SKU: HL.48180196
For Violin and Piano.
SKU: HL.324673
ISBN 9781540072733. UPC: 888680985202. 10.0x12.5x9.0 inches.
This classroom bundle contains 30 Student Editions and 1 Teacher Edition. Imagine - learning to sight read while having fun! Singers will grasp concepts quickly while singing “real music†from day one. This step-by-step method includes fun songs with lyrics, dynamics, and accompaniment, along with prepatory exercises that are interesting, authentic, and flexible. This resource may be used with beginners of any age. The sequential approach focuses on the keys of C, F, and G major, basic rhythms, and simple intervals in the tonic, dominant, and subdominant chords. Teacher Edition comes complete with teaching suggestions and online digital access to student notation and audio files.
SKU: CF.CM9766
ISBN 9781491162545. UPC: 680160921294. Key: C major. English. Original.
A Wee Deoch an Doris is a Scottish drinking song made famous by Sir Harry Lauder. When Scotts would head home from work, they would stop at the bar to have a drink. “A wee deoch an doris†translates to “a small drink at the door,†meaning, it would be such a quick drink that they wouldn’t even go into the bar, rather just a drink at the door.“It’s a braw, bricht, moonlicht night†is a tongue twister. The idea being, if you can still say this phrase to the bartender, you are good to have another drink. If you can’t, it’s time to go home to your wife.Translationsland and clime = land and climateforgather = are gatheredaye = alwaysgood nicht = good nighta wee deoch an doris = a last drink at the door, the last drink before we parta wee drap that’s a’ = a small drop that’s allgang awa’ = go awaybut and ben = a two-roomed cottageye ah = you allbraw bricht moonlicht nicht = it’s a lovely bright moonlit nighta’richt ye ken = alright you know (you are alright to have another drink)skirlin = squealing or wailingNote to director: Feel free to experiment singing in other closely related keys (Bb, B, C#, D) to suit the needs of your ensemble.
SKU: CF.CPS228F
ISBN 9781491153222. UPC: 680160910724.
Black light is defined as infrared or ultraviolet light which is invisible to the naked eye. The idea of an entire spectra existing out of the range of human perception was a large influencing factor for George Sweet in the composition of this piece. Richly scored for the modern concert band, Black Light is written in a post-minimalist style and is also heavily influenced by the work of American composers Steve Reich, John Adams, and Philip Glass.Black light is defined as infrared or ultraviolet light which is invisible to the naked eye. The idea of an entire spectra existing out of the range of human perception was an influencing factor on the composition of the piece. Black Light is written in a post-minimalist style and is also heavily influenced by the work of American composers Steve Reich, John Adams, and Philip Glass.This begins with strict motor accompaniment. Take care to maintain equal balance among the different “moving parts†so that they blend to create a solid whole both here and throughout the piece. The primary thematic material is stated by the trumpets and horns at m. 12. This material is the basis for much of the harmonic and thematic material that follows. A slightly varied statement of the main theme is presented again at m. 26 with a different type of motor accompaniment. This leads to a B-section at m. 44, which is a bold fanfare-like presentation of the main material. Another series of variations on the main theme begins at m. 50 and incorporates many different textural and harmonic ideas in the accompaniment. Once again, be careful to not let any one “moving part†overwhelm another and keep the texture evenly balanced.  A second, broader presentation of the B-section occurs at m. 90 and leads to a subdued C-section at m. 100 with new melodic material presented in the trumpet. A whimsical march-like section pushes to the return of the introductory motor material at m. 131. A final heroic presentation of the main thematic material results in a somewhat ambiguous coda, which brings the piece to a dramatic conclusion.
SKU: HL.44011968
12.0x16.75x1.051 inches. English-German-French-Dut ch.
Namase Rhapsody differs in several respects from most other concert works by Jan Van der Roost, with its impressive twists and turns and musical allusions to the work of John Adams. A first, minimalist movement, is followed by a lyrical andexpressive second movement for various soloists in different ranges. The third movement sees a stark change of mood with a rigid metrical figure before a powerful and energetic close.Met Namase Rhapsody kiest componist Jan Van der Roost voor het experiment en slaat hij nieuwe verrassende muzikale wegen in. Zo refereert hij in het eerste, bijna minimalistische deel hier en daar naar de muziek van John Adams. In het tweede,zeer expressieve deel komen verschillende solisten en instrumentengroepen aan bod om dan over te gaan in een spectaculair en dynamisch slotdeel waarin een star metrisch patroon centraal staat. Verrassend!Nam ase Rhapsody weicht in mehrerlei Hinsicht von den meisten anderen Blasorchesterwerken von Jan Van der Roost ab und besticht mit uberraschenden Wendungen und Anspielungen auf die Musik von John Adams. Auf den ersten, minimalistischanmutenden Satz, folgt ein lyrischer, expressiver zweiter Satz fur diverse Solisten und Register. Der dritte Satz bringt mit einem starren metrischen Muster einen Stimmungswechsel ins Spiel, bevor das Werk kraftvoll und energisch endet.a divers points de vue, Namase Rhapsody sort quelque peu de l'ordinaire par rapport a la plupart des oeuvres de Jan Van der Roost. Le premier mouvement de la piece est particulierement inhabituel : un motif rythmiquede trois mesures repete par les cuivres sur des intervalles varies. Le deuxieme mouvement quant a lui est beaucoup plus melodieux et lyrique. Le troisieme developpe et elabore un impressionnant bouillonnement. Survient un passage lentet court, dramatiquement interrompu pour reprendre en un dernier eclat d'energie et de puissance.Sotto molti aspetti Namase Rhapsody si allontana dallo stile tipico di Van der Roost. La composizione colpisce per i suoi numerosi riferimenti alla musica di John Adams. Il primo movimento, minimalista ed elegante, precede una seconda parteespressiva per diversi solisti e banda. Il terzo movimento, prima dell'energico finale, apporta un cambiamento di atmosfere attraverso un sistema metrico molto accentuato.
