SKU: MA.EMR-26337
I Love Samba / Just Like You / Have A Nice Day / Let's Do The Jive / Midnight Rendezvous / Montana Melody / Moonlight Fantasy.
SKU: MA.EMR-28317
1st Part: Flute or Alto Sax or Clarinet or Soprano Sax or Trumpet / 2nd Part: Clarinet or Alto Sax or F-Eb Horn / 3rd Part: Trombone or Euphonium or Tenor Sax or Bass Clarinet.
SKU: HL.48180196
For Violin and Piano.
SKU: ST.Y298
ISBN 9790220223570.
Comm issioned by the Mavron Quartet for its tenth anniversary, with funds from the PRS for Music foundation's Women Make Music award, Rhian Samuel's Threaded Light presents a novel take on the string-quartet genre. Two of its movements include a percussive element played by members of the ensemble, with an optional percussion part for a fifth player. In addition, the unusual seven-movement structure arises from two elements: the idea of a thread, continuous, stretched or broken; and, contrasting with this notion, the influence of pictorial imagery in the slow, evocative second and sixth movements ('Late Sun' and 'Estuary by Moonlight') inspired by the impression of light passing through clouds near the composer's home on the hills above Aberdyfi in mid-Wales. Deriving from shared material, three abstract, prelude-like movements entitled 'Twine' (Nos. 1, 4 and 7) act as the 'thread' that binds the work into a whole, placing the cloudscapes and the similarly luminous percussion-based inventions, No. 3, 'Glinting Stars' and No. 5, 'Foxtrot Gleam', within the framework of an overall and satisfying symmetry.
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.CAS105
ISBN 9781491146651. UPC: 680160904150. 9 x 12 inches. Key: E minor.
Shadow Run is a secret mission under the cover of night. The motor-driven accompaniment present throughout the piece is inspired by the minimalist works of Steve Reich and Philip Glass, while the melodic and harmonic content reflect the polychordal harmony of composers like Roy Harris, William Schuman, and Vincent Persichetti. Composer George Sweet has written a new tour de force for the more advanced string orchestra.Shadow Run is inspired by the idea of a dangerous secret mission under the cover of night . The motor driven accompaniment present throughout the piece is inspired by the minimalist works of Steve Reich and Philip Glass, while the melodic and harmonic content reflect the polychordal harmony of composers like Roy Harris, William Schuman, and Vincent Persichetti . The piece begins with a brief motor introduction, which sets the mood for what is to follow . Make sure all elements of the motor are equal in volume and articulation so that the voices create a blended whole . The A-theme is stated in a legato fashion by the upper voices at m . 9 . This should be played as legato as possible to contrast with the motor in the lower voices . The voices unite for an aggressive B-section at m . 25 . The A-section returns at m . 33; however, the melodic material has mutated and features variations on a melodic fragment found in the first violin back in m . 24 . After a return of the B-material, the piece enters a subdued C-section at m . 57, in which the motor and melodic roles are reversed . Following a transitional section in which the motor returns, both A- and B-sections are repeated one final time . At m . 115, a dark and mysterious coda appears and drives the piece to a dramatic conclusion .
About Carl Fischer Concert String Orchestra Series
Thi s series of pieces (Grade 3 and higher) is designed for advancing ensembles. The pieces in this series are characterized by:
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.