SKU: HL.35032394
ISBN 9781540034465. UPC: 888680789336. 6.75x10.5 inches.
This Shawn Mendes GRAMMY® Award-nominated song is superbly set for mixed voices as well as for men's choirs. Shawn wrote the song expressing his own struggle with anxiety. His positive, self-affirming lyrics express that “Sometimes I feel like giving up, but I just can't. It isn't in my blood.&rdquo.
SKU: HL.35032392
ISBN 9781540034441. UPC: 888680789312. 6.75x10.5 inches.
SKU: HL.48019919
UPC: 884088283117. 6.75x10.5 inches.
This piece and its prayer of “save me” can be approached from a perspective of simplicity and serenity, or of deepest anxiety. The intention is that for all of the anxious undercurrents in the song, it could be sung quietly and devoutly in a Christmas Eve service by a soloist or choir of any age and any mix of voices. Duration: ca. 2:40.
SKU: PR.11641867S
UPC: 680160683208.
Contextures: Riots -Decade '60 was commissioned by Zubin Mehta and the Southern California Symphony Association after the successful premiere of the Concerto for Four Percussion Soloists and Orchestra. It was written during the spring and summer months of 1967. Riots stemming from resentment against the racial situation in the United States and the war in Vietnam were occurring throughout the country and inevitably invaded the composer's creative subconscious. Contextures, as the title implies, was intended to exploit various and varying textures. As the work progressed the correspondence between the fabric of music and the fabric of society became apparent and the allegory grew in significance. So I found myself translating social aspects into musical techniques. Social stratification became a polymetric situation where disparate groups function together. The conflict between the forces of expansion and the forces of containment is expressed through and opposition of tonal fluidity vs. rigidity. This is epitomized in the fourth movement, where the brass is divided into two groups - a muted group, encircled by the unmuted one, which does its utmost to keep the first group within a restricted pitch area. The playful jazzy bits (one between the first and second movements and one at the end of the piece) are simply saying that somehow in this age of turmoil and anxiety ways of having fun are found even though that fun may seem inappropriate. The piece is in five movements, with an interlude between the first and second movements. It is scored for a large orchestra, supplemented by six groups of percussion, including newly created roto-toms (small tunable drums) and some original devices, such as muted gongs and muted vibraphone. There is also an offstage jazz quartet: bass, drums, soprano saxophone and trumpet. The first movement begins with a solo by the first clarinetist which is interrupted by intermittent heckling from his colleagues leading to a configuration of large disparate elements. The interlude of solo violin and snare-drum follows without pause. The second movement, Prestissimo, is a display piece of virtuosity for the entire orchestra. The third movement marks a period of repose and reflection and calls for some expressive solos, particularly by the horn and alto saxophone. The fourth movement opens with a rather lengthy oboe solo, which is threatened by large blocks of sound from the orchestra, against an underlying current of agitated energy in the piano and percussion. This leads to a section in which large orchestral forces oppose one another, ultimately bringing the work to a climax, if not to a denouement. Various thematic elements are strewn all over the orchestra, resulting in the formation of a general haze of sound. A transition leads to the fifth movement without pause. The musical haze is pierced gently by the offstage jazz group as if they were attempting to ignore and even dispel the gloom, but a legato bell sound enters and hovers over both the jazz group and the orchestra, the latter making statements of disquieting finality. Two films were conceived to accompany portions of Contextures. The first done by Herbert Kosowar, was a chemography film (painting directly into the film using dyes and various implements) with fast clips of riot photographs. The second was a film collage made by photographically abstracting details from paintings of Reginald Pollack. The purpose was to invoke a non-specific response - as in music - but at the same time to define the subject matter of the piece. The films were constructed to correspond with certain developments in the piece and in no way affect the independence and musical flow of the piece, having been made after the piece was completed. Contextures: Riots - Decade '60 is dedicated to Mehta, the Southern California Symphony Association and the Los Angeles Philharmonic Orchestra. The news of the assassination of Dr. Martin Luther King came the afternoon of the premiere, April 4, 1968. That evening's performances, and also the succeeding ones, were dedicated to him and a special dedication to Dr. King has been inserted into he score. All the music that follows the jazz group - beginning with the legato bell sound playing the first 2 notes to We shall overcome constitutes a new ending to commemorate Dr. King's death.
SKU: GI.G-8845
UPC: 785147884507. English. Text Source: Ref.: Lamentations 3:12–23, alt. Text by Marty Haugen.
When we must sing in times of sorrow and anxiety, this text inspired by the book of Lamentations gives voice to our grief while we yearn for hope. Haugen creatively enhances the text in shifting minor and major harmonies. We are reminded of God’s faithful acts and the possibility of optimism. Although the ranges of the choral parts are not wide, the sound is full and warm. Add this to your library for those occasions that call for deep lament and renewed faith.
SKU: AP.44988
UPC: 038081517810. English.
Escape from Dead Raider's Hollow is a fast-paced adventure. Opening quietly, the introduction gradually builds in volume and energy up to a tempo change where the piece takes off and doesn't relent until the end. Combining rhythms of 3 over a pulse of 2 creates a hemiola effect that drives the piece forward, creating a feeling of anxiety and being chased. This is a bombastic, action-packed piece with loud percussive hits, huge brass, and soaring woodwinds that ends with a bang. (2:30).
SKU: HL.49033271
ISBN 9790001136877. 9.0x12.0x0.088 inches. German.
Kafka's ouvre is interspersed with moments of utter anxiety. Moments in which, induced by adrenalin, the blood pressure rises. Blood vessels which seem to constrict, pump enormous quantities of blood the pressure of which might make one believe that the head is going to explode. In The Judgment, an innocent opening story leads to one of the most unusual showdowns in world literature: The beloved father sentences his son to death by drowning; the son immediately obeys since his life, his existence almost explodes, becomes blurred, dissolves at the moment the judgment is pronounced. For me, the 'self' driving him - I imagine this as a high sound in the inner ear - could only be a soprano. This is why the actual 'fall' has turned out to be clear, almost friendly and why Georg only seems to want to breathe a soft and quiet 'Dear parents, I have always loved you' during the fall while no longer keeping the singing tone, shortly before death, almost casually, takes hold of him. Christian Jost.
SKU: KJ.WB532F
UPC: 084027053133.
With a tip of the hat to Gustav Holst and Mars from The Planets, composer Ryan Nowlinâ??s Mission to Mars depicts the fear, anxiety, and exhilaration of discovery and exploration that future astronauts might experience on their way to the Red Planet. This energetic tone poem in ¾ sits securely under the fingers of each instrument and allows each section of your developing band to showcase their abilities. Correlates with Tradition of Excellence Book 2, page 22.
About Tradition of Excellence: Excellence in Performance
Excellence in performance is a concert band repertoire series correlated with the Tradition of Excellence Comprehensive Band Method by Bruce Pearson and Ryan Nowlin. The compositions in the series correlate to a specific page in Tradition of Excellence Books 1, 2, or 3 and reinforce and expand on skills and concepts introduced in the method./Selections include exciting parts for every player, grade-appropriate cross-cueing, accessible ranges and rhythms, creative percussion writing, electric bass and rehearsal piano parts, and full conductor scores with rehearsal suggestions, program notes and composer biographies. In addition, the Grade 1 works provide an Advanced Snare Drum part for percussionists who have achieved a higher level of ability, playable simultaneously with the more basic Snare Drum part to facilitate differentiated learning.