SKU: AP.50902S
ISBN 9781470666934. UPC: 038081585543. English.
Courageous Spirit, by Michael Kamuf, is a musical celebration of the bravery we summon in the face of uncertainty. The piece features bold and contrasting melodies, making it an ideal choice to reinforce slurs and accents with your students. Additionally, the work provides an opportunity to support and explore the SEL competency of Responsible Decision-Making during rehearsals. Whether as an opening or closing selection, this piece is perfect for your next concert! (1:40).
SKU: AP.50902
ISBN 9781470666927. UPC: 038081585536. English.
SKU: AP.49982S
ISBN 9781470659318. UPC: 038081576572. English.
Three main themes comprise Midnight Ride by Rossano Galante. Paul Revere's motif is a romantic, heroic melody that captures his bravery and tenacity. The Brown Beauty theme (Paul Revere's horse) incorporates a slower, lush musical offering that captures the strength and beauty of this animal. The ending thematic material represents the ride with a soaring melody accompanied by fast, rhythmic ostinati. (5:45).
SKU: CF.CM9643
ISBN 9781491157152. UPC: 680160915712. 6.875 x 10.5 inches. Key: F major. English, English. Traditional Spiritual.
For the emerging mixed choir, Delanoy's arrangement of this timeless spiritual favorite offers energy, variety and is sure to inspire through its uplifting melody of hope and determination for a better life -no matter the obstacle. Concert and festival approved!.Let Me Fly is an American spiritual which, on the surface, tells of a yearning for the promised land of heaven. On a deeper level, its early singers envisioned an escape from slavery, with the Underground Railroad serving as the chariot. In either case, the song is an uplifting melody of hope and determination for a better life, no matter the obstacle. Please take note of the layered section in mm. 55-62, which starts with Part II, adds Part I in m. 57, and completes the layering with Part III at m. 59. The repeated measures of 59-60 allow for an accompanist or soloist to improvise while the choir sings and claps along for as many repeats as desired. The number of repeats is up to the discretion of the conductor. If there is no improvisation, it is recommended that mm. 59-60 be sung three times before moving on.Let Me Fly is an American spiritual which, on the surface, tells of a yearning for the promised land of heaven. On a deeper level, its early singers envisioned an escape from slavery, with the Underground Railroad serving as the chariot. In either case, the song is an uplifting melody of hope and determination for a better life, no matter the obstacle.Please take note of the layered section in mm. 55-62, which starts with Part II, adds Part I in m. 57, and completes the layering with Part III at m. 59. The repeated measures of 59-60 allow for an accompanist or soloist to improvise while the choir sings and claps along for as many repeats as desired. The number of repeats is up to the discretion of the conductor. If there is no improvisation, it is recommended that mm. 59-60 be sung three times before moving on.
SKU: FJ.B1539S
English.
Based on Abraham Lincoln's famous speech in 1858 about slavery, this contemplative work weaves original material with America to depict the tension in the House of Representatives. Often, the melody to America is altered melodically and harmonically as moments of anger, rage and fear dissolve into quirky moments of patriotism. The end of the work is magical, as the words let freedom ring are sung by the ensemble to leave the audience speechless.
About FJH Concert Band
Desig ned for high school groups and upper-level middle school groups. Independence is encouraged, but many lines are cross-cued. Usually includes an expanded percussion section. Grades 3 - 3.5
SKU: FJ.B1539
UPC: 674398231119. English.
SKU: HL.14003062
ISBN 9788759870075. 12.0x16.5x0.7 inches. Danish.
Per Norgard BACH TO THE FUTUREFor many years I have been specially fascinated by three of the preludes of Bach's Well-tempered Piano, and I wish with this concerto-version for percussion-duo and orchestra to highlight some of the structural aspects of these pieces: It is my belief that there is a tradition in the music history, that makes it possible to let certain germs in an earlier period unfold into new, but not heterogenious, dimensions of a perhaps several hundred years later phase of the tradition.This concerto is a result of several years collaboration with Uffe Savery and Morten Friis (Safri-Duo), as well in original compositions - (Resonances, Repercussion, Resume in EchoZone I-III) as in arrangements of the 3 Bach preludes, preparing for the enormous stylistic challenges of this work.A few introductory comments to each movement:I Movement: The archetypal sequence of broken chords within C-major has established itself as almost a cultural code, allowing the composer of 1996 to tell his tale-in-tones only by stressing and colouring the tones in the original piece without changing the pitches or (relative) durations as a 'palimpsest' containing as well the old as the new musical tale simultaneously. Later in the movement, this singleline is multiplied by the, till then discrete, but permanently pervading, proportion - throughout the piece - very close to the 'Golden Section'(= 3:5:8.t.i:8 before repetition, 5 before starting anew from the deepest tone, 3 as the rest etc. unchanged). The 3 tonal levels as well as the 3 relative speeds are treated according to these proportions for certain passages, but even in those the main focal point is directed at the freely invented melody (by me) incarnating itself solely by the unpermutad sequels of the original prelude.II Movement: One feature of the F sharp-prelude pervades all the six minutes-long second movement: A 4 times identical rhythmic pattern = 6:4:3:2:3:4:6 - as an hourglass-shaped timeshape - inspired me by the closeness of this pattern to a shape within the infinity-drumming of my invention, called Wide-Fan and Narrow-Fan , referring to pattern consisting of 8:4:2:1:2:4:8, the familiarity with the above - quoted one being obvious. New and old elaborations of this pattern-pair permeates the movement, especially since the Safri-Duo by their performance of my Repercussion had augmented my appetite for including this idiom in a wider context:III Movement: Without the existence of the d-minor-prelude I doubt that I would have dared to write a work like this, since it is the inexhaustible, rare quality and pecularity of this piece, which has stimulated my feeling of wonder and 'modernity' (or: eternity!) of this piece, of which I know of no equal in its special respect: the perpetual ambiguity of melodic foothold in the rhythmic ostinato of a broken descending triad, co.
SKU: PR.411411690
UPC: 680160686032.
The four name arias in HARRIET TUBMAN: When I crossed that Line To Freedom, portray stages in the title character's transformation from slave to freedom-fighter. First, as a child, she introduces herself as Araminta, who is often called, Minty. Her naive prattlings establish a dramatic contrast between childhood's contentment and the harsh realities of slave existence. My name is Harriet, now. Don't call me Minty any more, declares the teenaged heroine. Having survived a series of abusive masters and a debilitating injury, she asserts her rites of womanhood through the shedding of her childhood moniker. The grown Harriet Tubman reintroduces herself as a free woman, recounting the harrowing tale of escape from slavery. Confronted by bittersweet poignancy at having crossed the line to freedom without family to welcome her, she is inspired towards a new goal: returning home to rescue loved ones. In the final aria, Tubman, a seasoned conductor on the Underground Railroad, embraces the folkloric title given to her by escapees and aspiring runaways. I am 'Moses, the Liberator,' she proclaims. Her transformation is complete.The four “name†arias in HARRIET TUBMAN: When I crossed thatLine To Freedom, portray stages in the title character's transformationfrom slave to freedom-fighter.First, as a child, she introduces herself as “Araminta,†who is oftencalled, “Minty.†Her naïve prattlings establish a dramatic contrastbetween childhood's contentment and the harsh realities of slaveexistence.“My name is Harriet, now. Don't call me Minty any more,†declares theteenaged heroine. Having survived a series of abusive masters and adebilitating injury, she asserts her rites of womanhood through theshedding of her childhood moniker.The grown Harriet Tubman reintroduces herself as a free woman,recounting the harrowing tale of escape from slavery. Confronted bybittersweet poignancy at having crossed the line to freedom withoutfamily to welcome her, she is inspired towards a new goal: returninghome to rescue loved ones.In the final aria, Tubman, a seasoned conductor on the UndergroundRailroad, embraces the folkloric title given to her by escapees andaspiring runaways. “I am 'Moses, the Liberator,'†she proclaims. Hertransformation is complete.
SKU: HL.299937
ISBN 9781540061409. UPC: 888680959494.
Halfw ay between opera and musical, Olympe la rebelle evokes the path of a revolutionary long overshadowed by history books: in the Declaration of the Rights of Women and Citizen (1791) Olympe de Gouges courageously called her “very dear sisters” to revolt against the oppression of which they were victims. The libretto (Violaine Fournier) features a college class (teenager choir) who, under the guidance of their history teacher (baritone) decides to stage a show to pay tribute to the many battles fought by this heroine of the Age of Enlightenment (mezzo-soprano), especially against slavery and the inequalities women suffer from. Animated by Isabelle Aboulker's radiant and catchy music, the constant back and forth between our era and the revolutionary era makes this opera an outstanding life lesson.
SKU: BA.BA04081
ISBN 9790006497782. 33 x 25.8 cm inches.
In his libretto for “ Riccardo primoâ€, Paolo Rolli drew on Antonio Lotti’s opera “ Isacio tiranno †which had been performed in Venice in 1710. Handel needed a text with two great women’s roles, for the two best female singers of the day were members of his troupe – Francesca Cuzzoni and Faustina Bordoni . He had already written the operas “Alessandro†and “ Admeto †for them. He began composing “ Riccardo †in spring 1727, completing the first version on 16 May. However, following the death of King George I on 11 June 1727, the theatres remained closed. For Handel, who had become a British citizen in February 1727, the accession of George II to the throne offered new possibilities, and he embarked on a revision of the opera. With this, he was able to offer a new opera for the coronation festivities, the hero of which was one of King George’s charismatic forebears. From May onwards, Handel thoroughly revised the present score, wrote some parts anew and expanded it with particularly splendid music. Handel and Rolli also improved the plot and introduced patriotic elements to honour the British monarchy. The historic background is the third crusade against Saladin, the Sultan of Egypt and Syria , who had recaptured Jerusalem in 1187. Although King Richard I captured Cyprus and together with French crusaders stormed the fortress of Akko in the Holy Land, the crusade ended with a ceasefire and Jerusalem remained in Saladin’s hands. Richard was given the title ‘Coeur-de-lion†¹â€™ by the English for his great military ability and bravery, although the Sicilians had first given him this name because of his relentless cruelty in clashes around Messina . The vocal score is based on the Halle Handel Edition volume published in 2005, edited by Terence Best, and contains the second version of the opera which was premiered in November 1727.
About Barenreiter Urtext
What can I expect from a Barenreiter Urtext edition?< /p> MUSICOLOGICA LLY 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
What can I expect from a Barenreiter Urtext edition?< /p>
MUSICOLOGICA LLY 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
SKU: CL.012-3566-01
Purple Heart is a powerful and dramatic musical setting written in tribute to composer David Shaffer's former student LCpl Michael Cifuents who, along with 14 other Marines from the Columbus, Ohio based Lima Company of the 3rd Battalion, 25th Marines, were killed on August 3,2005 in a roadside attack in Iraq. The subdued sonorities of the horns are blended with the subtleties of the mallet percussion, creating a compassionate and stirring setting appropriate for any concert setting. An emotional tribute to Michael Cifuentes and members of Lima Company of the 3rd Battalion, 25th Marines who were killed on August 3, 2005 in Iraq is now available. This PowerPoint presentation may be used in conjunction with the performance of Purple Heart: http://www.barnhouse.com/ images/misc/012-3566-90.p pt.
About C.L. Barnhouse Command Series
The Barnhouse Command Series includes works at grade levels 2, 2.5, and 3. This series is designed for middle school and junior high school bands, as well as high school bands of smaller instrumentation or limited experience. Command Series publications have a slightly larger instrumentation than the Rising Band Series, and are typically of larger scope, duration, and musical content.
SKU: AP.36-M304191
ISBN 9781621563266. UPC: 660355022432. English.
The transcription of melodies contained in this collection has been praised as the most complete expression of Mr. Coleridge-Taylor's native bent and power. Using native songs of Africa and the West Indies with those that came into being in America during slavery, he has preserved their distinctive characteristics and individuality, while giving them an art form fully infused with their musical essence.
These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months.
SKU: AP.44160
UPC: 038081505534. English.
Strong themes contrast with gentler statements, expressive of reverence, courage, and pride. Open your next concert with this easy concert march inspired by the bravery and honor of all those who stand on guard for our safety. (2:40).
SKU: CF.CM9770
ISBN 9781491164419. UPC: 680160923311. Key: G major. English.
There is a Balm in Gilead is a well-known, traditional African-American spiritual. The “balm in Gilead†is a reference from the Old Testament, but the lyrics of this spiritual refer to the New Testament concept of salvation. The balm of Gilead is interpreted as a spiritual medicine that is able to heal Israel (and sinners in general). In the Old Testament, the balm of Gilead is taken most directly from Jeremiah chapter 8 v. 22: Is there no balm in Gilead? Is there no physician there? Why then is there no healing for the wounds of my [God's] people?This a cappella arrangement stays close to the simple, emotional source material. The words and the music embody weariness, resignation and hope, as the realities of slavery are met with the hope of salvation. There is a Balm in Gilead was originally part of a larger work, entitled, Mpaka simba watapo, for treble chorus, African drums and piano.  .
SKU: AP.44160S
UPC: 038081505541. English.
SKU: AP.49124
ISBN 9781470646936. UPC: 038081566160. English.
Reminiscen t of a movie soundtrack, Beyond Reach, by Adrian B. Sims, characterizes an action-filled journey depicting the trek towards an unseen opposition. This work is full of unforgettable melodic lines and explores a unique variety of harmonic twists and turns. Filled with anticipation, hope, fear, and bravery, the adventurers unabashedly charge into combat, ultimately emerging victorious. (3:30).
SKU: AP.45976
ISBN 9781470662028. UPC: 038081523477. English.
Written to evoke a universal sense of heroism, pride, and bravery, here is a wonderful concert selection for any serious, ceremonial, or formal occasion. The stirring fanfare and lyrical themes, along with regal percussion scoring, combine to make this work an ideal processional. (3:00).
SKU: AP.BDM00026C
UPC: 654979181842. English.
This magnificent new march is dedicated to the men and women who perform Air Sea Search and Rescue in the United States Coast Guard. An innovative flourish launches the soaring melodies associated with the bravery demonstrated on each mission. This is destined to become a standard march for use on any program.
SKU: AP.49124S
ISBN 9781470646943. UPC: 038081566177. English.
SKU: CF.SPS26F
ISBN 9780825861888. UPC: 798408061883. 9 X 12 inches.
Unforgotten Friends is a three-movement work for wind ensemble celebrating the human spirit and that which causes people to respond to adversity with acts of bravery, selflessness, compassion and generosity. It is a magnum opus for composer Sean O'Loughlin.
SKU: CF.SPS26
ISBN 9780825861871. UPC: 798408061876. 9 X 12 inches.
SKU: CF.CM9773
ISBN 9781491164440. UPC: 680160923342. Key: C# minor. English. Christina Rossetti.
In the bleak midwinter, frosty wind made moan,                            Earth stood hard as iron, water like a stone;                                Snow had fallen, snow on snow, snow on snow,                               In the bleak midwinter, long ago.What can I give Him, poor as I am?                                            If I were a shepherd, I would bring a lamb;                                     If I were a Wise Man, I would do my part;                                    Yet what I can I give Him: give my heart.The text from this beloved poem of Christina Rossetti (1830–1894) was originally published in an 1872 issue of Scribner’s Monthly, under the title A Christmas Carol. In the first of its five stanzas, the speaker describes in great detail a bitingly cold winter scene, void of both warmth and light. By the final stanza, the speaker's thoughts turn inward, asking what gift they may offer the infant Jesus, meek though they believe themselves to be.The poem was later set by English composer Gustav Holst (1874–1934) as a contribution to the English Hymnal in 1906 and remains the most popular setting today.London-born Rossetti came to be regarded not only as one of the greatest female poets of her time, but as an outspoken advocate on several societal issues, including slavery and cruelty towards animals.In this setting, word painting is of the utmost importance. Careful attention to word stress throughout the course of the piece will make the performance all the more captivating. Descriptive lines such as “frosty wind made moan†should be conveyed with swelling crescendos, like frigid gusts of frozen air.While this piece features an original tune, the beloved Holst melody is also featured briefly, beginning in m. 28. Take care to bring this out.There are plenty of other allusions to wintry scenes scattered throughout the choral parts as well as the accompaniment. I encourage you to put your sleuthing “hats†on and find them all. It will make the learning experience much more memorable and fun.
SKU: HL.364401
UPC: 840126958935. 9.0x12.0x0.081 inches.
Four art songs from the pen of Rosephanye Powell bring honor and tribute to African American music and educators. The title, Then, Here and Now, refers to the spiritual's use during slavery (then) and its relevance today (here and now). Titles include: Opressed (Go Down, Moses), Healing (Balm in Gilead), Dying (I Wanna Die Easy), and Protest (Joshua Fought the Battle of Jericho).
SKU: GI.G-EH1001
UPC: 748769410011. Text by Rabbi Ruth Sohn.
Inspired by the empowering poem by Rabbi Ruth Sohn, this piece for SSA choir with piano describes the journey of a young woman who finds bravery amid uncertainty and fear. Middle Eastern harmonies paint an expansive desert landscape, while the voices search for faith and risk taking the first step, ultimately conquering fear to find the song in my heart. Soaring melodies and choral rhythms that create a delicious tension against the piano accompaniment make this a wonderful choice for mature treble choirs.