SKU: HL.50603797

ISBN 9781705142929. UPC: 840126989502.

SKU: BP.2148B

Full score and parts for flute, oboe, clarinet in B-flat, bassoon, horn in F, trombone, bass trombone, tuba, timpani, percussion, harp, violin I, II, viola, cello and double bass.

SKU: BR.OB-32090-26

ISBN 9790004350447. 10 x 12.5 inches.

The cantata Daran erkennen wir, dass wir in Ihm bleiben is intended for the first Whitsun holiday. It is based on a text by Johann Christoph Wentzel (1659-1723), the yearly volume in which it appears dates to August 4, 1703 and is dedicated to, among others, Hn. Joh. Kuhnau / | Chori Musici bey der | Stadt Leipzig Directori [Herr Joh. Kuhnau / Director of Choral Music at the City of Leipzig]. It can be assumed that Kuhnau's composition originated near the time of the text, thus within his first years in office as the Leipzig St. Thomas cantor. Kuhnau follows the structure of Wentzel's poem in a Dictum and four verses with introductory sonata, although some details are varied. In comparison to other works by Kuhnau, the scoring is fairly large with five vocal parts, trumpets, timpani, oboes, and bassoon as well as two violins and violas each. The short performing time, on the other hand, makes the cantata suitable for liturgical use, too.Audio samples: Opella Musica, camerata lipsiensis, cond. Gregor Meyer (cpo, 2013).

SKU: KU.OCT-10277_VCKB

Key: C major.

SKU: CF.YPS245

ISBN 9781491159910. UPC: 680160918508.

In December of 2020, after almost a year of living socially distanced, isolated, and not knowing when we would return to life as we knew it, I began to think about what life used to look like. I realized that I sometimes might have taken all the beautiful things in my life for granted. Personally, the year 2020 was a time of loss where someone close to me left, and at the same time, I was also able to have other successes. This dichotomy inspired me to realize that there is hope in all that we do; it is how we perceive life. Boundless Hope represents my thoughts, feelings, and emotions during this time. The piece is roughly based on the Lydian mode, introducing the raised fourth degree in m. 2 of the mallet percussion and then at m. 15 in the main melody. The Lydian mode naturally gives a sense of positivity, hopefulness, inspiration, and heavenly colors. That was my exact intention with this piece: using the mode to define the mood showing gratitude for all that we have, and yearning to return to normalcy with a new and fresh perspective. Measure 30 should be slightly faster, followed by a rit. into the grandiose recapitulation of the theme in m. 38. At m. 45, the wind chimes should start before the clarinet entrance, with the subsequent measures representing dark and warm colors. This piece is very personal to me, and I appreciate you playing the composition.
In December of 2020, after almost a year of living socially distanced, isolated, and not knowing when we would return to life as we knew it, I began to think about what life used to look like. I realized that I sometimes might have taken all the beautiful things in my life for granted. Personally, the year 2020 was a time of loss where someone close to me left, and at the same time, I was also able to have other successes. This dichotomy inspired me to realize that there is hope in all that we do; it is how we perceive life. Boundless Hope represents my thoughts, feelings, and emotions during this time. The piece is roughly based on the Lydian mode, introducing the raised fourth degree in m.  2 of the mallet percussion and then at m. 15 in the main melody. The Lydian mode naturally gives a sense of positivity, hopefulness, inspiration, and heavenly colors. That was my exact intention with this piece: using the mode to define the mood showing gratitude for all that we have, and yearning to return to normalcy with a new and fresh perspective. Measure 30 should be slightly faster, followed by a rit. into the grandiose recapitulation of the theme in m. 38. At m. 45, the wind chimes should start before the clarinet entrance, with the subsequent measures representing dark and warm colors.This piece is very personal to me, and I appreciate you playing the composition.

SKU: WD.080689531781

UPC: 080689531781.

SKU: HL.49027367

ISBN 9790001121408.

SKU: M7.DOHR-14117

ISBN 9790202031179. Latin.

SKU: CF.YPS232

ISBN 9781491158180. UPC: 680160916788. 9 x 12 inches.

Jam on Top was commissioned by Thomas Wittig for the Forest Lakes Elementary School fifth grade band, under the direction of Amy Thornsen, in memory of beloved music teacher, Mr. Dominic (Nick) Selvi. Nick had a passion for jazz and loved playing the style with his students. This piece is written in a standard blues chord progression (with courtesy accidentals written to introduce the blues scale) and can be performed in a straight rock or a swing-jazz feel. Special care should be taken to play all articulations to ensure the proper style. Nick was a saxophonist, and m. 39 could feature a solo, duet, trio or a saxophone soli section. In addition, mm. 39a50 could be opened up to have multiple soloists perform the solo in the style of an open jazz vamp. The drum parts are written for multiple players or could feature one player on drum set and the others improvising on accessory instruments such as cowbell, shaker, tambourine, etc. It is my hope that the performers will use this piece learn about blues chord progressions, blues scales in a pop, rock or jazz style.
Jam on Top was commissioned by Thomas Wittig for the Forest Lakes Elementary School fifth grade band, under the direction of Amy Thornsen, in memory of beloved music teacher, Mr. Dominic (Nick) Selvi. Nick had a passion for jazz and loved playing the style with his students. This piece is written in a standard blues chord progression (with courtesy accidentals written to introduce the blues scale) and can be performed in a straight rock or a swing-jazz feel. Special care should be taken to play all articulations to ensure the proper style. Nick was a saxophonist, and m. 39 could feature a solo, duet, trio or a saxophone soli section. In addition, mm. 39-50 could be opened up to have multiple soloists perform the solo in the style of an open jazz vamp. The drum parts are written for multiple players or could feature one player on drum set and the others improvising on accessory instruments such as cowbell, shaker, tambourine, etc. It is my hope that the performers will use this piece learn about blues chord progressions, blues scales in a pop, rock or jazz style.
Jam on Top was commissioned by Thomas Wittig for the Forest Lakes Elementary School fifth grade band, under the direction of Amy Thornsen, in memory of beloved music teacher, Mr. Dominic (Nick) Selvi. Nick had a passion for jazz and loved playing the style with his students. This piece is written in a standard blues chord progression (with courtesy accidentals written to introduce the blues scale) and can be performed in a straight rock or a swing-jazz feel. Special care should be taken to play all articulations to ensure the proper style. Nick was a saxophonist, and m. 39 could feature a solo, duet, trio or a saxophone soli section. In addition, mm. 39–50 could be opened up to have multiple soloists perform the solo in the style of an open jazz vamp. The drum parts are written for multiple players or could feature one player on drum set and the others improvising on accessory instruments such as cowbell, shaker, tambourine, etc. It is my hope that the performers will use this piece learn about blues chord progressions, blues scales in a pop, rock or jazz style.