SKU: HL.49025301
ISBN 9790001010269. German.
SKU: HL.49024954
ISBN 9790001008648.
SKU: OU.9780193869745
ISBN 9780193869745.
For SATB, accompanied by brass quartet and timpani, or trumpet and organ Opening with a brass fanfare, this adaptation of Psalm 96 to the well-known tune 'Crucifer' makes a terrific piece for an Easter processional. Congregation and trumpet parts are included in the back of the octavo. A set of parts for brass and timpani are available separately.
SKU: BT.DHP-1033360-070
ISBN 9789043102858. International.
Three easy octets for mixed percussion ensemble. Part 1 is for Xylophone (two players one instrument), part 2 is for Marimba (two players one instrument), Part 3 is for Xylophone (two players one instrument), Part 4 is for Marimba (two players one instrument), Part 5 is for Tambourine, Part 6 is for Woodblock/Cowbell, Part 7 is for Snare Drum/Timpani and Part 8 if for Timpani/Drumset. Drie zeer eenvoudige en onderhoudende octetten voor percussie. De volgende instrumenten komen aan bod: xylofoon, marimba, tamboerijn, woodblock, kleine trom, pauken, cowbell en drumset.Drei sehr leichte, unterhaltsame Oktette für Percussion. Folgende Instrumente werden verwendet: Xylophon, Marimbaphon, Tamburin, Holzblock, kleine Trommel, Pauken, Cowbell und Drum Set. Pièce pour 8 percussionnistes [Xylophone, Marimba, Caisse claire, Cloches de vache,Tambourin, Batterie, Timbales, Wood-Block, Triangle] Tre brani molti semplici per percussioni. Vengono utilizzati i seguenti strumenti: xilofono, marimba, tamburello, woodblock, tamburo rullante, timpani, campanacci e drum set.
SKU: OU.9780193416475
ISBN 9780193416475. 10 x 7 inches.
For SATB, congregation, and organ/brass This arrangement of the familiar Westminster Abbey tune for organ and brass is majestic, and sure to draw hearty singing from a congregation.
About Cambridge Singers Hymn Series
The Cambridge Singers Hymns is a series of new hymn arrangements by John rutter, recorded under his direction by the Cambridge Singers. the aim of the series is to present some of the finest traditional hymns in new, practical versions which refresh old favorites and introduce welsome variety and interest to the familiar routine of Sunday hymn-singing.
SKU: JK.01101
Revelation 5:9-13.
Arranged for mixed chorus (SSATTB) and piano or optional brass and timpani. Arranged closely to the traditional hymn with slight deviations for extra warmth and grandeur. Men primarily sing melody. Includes soprano descant, ending in a high A flat.Optional instrumental accompaniment packet is available separately (#09045), including parts for Trumpet (3), French Horn (3), Trombone (3), Tuba, and Timpani.Composer: Felice de Giardini Arranger: A. Laurence Lyon Lyricist: James AllenPerformance time: 2:00Reference: Revelation 5:9-13.
SKU: MN.50-7058A
UPC: 688670705816. Scripture: Psalms 150.
A bright and festive setting of Psalm 150. The varied colors and moods of the text are painted with easy to medium choir parts, coupled with intricate instrumental writing. A series of exclamatory Hallelujahs builds to a majestic ending with full organ, brass, and optional timpani. Perfect for festival services.SATB, Brass Quartet (2+2) and Organ with optional Timpani.
SKU: MN.60-6600
UPC: 688670666001. English.
An easy but striking congregational hymn setting of the tune RUSTINGTON to a text by Shirley Erena Murray. Stanzas one and three are in unison (three with descanting ahs). Stanza two invites the choir and even the congregation to sing in four parts! This can be as streamlined as you need it to be, but can also expand by use of the optional Brass Quintet, Handbells, Timpani, and Crash Cymbals.
SKU: GI.G-9044
UPC: 785147904403. English. Text Source: Edward H. Plumptre, 1821–1891, alt., words adapt. Ruth C. Duck. Text by Edward Hayes Plumptre.
Scored for SATB voices, assembly and organ with optional brass quintet and timpani, the time-honored tune MARION is set most festively in traditional style. Vocal parts are easy to master, and the brass quintet and timpani parts make the anthem crackle with energy. The organ accompaniment is printed in the full score.
SKU: JK.09164
Psalm 149.
Brass accompaniment (3 trumpets, 2 french horns, 3 trombones, tuba and timpani) for Psalm 149 - SSAATTBB (#00888).Composer: Robert P. Manookin Difficulty: Medium-easyReference: Psalm 149.
SKU: CF.YPS247
ISBN 9781491161463. UPC: 680160920099.
What would a concert be without a march? This holiday toe-tapper has a familiar melody, tuneful harmonies, an easy-to-play countermelody and a typical march bass line. The trio features your students spelling out the words Jingle Bells before the band transitions into We Wish You A Merry Christmas. Use this arrangement to teach all the march-style elements while also entertaining audiences at holiday concerts. I hope you and your students enjoy this new take on a holiday favorite.What would a concert be without a march? This holiday toe-tapper has a familiar melody, tuneful harmonies, an easy-to-play countermelody and a typical march bass line. The trio features your students spelling out the words “Jingle Bells†before the band transitions into “We Wish You A Merry Christmasâ€. Use this arrangement to teach all the march-style elements while also entertaining audiences at holiday concerts. I hope you and your students enjoy this new take on a holiday favorite.What would a concert be without a march? This holiday toe-tapper has a familiar melody, tuneful harmonies, an easy-to-play countermelody and a typical march bass line. The trio features your students spelling out the words “Jingle Bells†before the band transitions into “We Wish You A Merry Christmas.†Use this arrangement to teach all the march-style elements while also entertaining audiences at holiday concerts. I hope you and your students enjoy this new take on a holiday favorite.
SKU: AU.9781506452463
ISBN 9781506452463.
Bankson pairs a beloved Easter hymn text with the broad and noble hymn tune BEVERLY. The beautiful brass and organ accompaniment is an exciting way to invite optional assembly participation.
SKU: CF.YPS204F
ISBN 9781491152928. UPC: 680160910427.
Avalon–Long Live the King is a medieval fantasy piece depicting the Isle of Avalon where the mystical sword Excalibur of King Arthur was forged. Composer Tyler Arcari unearths a solid piece for young bands that is both bold and dramatic. This piece is sure to spark the imagination of students and give them strong musical content with which they can develop their musicianship.Program Notes:Avalon–Long live the King began its journey as a commission in honor of a dear friend and mentor. David Riggs is one of those band directors that just seems timeless. He is a powerhouse with such a stacked resume that it is easy to forget that at the end of the day he enjoys taking long bike rides with his lovely wife and whittling a piece of wood just as much as being a band director. He has touched so many lives and inspired so many people in our field and beyond. I was humbled, and honored, when I was contacted for the commission. To David, I hope that you one day know how much you mean to so many people, including myself.About the piece:The piece is written with a little homage to David’s long tenure at Avalon Middle school in Pace, Florida. He was certainly treated like a king as the band director and rightly so. It seemed only fitting to add a little medieval fantasy. Avalon is a mystical island in the world of King Arthur where the great sword Excalibur was forged.The piece begins lyrically with a slow introduction with melodic material. This melodic motive is used throughout with slight variations depending on the instrument voicing etc. Care should be taken at m. 10 that the Timpani roll helps to bridge our transition from an exposed section to full tutti. Care should be taken so that the tempo change at m. 19 is brisk and avoids the low brass turning into stomping. Accessories like the China cymbal and tambourine can become overpowering. I recommend having students think of these effects as background in order to make sure they don’t POP out. The dynamic changes at mm. 27-35 should be subito similar to orchestral dynamic changes. Avoid unwritten crescendos in this section. Measures 60–64 are a great opportunity to teach those unwritten dynamics that make music so enjoyable as we lead up to the finale. It was originally left blank for some theatrics in the premiere at David’s retirement concert so I know he would enjoy adding some Cholesterol as David would say.Long Live the King!
SKU: CA.1002009
ISBN 9790007189136. Language: German.
This is a beautiful and rewarding composition by a former member of the famous St. Thomas Boys Choir in Leipzig and later Dresden Kreuzkantor. Inspite of the relatively easy level of difficulty, its effect will not fail to impress. This three-movement Christmas cantata for mixed choir and orchestra makes it possible to perform the piece both in worship services and in concert. Score and parts available separately - see item CA.1002000.
SKU: GI.G-018040
What has made this Mass rise to the top in popularity in parishes across the English-speaking world? Its adaptability. From parishes with keyboard and/or guitar and cantor to cathedrals with a large SATB choir and multiple instruments (organ, brass quartet, timpani, handbells), Mass of Wisdom has proven itself as a “Mass for the masses.†Its step-wise melodic patterns make it easy to learn without sounding musically trite in any way. Music directors agree that the through-composed Gloria is one of the most finely crafted of all the new musical settings of the prayer. That fine crafting extends to all components of this Mass, especially the acclamations sung during the Eucharistic Prayer. The multi-layered Hosannas in the Sanctus will delight the members of the choir as well as the singing assembly. This is a Mass setting that simply soars. It is a perfect setting for Ordinary Time, but music directors tell us that the Christmas and Easter seasons are made more glorious and joyful when this setting is sung, especially when the additional instrumentation is added. Dioceses and parishes that employed Mass of Wisdom as the first setting during the implementation of the new translation have found themselves returning to it time and time again. It truly has become part of the “Catholic musical DNA†across the United States and beyond.
SKU: CF.YPS204
ISBN 9781491152249. UPC: 680160909742. Key: D minor.
SKU: CF.CM8607
ISBN 9780825839122. UPC: 798408039127. 6.875 X 10.5 inches. Key: Bb major. English. Text: Anonymous. Henry Baker, Hal Hopson.
From a composite text derived from Psalms 148 and 150 and a 19th Century hymn tune by Charles Hubert Hasting Parry, Hal Hopson has fashioned a grand, festive anthem of praise to the creator. The vocal parts are very manageable (much of the piece is unison - only the 2nd stanza and the final cadence are in parts), and the additional instrumental resources, while not required, will enhance the effect of grandeur that Mr. Hopson intends. There is also a descant on Stanza 4. Moderately easy. General Church/Festival occasion.
SKU: BA.BA06861
ISBN 9790260104211. 34.3 x 27 cm inches.
LeoÅ¡ Janácek’s symphonic fragment Dunaj (The Danube) dates from the period of the composition of “Katya Kabanovaâ€. The composer was not concerned with a musical-picturesque description of a river landscape, but with the mythical link between women’s destinies and water.“Pale green waves of the Danube! There are so many of you, and one followed by another. You remain interlocked in a continuous flow. You surprise yourselves where you ended up – on the Czech shores! Look back downstream and you will have an impression of what you have left behind in your haste. It pleases you here. Here I will rest with my symphony.†Thus LeoÅ¡ Janácek described the idea behind the composition project which occupied him in 1923/24. However, after further work, it remained incomplete in 1926. His “symphony†entitled Dunaj has survived as a continuously-notated, four-movement bundle of sketches in score form. It is one of the works which occupied him until his death. The scholarly reconstruction by the two Brno composers MiloÅ¡ Å tedron and LeoÅ¡ Faltus closely follows the original manuscript.A whole conglomeration of motifs stands behind the incomplete work. What at first seems like a counterpart to Smetana’s Vltava, in fact doesn’t turn out to be a musical depiction of the Danube. On the contrary, the fateful link between the destiny of women, water and death permeates the range of motifs found in the work. It seems to be no coincidence that Janácek, whilst working on the opera Katya Kabanova, in which the Volga, as the river bringing death plays an almost mythical role, planned a Danube symphony, and that its content was linked with the destiny of women: in the sketches, two poems were found which may have provided the stimulus for several movements of the symphony. He copied a poem by Pavla Kriciková into the second movement, in which a girl remarks that whilst bathing in a pond, she was observed by a man. Filled with shame, the young naked woman jumps into the water and drowns. The outer movements likewise draw on the poem “Lola†by the Czech writer Sonja Å pálová, published under the pseudonym Alexander Insarov. This is about a prostitute who asks for her heart’s desire: she is given a palace, but then goes on a long search for it and is finally no longer wanted by anyone. She suffers, feels cold and just wants a warm fire. Janácek adds his remark “she jumps into the Danube†to the inconclusive ending.To these tangible literary models is added Adolf Veselý’s verbal account which reports that the composer wanted to portray “in the Danube, the female sex with all its passions and driving forcesâ€. The third movement is said to characterise the city of Vienna in the form of a woman.It is evident that in his composition, Janácek was not striving for a simple, natural lyricism. The River Danube is masculine in the Slavic language – “ten Dunaj†– and assumes an almost mythical significance in the national character, indeed often also a role bringing death. The four movements are motivically conceived. Elements of sound painting, small wave-like figures in the first movement, motoric, driving movements in the third are obvious evocations of water. And the content and the literary level are easy to discover. The “tremolo of the four timpaniâ€, which was amongst Janácek’s first inspirations, appears in the second movement. It is not difficult to retrace in it the fate of the drowning bather. The oboe enters lamentoso towards the end of the movement over timpani playing tremolo, its descending figure is taken over by the flute, then upper strings and intensified considerably. The motif of drowning – Lola’s despair – returns again in the fourth movement in the clarinet, before the work ends abruptly and dramatically.One special effect is the use of a soprano voice in the motor-driven third movement. The singer vocalises mainly in parallel with the solo oboe, but also in dialogue with other parts such as the viola d’amore, which Janácek used in several late works as a sort of “voice of loveâ€.
About Barenreiter Urtext
What can I expect from a Barenreiter Urtext edition?
MUSICOLOGICALLY SOUND - A reliable musical text based on all available sources - A description of the sources - Information on the genesis and history of the work - Valuable notes on performance practice - Includes an introduction with critical commentary explaining source discrepancies and editorial decisions ... AND PRACTICAL - Page-turns, fold-out pages, and cues where you need them - A well-presented layout and a user-friendly format - Excellent print quality - Superior paper and binding
