an actual medieval Spanish-Jewish dance. At the point where the mother speaks of sensuous marital problems, she herself becomes excited, and in a nostalgic, dreamlike spirit -- with the use of improvised melodic lines for which only the gestural outlines are given -- she goes into a kind of rapturous trance. The daughter, however, seems unmoved, and she falls asleep. The mother calms down, puts her head on the daughter's shoulder, and quietly muses, then also closes her eyes. --Samuel Adler  .
Nuptial Scene was commissioned by the Jerusalem Symphony Orchestra in cooperation with the city of Jerusalem for the celebration of the fourth “Testimonium”, a festival to preserve Jewish heritage.  The work was written in September, 1975, and premiered in Jerusalem in February, 1976, with the Jerusalem Symphony, Juan Pablo Izquierdo conducting, and Adi Etzion as soloist.   It is dedicated to Recha Freier, the originator and prime mover of the festival.Nuptial Scene is based on a simple medieval poem of prenuptial instruction.  Part of it is in Catalan and part in Hebrew.  The poem originated in Catalonia, where a highly developed Jewish community existed until the expulsion of 1492.  A mother is instructing her daughter in the ways and strategies of marriage and rejoicing with a “new song” for a “new bride”.When I initially planned the setting for this lovely poem, I realized that the age of the daughter would be about twelve, for girls in that historical period were married at puberty.  This set in motion a scheme for the composition, since my oldest daughter was thirteen at that time, and I used her psyche to give me direction.  When a girl of twelve or thirteen thinks of a wedding, she is completely captivated by its frills — the dress, the party, the dancing.  In her imagination, the reality of a husband or any kind of domestic responsibility would be nonexistent.  Therefore, during the mother’s ardent pleas, instructions, admonitions, and even innuendos, the daughter’s mind wanders and dreams of dancing.  Musically, the rather straight, somber rhythm and melody of the song are interrupted by an independent, faster dance speed of the bongos and by scattered fragments of an actual medieval Spanish-Jewish dance.  At the point where the mother speaks of sensuous marital problems, she herself becomes excited, and in a nostalgic, dreamlike spirit — with the use of improvised melodic lines for which only the gestural outlines are given — she goes into a kind of rapturous trance.  The daughter, however, seems unmoved, and she falls asleep.  The mother calms down, puts her head on the daughter’s shoulder, and quietly muses, then also closes her eyes.—Samuel Adler .

SKU: P2.50005

Composer Michael Albaugh says, Trancension was written in 2007 for Scotty Stepp and premiered at the North American Saxophone Congress. Composed in two parts, the opening motive sets the tone for the entire work as it grows from half step increments in the low register to convey strength and purpose. The second half is marked 'blistering' to represent the technical capabilities of the saxophone. Blurring lines and arpeggios with embedded grace notes sequences are designed to create the effect of two lines from a single instrument. Not designed for the faint of heart..

SKU: HL.49046494

ISBN 9781705103302. UPC: 840126932201.

With Seventeen Trances of the Pomegranate Tree, Xuntian He continues his series of compositions for piano unbound by cultural traditions. Rather, according to his individual style, He explores which surprising melodic and rhythmic structures are possible on the piano.

SKU: SU.80300245

These seven sacred songs are suitable for treble, mixed, or men's choirs, or for solo performance. The texts are taken from various Sabbath services; many are suitable for use as anthems in Christian worship. While all are easy, each has distinctive features-rhythmic extension of a phrase, shifting meters, or harmonic subtleties-which make the set rank very, very high on the simple does not have to mean stupid scale. Please, before you buy another boring dreidel song, look at these. This benediction prays for protection during the night, and peace. Its swaying rhythms in 4/4, and section sung to the syllables dai, dai, encourage the singers to experience the music very directly, in almost trance-like fashion. Unison; piano; Hebrew; Easy. Unison, piano Published by: Treble Clef Music Minimum order quantity: 8 copies.