SKU: LP.765762144422
UPC: 765762144422.
Your Great Name is a new and exciting musical that is perfect for Easter or for any powerful service of praise anytime in the church year! Created and arranged by Gary Rhodes and orchestrated by Tim Cates this collection by some of the most popular artists and songwriters is truly an event! From quiet and worshipful moments to lively and exuberant celebrations this musical worship experience lifts high the name of Jesus. You will love the arrangements of some of today's most popular worship songs like Jesus Saves Your Great Name Always and Oh the Blood and will be swept away by new arrangement of classic favorites like Because He Lives and O the Deep Deep Love of Jesus..
SKU: LP.765762008038
UPC: 765762008038.
SKU: LP.765762144323
UPC: 765762144323.
SKU: LP.765762144224
UPC: 765762144224.
SKU: BP.HB629
Written for 3 to 6 octave handbell choir with optional 2 octaves of handchimes. Level 3. This emotional original work from the pen of Jason Krug will tug on the heartstrings of ringers and listeners alike. Written in memory of a treasured pet, the piece, while not technically taxing, will nonetheless test the musicality of your ensemble. Flowing lines, unexpected and often dissonant harmonies, and frequent tempo and dynamic changes abound, keeping ringers on their toes. A touching musical tribute, and an ideal choice for a contemplative moment in concert or worship.
SKU: CL.024-4978-01
The universe in in peril, and it’s the trombone section to the rescue! The clever theme features the trombones at their finest, a strong and powerful statement with characteristic glissandi included, while the rest of the band gets plenty of opportunities to shine. Providing a great change-of-pace moment for your concert, this fun and novel piece will be a hit with students and audience alike!
SKU: CL.024-4978-00
SKU: HL.49045998
ISBN 9781540034960. UPC: 888680790998. 9.0x12.0x0.142 inches.
In The Diamond Sutra, an early Buddhist text also known as The Diamond that Cuts Through Illusion, the Buddha leads his interlocutor, the Elder Subhuti, through a series of questions and provocations. The Buddha then concludes the session by offering this teaching to those assembled:All composed things are like a dream,a phantom, a drop of dew, a flash of lightning.That is how to meditate on them;that is how to observe them.This duo piece is in four sections, corresponding roughly to these four disparate visions of impermanence: four distinct moments of interplay between form and emptiness, four corners of a diamond. This series of images is itself a 'composed thing,' gathering dissimilar elements into a unified system. It suggests that the things we make are similar to things that exist beyond intention. The Buddha's utterance helps us hear so-called 'composition' and 'improvisation' - or the encompassing category, 'music' - as part of an even larger aggregate: that which forms and recedes.- Vijay Iyer.
SKU: BO.EI0314
Within musical activities there exists a great diversity of different aspects that often go far beyond any particular specialization. Of all cultural activities clearly music is one that manifests numerous multidisciplinary features which not only enriches music itself but also all who are involved in it. This is certainly the case of Jordi Vilaprinyo, an excellent pianist, brilliant composer and a dedicated pedagogue with a remarkable career as a professor at the Conservatorio Municipal de Musica de Barcelona and in other educational institutions. All of this is all in addition to his role as a tireless advocate of everything relating to the piano, which reveals his exceptional personality completely dedicated to his greatest passion-music.The academic year 2011-12 marked the celebration of the 125th anniversary of the Conservatorio Municipal de Musica de Barcelona. In honor of the occasion, Jordi Vilaprinyo composed a series of eleven short pieces which present a pianistic-musical portrait of each professor of the Piano Department in our Conservatory. This piece, written in the form of a suite, brings together eleven imaginative musical sketches which reflect the personal qualities and musical personalities of his colleagues as seen through the eyes of Mr. Vilaprinyo. These eleven portraits reveal the respect which Jordi feels for his colleagues and at the same time they are ideal teaching pieces.The various portraits are written in a free and diverse musical language which is always effective. Certain moments are quite evocative while others are more descriptive and, at times, more energetic. The varied textures and sonic balance are always highly controlled and affecting. However, I would like to emphasize, that although the work could be considered as program music due to its personal nature, the pieces stand apart for their musical quality.Published by Editorial Boileau, the work was premiered in a student concert which Professor Maria Rosa Ribas organizes each year. Professor Ribas is one of the members of the Piano Department depicted in the musical portraits. The premiere, performed by students of the Conservatory, took place in the Auditorio Eduard Toldra on May 30, 2011.The Onze retrats [Eleven Portraits] are dedicated respectively to the following professors: Carolina Saldana, Merce Molero, Maria Drets, Montserrat Cabero, Maria Jesus Crespo, Carles Marques, Maria Rosa Ribas, Albada Olaya, Montse Padros, Carme Poch and Mireia Planas.
SKU: DZ.DZ-4283
ISBN 9782898522000.
The writing of this piece arose from seeing Goya's painting Un pavo muerto an unadorned oil painting where a turkey and a wicker basket rest on an indistinct black background.Fantasizing about making a harpsichord fantasy (I wrote a double stave version of the piece), how to evoke and decline the sensations felt at the glance, musically? Through, I thought, the use of a particularly dark and passionate mode, culturally and emotionally akin to the tones and features of the great Spanish painter's painting. Unlike my usual type of writing, often susceptible to unexpected disturbances, I forced myself to use almost exclusively the notes of the modal scale in different combinations, and in the middle section of the piece to employ them by transforming them into brighter modes (to let some light filter through).A composition that also features some rather explicit moments of instrumental virtuosity, ideally thought of as possible offshoots of a hellish fandango.- Alfredo Franco, January 2024«L'écriture de cette pièce est née de la contemplation du tableau de Goya Un pavo muerto, une simple peinture à l'huile où une dinde et un panier en osier reposent sur un fond noir indistinct. En rêvant de composer une fantaisie pour clavecin (j'ai écrit une version à double portée de la pièce), comment évoquer et traduire musicalement les sensations ressenties au premier regard ? J'ai pensé que cela pourrait se faire en utilisant un mode particulièrement sombre et passionné, culturellement et émotionnellement proche des tons et des caractéristiques de la grande peinture espagnole du maître. Contrairement à mon style habituel, souvent sujet à des perturbations inattendues, je me suis imposé d'utiliser presque exclusivement les notes de la gamme modale dans différentes combinaisons, et dans la section centrale de la pièce, de les transformer en modes plus lumineux (pour laisser filtrer un peu de lumière).Une composition qui comporte également quelques moments assez explicites de virtuosité instrumentale, idéalement pensés comme des dérivations possibles d'un fandango infernal.»- Alfredo Franco, janvier 2024.
SKU: CF.FAS39
ISBN 9780825863301. UPC: 798408063306. 8.5 X 11 inches. Key: D major.
Virginia Croft's experience as a string player and educator is evident in the care with which she has scored this beautiful folk tune idiomatically for young string players. Relatively easy to play, Skye Boat Song is a great opportunity to develop lyrical playing habits with a developing string group.Here is a very playable setting of a beautiful Scottish folk song. It commemorates one of the most exciting moments in Scottish history in the middle of the eighteenth century during the Jacobite Rebellion. At this time, a small group of men escaped by night in a tiny boat across the rough sea to the Isle of Skye to save the life of the young lad whom they believed to be the rightful heir to the throne of Scotland.As you play this music, can't you feel the boat rocking and the oarsmen straining at their posts against the sea? The long diminuendo from m. 51 to the end passes the final melodic fragment down through the voices until the small boat has vanished into the distance, leaving only the water.The words of the original folk song are:Speed, bonnie boat, like a bird on the wind;Hark, how the seagulls cray!Carry the lad that was born to be kindOver the sea to Skye!.
SKU: CY.CC2869
Jan Freidlin's lush and beautiful Romantic Concerto for Trombone, Piano and Strings was composed in 2004 and is in the traditional three movements. The 15-minute work is appropriate for advanced performers.A 4 1/2 minute sample of the Concerto (on our site) is beautifully performed by the Odessa Philharmonic Chamber Orchestra, Conductor Igor Shavruk and Trombone solist Andrei Sokolov.Below is what the composer has written about his work: Written in 2004 , this composition combines three contrasting movements, however their style is not typical of a classical concerto, nor of a romantic work.The 1st movement - Moderato has a long recitative-like introduction performed by the soloist over a background of aleatoric sounds of divisi strings. The tonality is indefinite with many harmonic changes.

The music gradually builds up more and more leading the listener to the 2nd movement - Vivace energico in which the Piano makes its first appearance, adding rhythmic complexity. In the 2nd movement the main motive from the 1st movement is reintroduced and the mood gains in intensity with various syncopated rhythmic phrases as the orchestra and solo Trombonist accelerate together into a major climax.

With the energy drained out of the music by the conclusion of the 2nd movement the listener is brought to the 3rd movement - Adagietto. This movement is absolutely lyrical, elegiac and unexpectedly tonal. Its main melody has an atmosphere of nostalgia leading to the emotional center of the whole work, the softest climax of the Concerto . The soloist plays it in many tonalities, then gradually this warm wave eases, leaving the listener in a cathartic condition.The Concerto contains many virtuosic moments for the soloist that sound very expressive and heroic.Jan Freidlin
SKU: PR.111402850
ISBN 9781491132005. UPC: 680160680627. What the Living Do by Maria Howe.
The poetry of Marie Howe has a special place in Ricky Ian Gordon’s heart and mind, both haunting and soothing. WITHOUT MUSIC is a five-movement work in which Howe’s words and Gordon’s music together give voice to longterm grieving for a loved one lost to AIDS. The work was commissioned by Music Academy of the West for their 2019 Marilyn Horne Song Competition Winners’ Recital Tour.For a long time, I have been in dialogue with the poems of Marie Howe. Some poets speak so directly to you that they become a second voice inside you. I have so many of her poems memorized, and I speak them so often because at certain moments I know she will say it better than me.Many I have set or tried to set and felt dissatisfied and put them away. Marie’s poems are so plain spoken, you want them to feel, if you are taking the trouble to set them to music, that the songs are plain spoken as well... because it would be criminal to set Marie’s poems in a way that obscures the words and makes them feel distant or remote.I first heard Kelsey Lauritano in a Master Class that Stephanie Blythe was giving at Juilliard. I was bowled over by her poise, the beauty of her voice, her engagement with her body and her connection to text. She is a real artist through and through. I wanted to create a cycle for her where it felt like she was talking to the audience in the most intimate way possible. I wanted to be able to see her heart.These five poems are from Marie’s book, “What the Living Do,†the book which was published eight years after her brother Johnny died at 28 from AIDS. The book is impossibly beautiful, as clear as a spring in a remote forest... the poems simply tell the story of Johnny’s illness and Marie’s relationship with it, and him... as Marie would put it, they are “how some of it happened.â€I lost my partner Jeffrey Grossi to AIDS in 1996, so needless to say, this book, and Marie’s poems were balm for me... one of the myriad ways I got through an excruciating time, as Jeffrey’s death followed practically, the death of my entire community. I feel bad, and even awkward, that this is still so much a part of my story, but it is. Is it PTSD, or just, not wanting to forget? I don’t know. But these songs are steeped in that time.
SKU: HL.48024916
ISBN 9781705105788. UPC: 840126935295. 9.0x12.0x0.171 inches.
Note from the composer: For a number of years I had been thinking of writing a piece based on the sound of plucked Instruments like the mandolin, guitar and harp, so when the Dutch Nieuw Ensemble asked me for a piece I realised that this group had excellent players of these three Instruments to which I added trumpet, trombone and vibraphone and composed a one-movement Fantasy whose Dutch titles was chosen by the ensemble (meaning moods). The score opens with a fast movement that presents each Instrument in brief solos between moments for the entire group. This is followed by a slow movement during which the mandolin picks out a line of short notes. A guitar solo accompanied by the group follows and the work concludes with a coda for the sextet. The music was composed during the early summer of 1997 in Southbury, Connecticut. - Elliott Carter -.
SKU: CF.YAS191F
ISBN 9781491154908. UPC: 680160913459. 9 x 12 inches. Key: G major.
Peaceful scenes of quiet, gentle snow are reflected in this nostalgic melody for intermediate strings. A flowing legato theme evokes warm memories of innocence and joy as it moves between the sections, allowing all players a chance to practice playing with sustained bows and beautiful tone. Moments of modulation use easy accidentals in first position to relay the mystery and magic of the season. Piano and bells add to the dream-like quality of this serene concert selection and are highly recommended. This is the quintessential sound for any winter concert.
About Carl Fischer Young String Orchestra Series
This series of Grade 2/Grade 2.5 pieces is designed for second and third year ensembles. The pieces in this series are characterized by:--Occasionally extending to third position--Keys carefully considered for appropriate difficulty--Addition of separate 2nd violin and viola parts--Viola T.C. part included--Increase in independence of parts over beginning levels
SKU: BR.EOS-8063-26
ISBN 9790004789810. 8.5 x 11.5 inches.
The Ode was admirably set by Mr. Henry Purcell, and performed twice with universal applause. (The Gentlemen's Journal, 1692)The popularity of Purcell's setting is apparent from the many sources that survive and from the printed extracts which appeared almost immediately after its first performance. The primary source for this edition is the largely autograph manuscript in the Bodleian Library. Rather to reduce the orthography to a norm, the capitalization of the vocal text favours Purcell's preferences.(Christopher Hogwood) Vokalensemble Stuttgart und den Kammerchor des Kopernikus-Gymnasiums Wasseralfingen. Fur diese beiden ganz unterschiedlichen Chorformationen hat Martin Smolka 2012 auch gezielt seine Partitur angelegt. Biografisch ist das Agnus Dei eine Art kleines Requiem fur seinen kurz zuvor verstorbenen Vater. Das liturgische Agnus Dei rahmt den deutschen Text Eh das Madchen entschlief ... der bei Auffuhrungen in anderen Landern durch eine Ubersetzung ersetzt werden soll.Der SWR-Redakteur Hans-Peter Jahn schreibt dazu im Programmheft: Die fur Smolka typischen minimalistischen Taktzellen schaffen eine archaische Sinnlichkeit. Eine einfache und zugleich streng gebaute Vokalmusik mit Tiefenwirkung.Nach der Urauffuhrung war die Esslinger Zeitung hellauf begeistert: Smolka ist ein Meister der Stimmbehandlung und der chorischen Klanggestaltung. Im Zentrum des Stucks gerat die Musik zum Stillstand: im leisen gleichmassigen Summen uber dem plotzlich fortissimo ein tschechisches Kinderlied erklingt eines das der Vater seinen Kindern haufig vorgesungen hat. Das alles war sehr beruhrend. Und eigentlich noch mehr als das. My father PhDr. Jaroslav Smolka (1933-2011) was a leading Czech musicologist author of books Czech Cantata and Oratorium Fuga in Czech Music Smetana's Orchestra Music Smetana's Vocal Music monography of Jan Dismas Zelenka and many others. He was a legendary teacher of Music History at Prague Music Academy critic recording producer composer; for almost 50 years he was an important and highly respected personality of Prague musical life.My father devoted a lot of time and energy to musical education and activities of my sister and me using often quite original methods such as teaching of intervals and counterpoint through Bartok's Microcosmos ear training filling all imaginable moments of everyday life or lessons of harmony analysis starting with Overture to Tristan and Musorgsky's Catacombs. The Martinu song Wondering Maiden was his solo number in our home vocal productions which he used to sing with amazing devotion while his huge voice was audible in several neighboring streets.My Agnus Dei is closely bound to all this history e.g. by using canon and preferring beauty of dissonant seconds like Bartok or quoting Martinu and his refined neoclassical harmony. Father would be probably a bit critical about the minimalistic monotony of the main body of the piece. Nevertheless firstly he would improvise a short lecture of history of Agnus Dei in Requiem in Czech Music naming by heart many dates and all examples of changes of order of the traditional text by composers. Examples would be sung probably.(Martin Smolka).
SKU: BR.ED-10296
ISBN 9790220101977. 7.5 x 11 inches.
SKU: BR.EOS-8063-30
ISBN 9790004789827. 8.5 x 11.5 inches.
SKU: CL.032-5021-01
This polished and captivating rock ballad features your trombone or tenor sax soloist. The lush, lyrical theme is tastefully supported by the full band, while the sensitively scored ensemble sections provide opportunities for your ensemble to shine as well. Perfect for that change-of-pace moment in your concert, Somewhere In The Moonlight will be a hit with your ensemble and audience alike.
SKU: CL.032-5021-00
SKU: PR.114409090
UPC: 680160013807. 8.5 x 11 inches.
Each movement has two or three sections which get progressively faster by passing through a metric (or pulse) modulation, like a boat moving through a lock. At these moments of the piece, there is also a color/texture shift from one quartet to the other. The three movements essentially present the same rhythmic theme in different colors. The first movement utilizes only indefinite pitched metal and wood instruments. The second movement presents a repetition and extension of the rhythmic in the first movement using definite pitched metal and wood instruments. In this way, the first two movements present the aural equivalent of non-representational (indifinite pitch) and representational imagery (definite pitch) in visual art. Or, to use another visual metaphor, this process of recasting the same material without and with definite pitches is akin to color-izing an image that was originally seen in black and white. The third movement repeats and extends the music of the second, returning to indefinite pitched instruments, all eight players on skins. Much of the writing is imitative, canonic, and even fugal at times; it also includes passages of call and response, and hocketing. The main theme is simple and elemental, and the predominant rhythmic patterns are additive, irregular groupings.
SKU: PR.11440909S
UPC: 680160013814.
Each movement has two or three sections which get progressively faster by passing through a metric (or pulse) modulation, like a boat moving through a lock. At these moments of the piece, there is also a color/texture shift from one quartet to the other. The three movements essentially present the same rhythmic theme in different colors. The first movement utilizes only indefinite pitched metal and wood instruments. The second movement presents a repetition and extension of the rhythms in the first movement using definite pitched metal and wood instruments. In this way, the first two movements present the aural equivalent of non-representational (indefinite pitch) and representational imagery (definite pitch) in visual art. Or, to use another visual metaphor, this process of recasting the same material without and with definite pitches is akin to color-izing an image that was originally seen in black and white. The third movement repeats and extends the music of the second, returning to indefinite pitched instruments, all eight players on skins. The movements are not exact rhythmic repetitions of one another. Much of the writing is imitative, canonic, and even fugal at times; it also includes passages of call and response, and hocketing. The main theme is simple and elemental, and the predominant rhythmic patterns are additive, irregular groupings.
SKU: AP.48095
UPC: 038081557120. English.
A lyrical piece in a Viennese waltz style with a lovely, rising main melody, perfect for advanced string orchestras with harp/piano (optional). Grand Ball Waltz by James O. Lockett gives all the instruments moments to shine. Featuring a variety of bowing styles, dynamics, modulations, and coloristic changes, this beautiful waltz will make your students sound like professionals. (3:15) This title is available in MakeMusic Cloud.
SKU: AP.48095S
UPC: 038081557137. English.
A lyrical piece in a Viennese waltz style with a lovely, rising main melody, perfect for advanced string orchestras with harp/piano (optional). Grand Ball Waltz by James O. Lockett gives all the instruments moments to shine. Featuring a variety of bowing styles, dynamics, modulations, and coloristic changes, this beautiful waltz will make your students sound like professionals. (3:15) This title available in MakeMusic Cloud.
SKU: B7.B153
8.5x11 inches.
PRELUDE AND TOCCATA FOR PIANO by Marc Douyon is based on the Haitian folk tune Linglinsou. The main theme quotes this folk melody, which is then developed with various compositional techniques. Original secondary themes and motives by the composer are an integral part of the colorful musical tapestry as well. The composition opens with a lyrical melody that suggests an atmosphere of complaint, anguish, and despair. But soon, the lyrical main theme, which makes use of hemiola figures, takes the shape of a gracious tribal dance in compound meter. Shortly thereafter, however, the character of the piece changes into an agitated toccata characterized by driving staccato notes, accents, and a close hand position at the piano. The final moments of the piece are heroic-like in nature, but also convey a sense of calm after the storm.