SKU: HL.48022906
UPC: 884088917777. 6.75x10.5 inches.
Composer Betty Bertaux selected the poetry of 11 year old musician and dancer Elizabeth Porter Eachus for the Fairfax Children's Chorus 2012 project. With a piano part that is rhythmic and syncopated, the vocal lines sing descriptive passages that create a joyful mood. Duration: ca. 7 minutes with repeats.
SKU: BT.AMP-480-140
English-German-French- Dutch.
Aurora Dances was commissioned by the Hong Kong-based Winter Band Festival, and consists of three movements, to be played without a break. ‘Aurora Borealis’ opens with florid woodwind figures and highlights different sections of the band in turn. The second movement ‘Aurora Australis’ leads to a sombre chorale, which builds to a full-band climax. The finale ‘Aurora Dances’ is characterised by rhythmic, dance-like themes. A central section features a contrasting legato melody, but this doesn’t dispel the energetic feel of the opening, which returns to close the work.Aurora Dances werd geschreven in opdracht van het Winter Band Festival in Hongkong. Het werk bestaat uit drie delen die in elkaar overlopen. ‘Aurora Borealis’ opent met sierlijke motieven in het hout en bevat korte, herhaalde frasen waarin de verschillende secties afwisselend in de schijnwerpers worden gezet. Het melancholieke koraal van deel twee, ‘Aurora Australis’, ontvouwt zich tot een climax in het hele orkest. Het laatste deel, ‘Aurora Dances’ wordt gekenmerkt door ritmische, dansachtige thema’s. Een middengedeelte bevat een contrasterende legato melodie, maar die gaat niet ten koste van het energieke gevoel van de opening, waarmee het werk wordtafgesloten. Aurora Dances wurde vom Winter Band Festival in Hongkong in Auftrag gegeben und wird ohne Pause gespielt. Aurora Borealis“ beginnt mit überschwänglichen Holzbläserfiguren und hebt abwechselnd verschiedene Sektionen des Blasorchesters hervor. Der zweite Satz, Aurora Australis“, führt zu einem düsteren Choral, der sich zu einem Höhepunkt des kompletten Orchesters aufbaut. Das Finale, Aurora Dances“, zeichnet sich durch rhythmische und tänzerische Themen aus. Ein zentraler Abschnitt ist durch eine kontrastierende Legato-Melodie geprägt, die jedoch die energiegeladene Stimmung des Anfangs nicht aufhebt, welche am Ende des Werkes wiederkehrtComman de du Festival hivernal des harmonies, basé Hong-Kong, Aurora Dances se compose de trois mouvements interprétés sans interruption. « Aurora Borealis » s’ouvre avec des figures élaborées aux bois et met en avant divers pupitres de l’orchestre. Le deuxième mouvement, « Aurora Australis », introduit un choral sombre qui aboutit un climax en tutti. Le final, « Aurora Dances », se caractérise par des thèmes rythmiques et dansants. Le passage central présente un contraste avec une mélodie legato, sans pourtant dissiper la sensation d’énergie du début qui revient pour clore la pièce.
SKU: HL.4005140
UPC: 888680694364. 9.0x12.0x0.051 inches.
“Tune ful and rhythmic†describe the Slavonic Dances by Dvorák, and part of what makes them so immediately appealing. This setting of Slavonic Dance No. 3 alternates between a moderate tempo and faster sections, and ultimately an even faster segment for the energetic finish. Effectively arranged for younger bands. Dur: 2:35.
SKU: HL.4006681
UPC: 840126928150.
Auror a Dances was commissioned by the Hong Kong-based Winter Band Festival, and consists of three movements, to be played without a break. 'Aurora Borealis' opens with florid woodwind figures and highlights different sections of the band in turn. The second movement 'Aurora Australis' leads to a sombre chorale, which builds to a full-band climax. The finale 'Aurora Dances' is characterised by rhythmic, dance-like themes. A central section features a contrasting legato melody, but this doesn't dispel the energetic feel of the opening, which returns to close the work.
SKU: HL.4006680
ISBN 9781540095992. UPC: 840126928143.
SKU: HL.14027970
ISBN 9788759859353. 16.75x11.75x0.425 inches. English.
Break-Danc e is an obvious next of kin to the two Clarinet trios Vox In Rama and Tattoo For Three. This piece, however, combines the roaring despair of the first trio with the twisted rhythmical display of the latter. The title, of course, is a reference to the modern street-dance electric boogie, but the very music itself takes the naming most literally indeed: formally and rhythmically, after a straightforward head-on opening, it breaks into isolated, jagged fragments, winding up in a bouncing piano cadenza. Albeit not an obvious piano concerto, the piano part hovers in the front line, the same way the horizontal guy, ringing himself on the pavement, is doubtless an eye-catcher to passers-by. The springy 'body-language' that kicks off the piece suddenly stiffens and freezes into hard-edged blocks and the real 'dance of breaks' emerges into focus. Break-dance is commissioned by and dedicated to Yvar Mikhashoff and Spectrum. Arranged for 2 Trumpets, 3 Trombones, and Piano.
SKU: HL.14027971
ISBN 9788759859360. English.
SKU: PR.11441684S
UPC: 680160625253. 9 x 12 inches.
On the occasion of its 30th anniversary, the ensemble Music From China commissioned Chen Yi for a new work, which became Three Dances from China South, scored for Chinese instruments. Its three descriptive movements (Lions Playing Ball, Bamboo Dance, Lusheng Dance) are each inspired by folk dances from the southeastern provinces of China.My chamber ensemble work Three Dances From China South is commissioned by Music From China tocelebrate its 30th anniversary, and scored for Chinese traditional instruments dizi, erhu, pipa, and zheng. The commission has been made possible by the Chamber Music America Classical CommissioningProgram, with generous funding provided by The Andrew W. Mellon Foundation, and the Chamber Music America Endowment Fund.  The world premiere is given at Weill Recital Hall in Carnegie Hall in New York City, on November 21, 2014.  My Three Dances From China South is dedicated to Susan Cheng, the founder and Executive Director of Music From China, to celebrate the 30th anniversary of MFC. There are three movements in my Three Dances From China South for dizi, erhu, pipa, and zheng.  Thematerial in the first movement Lions Playing Ball is drawn from a folk tune played in the accompanyingensemble for the folk dance under the same title in Chaozhou region in Guangdong province.  The image of the folk dance is vivid and entertaining.  The movement includes several variations on the theme.  The variation methods are inspired by the various rhythmic patterns used in the traditional ensemble playing. The melodic material features a special mode with a tritone interval taken from the folk tune.  There are also lyrical sections with polyphonic layers in the variations.The music in the second movement is inspired by the folk Bamboo Dance, which is popular in Li minoritypeople from Hainan Island in the south.  The aged old folk dance is for ritual ceremony and harvest celebration in the history, in which there are pairs of people holding the ends of the long bamboo rods and clapping them loudly in stable pulse, for groups of dancers to dance between the bamboo shapes on the floor, in musical rhythms and ensemble patterns.  A musical motive with a jumping interval and articulation is used throughout the movement.The third movement is called Lusheng Dance.  I have witnessed the folk dance performance of the Dong minority people in Guangxi province in the 1980’s.  The exciting scene inspired me to imitate the large lusheng ensemble playing style in my ensemble of four Chinese instrumental musicians without using the sheng (a wind instrument with metal pipes that is popular in concert music, and similar to the folk lusheng).  On top of the rhythmic patterns, I imitated a two--voice folk song of Zhuang minority people in the same province.  The melody is played by the leading erhu and dizi.—Chen Yi.
SKU: SU.32040090
3 tbns, Tuba Duration: 3'15 Composed: 2014 Published by: Amy Mills Music, LLC Three trombones play a strong rhythmic dance depicting the three kings who bravely traveled the dusty desert to see the new born Christ child. The Tuba underlines the dance with the traditional carol We Three Kings. Upon arrival, the middle section wondrously describes the Star of wonder star of night… Finally, all join in the joyful stomping dance celebrating the birth of the King of Kings! 2 tenor trombones/bass trombone/Tuba (also can work for 2 tenor trombones and 2 bass trombones) (also can work for 3 euphoniums and Tuba, or any combination of tenor and bass instruments Difficulty: 4 (Advanced) See composer website for audio sample.
SKU: HL.4008501
UPC: 196288174387. 9.0x12.0x0.678 inches.
From the striking and somewhat sinister opening strains you'll know immediately that this is not just a normal “dance”! This energetic and rhythmic work features a driving pulse throughout, along with a sprinkling of dissonances and cluster chords to create a sense of tension and excitement. The dynamic percussion writing helps propel this creative piece from start to finish. Dur: ca. 4:30.
SKU: XC.MCB2302
This charming composition features a rhythmic dance in 3/2 time, a playful tune in ¾ time and a heartfelt lyrical interlude in 4/4 time. These three themes seamlessly flow into each other to create a tapestry of contrasting styles and emotions.
SKU: AU.9780800621476
ISBN 9780800621476.
An energetic and rhythmic dance, the text leaps and soars with a vigor that any choir will love. Triumphant and delightful, choir members will vie for a chance to play tambourine on this piece!
SKU: XC.MCB2302FS
SKU: HL.35027325
UPC: 884088501167. 5.0x5.0x0.15 inches. Words by Maddy Winer, Joseph M. Martin; Music by Joseph M. Martin.
Uses: Christmas Scripture: Ephesians 5:8-10; Isaiah 60:1; Luke 2 Available for the first time as a single, here is the brilliant angel song from the blockbuster cantata, The Winter Rose. Abounding with rhythmic energy, this dance of praise is rich with powerful imagery and celebratory music. Mixed-meter and syncopations galore make this a challenge well worth the effort. Score and Parts for Score & Parts for Flt 1&2, Oboe, Clt 1&2, Bassoon, Horn 1&2, Tpt 1, Tpt 2&3, Tbone 1&2, Bass Tbone/Tuba, Timp, Perc 1&2, Violin 1, Violin 2, Viola, Cello, Double Bass.
SKU: HL.4005362
UPC: 888680716332. 9.0x12.0x0.062 inches.
Composed using a single, yet driving tempo, Shadow Dancer incorporates a repeating syncopated rhythmic figure as its foundation. Every section is provided a melodic opportunity as the various instrument groups are introduced. By combining a couple of unexpected interjections with the repetitive and infectious rhythm pattern, this is a dynamic and enjoyable piece for both audience members and performers. Dur: 2:10.
SKU: CL.012-1748-00
A composition student of the late J. Clifton Williams, Robert Foster composed this work for symphonic band as a tribute to Mr. Williams. The work begins with a statement of the primary theme as a fanfare. The theme recurs later in the work in the form of a chorale, and returns even later in the energetic and rhythmic dance section. A recapitulation of the chorale follows, and the work concludes with a brilliant fanfare. This is a unique musical work and an ideal contest selection.
About Heritage of the March
Full -sized concert band editions of the greatest marches of all time. Each has been faithfully re-scored to accommodate modern instrumentation and incorporate performance practices of classic march style
SKU: CL.012-1748-01
SKU: HL.4002986
UPC: 884088502294. 9.0x12.0x0.072 inches.
Using a recurring four-note motif and a variety of textural punctuations, here is a stunning and fresh-sounding overture from Richard Saucedo. A slow and lyric middle section featuring woodwind colors and rich emotional contours provides a stark contrast to the rhythmic intensity of the opening and closing sections. Dramatic and powerful! Dur: 4:15.
SKU: HL.4002795
UPC: 884088280840. 9.0x12.0x0.063 inches.
Rhythmic and energetic, this lively work contains elements of an early American character but also features a poignant, calmer section with a lighter texture and interlaced lyric motifs. The piece builds to a dramatic peak with a powerful and majestic statement by the full ensemble. The final segment, however, becomes more and more frenzied with mixed meters and relentless percussion figures as it races to an exciting conclusion. Filled with humor and creativity, this unique composition will easily find a place in your contest or festival repertoire. Dur: 3:35 (Grade 4).
SKU: HL.50498648
ISBN 9781480312951. UPC: 884088878481. 9.0x12.0x0.071 inches.
Paul Creston was one of the most performed composers of the 1940s and '50s, and his music remains important and relevant today. His unique rhythmic and harmonic style is apparent in Five Little Dances, his only work for piano. Robert Longfield's marvelous adaptation for band retains the character and charm of these delightful dances. Dur: 6:40.
SKU: SU.29110060
1. Sidestep Reel - In 19th Century America, the Afro-Celtic fiddle style was the centerpiece of many a dance. Reels and hornpipes were very popular forms. Their repetitive, even-metered rhythms were easy and fun to dance to, and their infectious singable melodies stayed in the mind and on the tongue. More adventurous fiddlers were given to syncopating on these forms by accenting off beats and by embellishing melodies with oddmetered note groupings. Syncopation is a fundamental rhythmic attitude of jazz and this movement is a celebration of that art. The melodic language is a home-grown concoction of commonality between traditional reels and hornpipes and the Baroque, Ragtime and the quartal concepts of Modern Jazz. 2. As the Wind Goes - the wistful late night song of a lullabye, a campfire song, a ballad...a spiritual. It is sung as if on the wind, yearning to experience once again that which will only ever again live as memory. 3. Jones’ Jig - the Irish Jig, the African 6/8 bell pattern, the shuffle rhythm of jazz and the drum style of Elvin Jones all play around with the relationship of 3 in the time-space of 2. The juxtaposition, negotiation and reconciliation of these opposing rhythmic perspectives create interesting musical relationships all over the globe. 4. Nicola’s Strathspey - In the traditional Strathspey, improvised embellishments, syncopated dotted rhythms and the use of space between notes create expectation, momentum and surprise. These same elements and their effect on the listener are the same in the blues. It seems like a natural marriage. 5. Bye Bye Breakdown - This is good ol’, Saturday night barn dance, hoedown fiddling. It revels in the whining cry of open double stops, in all types of musical onomatopoeia from train sounds to animal calls to country whistling, and in the steady 2/4 rhythm that is as basic as walking. The harmonic framework of several popular fiddle and folk tunes provide a practical grid for the cutting of challenging melodic and rhythmic figures. It is designed to tire fiddler and dancers out. Then we stomp our way home in varying states of delight and disrepair.Solo Violin Duration: 24' Composed: 2018 Published by: Wynton Marsalis (administered by Skayne's Music).
SKU: PR.114419280
ISBN 9781491132357. UPC: 680160676125.
Inspi red by Chinese tradition, this concerto-like dance suite includes: 1. Lion Dance, 2. YangKo, and 3. Muqam. Each movement draws from melodies and rhythms characteristic of various regions of China many centuries ago. CHINESE FOLK DANCE SUITE is available for violin with full orchestra, or as a recital work with piano.Supported by a major commissioning award from the Serge Koussevitzky Music Foundation in the Library of Congress, Chinese Folk Dance Suite is written for solo violin and orchestra; it was premiered by The Women’s Philharmonic with violin soloist Terrie Baune, conducted by Apo Hsu, on March 10, 2001, at Yerba Buena Center For the Arts Theater in San Francisco.Inspired by various Chinese traditional folk dances, the suite has three movements:I. Lion Dance. Traditionally, people dance with richly decorated hand-made lions, accompanied by percussion ensemble, to celebrate happy occasions and major festivals throughout the country. In this composition, I use Chinese drum and other percussion instruments in the background, to form a dynamic and rhythmic texture responding to the solo part, which imitates the tunes played on the suona (traditional Chinese trumpet). The pitch materials came from the traditional Guangdong tune “Dragon Boat Racing,†and the Chaozhou tune “Lion Playing Ball.â€II. YangKo. Originating in northern China, this is a major folk dance form in mass performance popularized in the country. In YangKo performance, people play rhythmic patterns on the drums hung around their waists while singing and dancing. In the second movement, I imagined a warm scene of YangKo dancing in distance. The solo violin plays a sweet and gracious melodic line while all members of the orchestra sing non-pitched syllables in different layers as the soft background, to imitate the percussion sound which produces the ever-going pulse.III. Muqam. This large-scale music and dance form, from the Uygur nationality in Xinjiang province, originated in the 15th century. My third movement use a 7/8 meter and the melodic style of Muqam music. The fiery dancing gesture culminates in the sustained climax section at the end of the work, after a colorful violin cadenza in both improvisational singing style and polyphonic writing with woven lines.
SKU: MB.610451
ISBN 9783899221725. 8.25 x 11.75 inches.
Dieses Buch richtet sich an alle, die Musik spielen oder lernen m?chten. Rhythmus spielt eine gro?e Rolle, egal ob Sie Instrumentalist, S?nger, T?nzer, Student, Lehrer, Amateur oder Profi sind. Unabh?ngig davon, ob Sie Anf?nger oder Fortgeschrittener sind, k?nnen Sie dieses Buch als Unterrichtsmaterial f?r Ihre Sch?ler oder f?r den eigenen Unterricht verwenden, unabh?ngig vom Stil. Der Anfang dieses Buches erkl?rt grundlegende Konzepte des Rhythmus, die f?r die ?bungen notwendig sind. Einige der schwierigeren Passagen wurden mit Z?hlen versehen, um diese und andere ?bungen zu meistern. Rhythmic Reading ist somit eine umfangreiche Sammlung von rhythmischen Konfigurationen in den g?ngigsten Z?hlern. Zu den Themen geh?ren: Die Pyramide der Noten, bin?re und tern?re Rhythmen, gepunktete Noten, Krawatten und Synkopen. Im praktischen Teil werden diese Themen anhand gemeinsamer Zeitsignaturen in einer umfangreichen Sammlung zusammengestellt. Die ?bungen sind nicht nur f?r Schlagzeuger geeignet - die Autoren geben auch Interpretationsideen f?r die rhythmische Notation f?r Gitarristen, Keyboarder und Bassisten. Auf diese Weise ist dieses Buch f?r alle Instrumentalisten geeignet, die Musik machen m?chten. Fakt: Dieses Buch vermittelt Ihnen auf kompakte Weise Wissen ?ber Rhythmus. Der Leser erh?lt au?erdem eine zus?tzliche Funktion in Form einer CD, auf der er die ?bungen anh?ren kann. This book is for everybody who plays music or decides to learn it. Rhythm plays a major role no matter whether you are an instrumentalist, singer, dancer, student, teacher, amateur, or professional. No matter if you are a beginner or are advanced you can use this book as instruction material for your students or for own education, regardless of style. The beginning of this book explains basic concepts of rhythm that are necessary for the exercises. Some of the more difficult passages have been provided with counting which will help in mastering these and other exercises. Rhythmic Reading is thus an extensive collection of rhythmic configurations in the most common meters.Topics include: the pyramid of notes, binary and ternary rhythms, dotted notes, ties and syncopation. In the practical part, these topics will be arranged using common time signatures in a comprehensive collection. The exercises are not just suitable for drummers - the authors also give interpretation ideas for rhythmical notation for guitarists, keyboard players and bassists. In this way, this book is suitable for all instrumentalists who want to make music.Fact: this book presents you with knowledge about rhythm in a compact way. The reader also gets an additional feature in the form of a CD where they can listen to the exercises.
SKU: KN.37405
UPC: 822795374056.
Griot 's Dance (GREE-oh's Dance) is an exciting work for string orchestra that utilizes calypso rhythms to tell it's powerful story. Griots are West African poets, musicians, and dancers who tell stories and lead songs. This piece utilizes the keys of G minor and D minor, however, because of the transitional nature of the piece, a key signature is not utilized. All instruments are given equal treatment in receiving exciting melodic content as well as calypsodic rhythmic accompaniments. Duration 3:05.
SKU: BR.PB-5273
ISBN 9790004210079. 10 x 12.5 inches.
In his Slavonic Dances Op. 46, Dvorak did not draw on pre-existent music, but created something original and new, projecting his own compositional will into the creative process. What we hear are Dvoraks melodies,and that it is due to his creative will that he cast them as in Dance 3, for example in the form of a melodic four-tone model which is common to many folk songs and childrens songs. Finally, it is his rhythmic invention and shaping of the musical character of each dance that breathe life into the elements of Slavonic dance music.The Slavonic Dances Op. 46, which began to conquer the world's concert halls in 1878, made a major contribution to Dvorak's international breakthrough. The Urtext edition is based on the main sources, mainly on the autograph score and the first edition.