Format : Octavo
SKU: CF.CM9576
ISBN 9781491153987. UPC: 680160912483. 6.875 x 10.5 inches. Key: G minor. English. Emily Dickinson (1830-1886) , Walt Whitman (1819-1892).
The two pieces, Who Robbed the Woods? and O Cool is the Valley Now, combine to create a set that both explores the subtle beauty, serenity, fragility, and resiliency of nature and examines our relationship to the natural world around us. The first song combines a short poem by Emily Dickinson with a journal entry excerpt by Walt Whitman entitled The Lesson of the Tree. Only two stanzas in length, Dickinsons poem considers the ways in which people use and exploit trees for their own purposes and asks, on the trees behalf, who would do such a thing? Whitman ponders a trees silent majesty and power and its ability to be yet say nothing at all. The musical setting begins and ends in the mode of G-Dorian while moving briefly in the middle section to Bb major. The Dorian mode, similar to the natural minor but with a raised sixth scale degree, possesses a mysterious and whimsical sound, fitting for a poem that considers the possibility of talking trees. The accents and syncopation of the piano accompaniment should be carefully observed, with particular attention paid to the syncopation found in gestures occurring in mm. 712. The beginning a cappella section should be hushed yet intense; a richer, fuller sound may be brought out in the middle section where the key shifts to Bb major and the choir sings of the many noble qualities of trees (mm. 3953). O Cool is the Valley Now also makes use of a modal scale. Set primarily in D Mixolydian, similar to D major but with a lowered seventh scale degree, this modes lack of a leading tone gives the melody a folk-tune quality. The piano should at all times remain legato and flowing, its ascending and descending gestures, found in mm. 910, imitating the rolling hills and valleys evoked in the text. The phrases of the vocal lines should also be flowing and carefully shaped. Additional rubato and dynamic subtleties may be added to accentuate any number of the suspensions and dissonances that occur, especially on p. 14.The two pieces, aWho Robbed the Woods?a and aO Cool is the Valley Now,a combine to create a set that both explores the subtle beauty, serenity, fragility, and resiliency of nature and examines our relationship to the natural world around us. The first song combines a short poem by Emily Dickinson with a journal entry excerpt by Walt Whitman entitled The Lesson of the Tree. Only two stanzas in length, Dickinsonas poem considers the ways in which people use and exploit trees for their own purposes and asks, on the treesa behalf, who would do such a thing? Whitman ponders a treeas silent majesty and power and its ability to be ayet say nothing at all.a The musical setting begins and ends in the mode of G-Dorian while moving briefly in the middle section to Bb major. The Dorian mode, similar to the natural minor but with a raised sixth scale degree, possesses a mysterious and whimsical sound, fitting for a poem that considers the possibility of talking trees. The accents and syncopation of the piano accompaniment should be carefully observed, with particular attention paid to the syncopation found in gestures occurring in mm. 7a12. The beginning a cappella section should be hushed yet intense; a richer, fuller sound may be brought out in the middle section where the key shifts to Bb major and the choir sings of the many noble qualities of trees (mm. 39a53). O Cool is the Valley NowA also makes use of a modal scale. Set primarily in D Mixolydian, similar to D major but with a lowered seventh scale degree, this modeas lack of a leading tone gives the melody a folk-tune quality. The piano should at all times remain legato and flowing, its ascending and descending gestures, found in mm. 9a10, imitating the rolling hills and valleys evoked in the text. The phrases of the vocal lines should also be flowing and carefully shaped. Additional rubato and dynamic subtleties may be added to accentuate any number of the suspensions and dissonances that occur, especially on p. 14.The two pieces, aWho Robbed the Woods?a and aO Cool is the Valley Now,a combine to create a set that both explores the subtle beauty, serenity, fragility, and resiliency of nature and examines our relationship to the natural world around us. The first song combines a short poem by Emily Dickinson with a journal entry excerpt by Walt Whitman entitled The Lesson of the Tree. Only two stanzas in length, Dickinsonas poem considers the ways in which people use and exploit trees for their own purposes and asks, on the treesa behalf, who would do such a thing? Whitman ponders a treeas silent majesty and power and its ability to be ayet say nothing at all.a The musical setting begins and ends in the mode of G-Dorian while moving briefly in the middle section to Bb major. The Dorian mode, similar to the natural minor but with a raised sixth scale degree, possesses a mysterious and whimsical sound, fitting for a poem that considers the possibility of talking trees. The accents and syncopation of the piano accompaniment should be carefully observed, with particular attention paid to the syncopation found in gestures occurring in mm. 7a12. The beginning a cappella section should be hushed yet intense; a richer, fuller sound may be brought out in the middle section where the key shifts to Bb major and the choir sings of the many noble qualities of trees (mm. 39a53). O Cool is the Valley NowA also makes use of a modal scale. Set primarily in D Mixolydian, similar to D major but with a lowered seventh scale degree, this modeas lack of a leading tone gives the melody a folk-tune quality. The piano should at all times remain legato and flowing, its ascending and descending gestures, found in mm. 9a10, imitating the rolling hills and valleys evoked in the text. The phrases of the vocal lines should also be flowing and carefully shaped. Additional rubato and dynamic subtleties may be added to accentuate any number of the suspensions and dissonances that occur, especially on p. 14.The two pieces, Who Robbed the Woods? and O Cool is the Valley Now, combine to create a set that both explores the subtle beauty, serenity, fragility, and resiliency of nature and examines our relationship to the natural world around us. The first song combines a short poem by Emily Dickinson with a journal entry excerpt by Walt Whitman entitled The Lesson of the Tree. Only two stanzas in length, Dickinson's poem considers the ways in which people use and exploit trees for their own purposes and asks, on the trees' behalf, who would do such a thing? Whitman ponders a tree's silent majesty and power and its ability to be yet say nothing at all. The musical setting begins and ends in the mode of G-Dorian while moving briefly in the middle section to Bb major. The Dorian mode, similar to the natural minor but with a raised sixth scale degree, possesses a mysterious and whimsical sound, fitting for a poem that considers the possibility of talking trees. The accents and syncopation of the piano accompaniment should be carefully observed, with particular attention paid to the syncopation found in gestures occurring in mm. 7-12. The beginning a cappella section should be hushed yet intense; a richer, fuller sound may be brought out in the middle section where the key shifts to Bb major and the choir sings of the many noble qualities of trees (mm. 39-53). O Cool is the Valley Now also makes use of a modal scale. Set primarily in D Mixolydian, similar to D major but with a lowered seventh scale degree, this mode's lack of a leading tone gives the melody a folk-tune quality. The piano should at all times remain legato and flowing, its ascending and descending gestures, found in mm. 9-10, imitating the rolling hills and valleys evoked in the text. The phrases of the vocal lines should also be flowing and carefully shaped. Additional rubato and dynamic subtleties may be added to accentuate any number of the suspensions and dissonances that occur, especially on p. 14.The two pieces, Who Robbed the Woods? and O Cool is the Valley Now, combine to create a set that both explores the subtle beauty, serenity, fragility, and resiliency of nature and examines our relationship to the natural world around us. The first song combines a short poem by Emily Dickinson with a journal entry excerpt by Walt Whitman entitled The Lesson of the Tree. Only two stanzas in length, Dickinson's poem considers the ways in which people use and exploit trees for their own purposes and asks, on the trees' behalf, who would do such a thing? Whitman ponders a tree's silent majesty and power and its ability to be yet say nothing at all. The musical setting begins and ends in the mode of G-Dorian while moving briefly in the middle section to Bb major. The Dorian mode, similar to the natural minor but with a raised sixth scale degree, possesses a mysterious and whimsical sound, fitting for a poem that considers the possibility of talking trees. The accents and syncopation of the piano accompaniment should be carefully observed, with particular attention paid to the syncopation found in gestures occurring in mm. 7-12. The beginning a cappella section should be hushed yet intense; a richer, fuller sound may be brought out in the middle section where the key shifts to Bb major and the choir sings of the many noble qualities of trees (mm. 39-53). O Cool is the Valley Now also makes use of a modal scale. Set primarily in D Mixolydian, similar to D major but with a lowered seventh scale degree, this mode's lack of a leading tone gives the melody a folk-tune quality. The piano should at all times remain legato and flowing, its ascending and descending gestures, found in mm. 9-10, imitating the rolling hills and valleys evoked in the text. The phrases of the vocal lines should also be flowing and carefully shaped. Additional rubato and dynamic subtleties may be added to accentuate any number of the suspensions and dissonances that occur, especially on p. 14.The two pieces, “Who Robbed the Woods?†and “O Cool is the Valley Now,†combine to create a set that both explores the subtle beauty, serenity, fragility, and resiliency of nature and examines our relationship to the natural world around us.The first song combines a short poem by Emily Dickinson with a journal entry excerpt by Walt Whitman entitled The Lesson of the Tree. Only two stanzas in length, Dickinson’s poem considers the ways in which people use and exploit trees for their own purposes and asks, on the trees’ behalf, who would do such a thing? Whitman ponders a tree’s silent majesty and power and its ability to be “yet say nothing at all.â€The musical setting begins and ends in the mode of G-Dorian while moving briefly in the middle section to Bb major. The Dorian mode, similar to the natural minor but with a raised sixth scale degree, possesses a mysterious and whimsical sound, fitting for a poem that considers the possibility of talking trees. The accents and syncopation of the piano accompaniment should be carefully observed, with particular attention paid to the syncopation found in gestures occurring in mm. 7–12. The beginning a cappella section should be hushed yet intense; a richer, fuller sound may be brought out in the middle section where the key shifts to Bb major and the choir sings of the many noble qualities of trees (mm. 39–53).O Cool is the Valley Now also makes use of a modal scale. Set primarily in D Mixolydian, similar to D major but with a lowered seventh scale degree, this mode’s lack of a leading tone gives the melody a folk-tune quality. The piano should at all times remain legato and flowing, its ascending and descending gestures, found in mm. 9–10, imitating the rolling hills and valleys evoked in the text. The phrases of the vocal lines should also be flowing and carefully shaped. Additional rubato and dynamic subtleties may be added to accentuate any number of the suspensions and dissonances that occur, especially on p. 14.
SKU: CL.012-4818-00
Sun Valley Flourish is Steven Reineke at his best! Originally composed for orchestra in 2008 as the opening piece for the Erich Kunzel’s Sun Valley Festival Orchestra, it has been masterfully adapted for concert band by Steven’s first composition professor, David Shaffer. Written in the style of a fanfare/overture, this exciting work opens with brass fanfares and woodwind flourishes. Typical of Steven’s writing, the main theme of the piece is a beautiful and flowing melody complimented by masterfully written counter melodies and spectacular in-your-face brass punctuations. The lyrical middle section is simple but quite musically effective leading into the fast and powerful finale. If you are fan of Steven Reineke’s music, Sun Valley Flourish is a must-have!
SKU: CL.012-4818-01
SKU: BT.DHP-1135394-010
9x12 inches. English-German-French-Dutch.
The inspiration for this three-part work goes back to the International European Youth Wind Music Festival, of which the patron has been Jacob de Haan several times. It begins in a festive march tempo, then sacred music, instrumental groups playing off_x001E_stage and a little march for brass and _x001D_flutes. The third movement is a parade in which the various sections of the ensemble head towards the stage from different directions. Even without the effective choreography of the musicians, Call of the Valley is an impressive concert band composition.Jacob de Haan haalde zijn inspiratie voor dit driedelige werk bij het Hessische kuuroord Bad Orb en het tweejaarlijkse Blaasmuziekfestival van de Europese Jeugd, waarvan hij meerdere keren beschermheer was. In het werk verwerkte de componist verschillende e_x001D_ecten die betrekking hebben op het festival. Zo hoort men in de vallei verschillende orkesten door elkaar spelen, een indrukwekkend e_x001D_ect dat ook in de compositie werd verwerkt. Ook kan men ervoor kiezen om tijdens het werk het orkest op te splitsen en het podium te laten verlaten en marcherend weer richting podium te stappen. Een spectaculair en vernieuwend werk!Die Inspiration für dieses dreiteilige Werk geht auf das Internationale Blasmusikfest der Jugend Europas zurück, dessen Schirmherr schon mehrfach Jacob de Haan war. Es beginnt in festlich marschierendem Tempo, gefolgt von sakraler Musik, abseits der Bühne spielenden Instrumentengruppen und einem kleinen Marsch für Blechbläser und Flöten. Der dritte Satz ist eine Parade, bei der sich das geteilte Orchester aus verschiedenen Richtungen auf die Bühne zu bewegt. Auch ohne die effektvolle Positionierung der Musiker ist Call of the Valley ein eindrucksvolles Blasorchesterwerk.Call of the Valley s’ouvre sur un tempo festif en forme de marche. Des sonorités majestueuses dessinent un concert de musique sacrée. Puis deux groupes instrumentaux quittent la scène et exécutent leurs parties distance. Un groupe de saxophones interprète une valse, un autre groupe réunissant cuivres et _x001D_fl tes joue une marche. la fin de l’oeuvre, l’orchestre reprend les thèmes des deux groupes tandis que ceux-ci reviennent vers la scène. Une fois arrivés, ils restent face au public alors que résonne l’accord _x001C_final.Un festival di musica per _x001E_ati per banda giovanile che si tiene a Hesse in Germania, e al quale Jacob de Haan ha più volte partecipato in veste di giurato, è servito da ispirazione per comporre questo brano. L’inizio vede un tempo festivo che simboleggia l’arrivo delle bande. Sonorit maestose disegnano un concerto di musica sacra, seguite da suoni che evocano le interpretazioni di varie orchestre. Un gruppo di sax interpreta un piccolo valzer, un altro gruppo che unisce ottoni, _x001D_auti e ottavino suona una piccola marcia. Nel _x001E_finale dell’opera, l’orchestra riprende i temi dei due gruppi.
SKU: BT.DHP-1135394-140
SKU: BT.DHP-1135394-120
SKU: BT.DHP-1135394-020
SKU: HL.44011903
UPC: 884088950385. 9x12 inches.
The inspiration for this three-part work goes back to the International European Youth Wind Music Festival, of which the patron has been Jacob de Haan several times. It begins in a festive march tempo, then sacred music, instrumental groups playing offstage and a little march for brass and flutes. The third movement is a parade in which the various sections of the ensemble head towards the stage from different directions. Even without the effective choreography of the musicians, Call of the Valley is an impressive concert band composition. Duration: 5:15.
SKU: PR.47600144L
UPC: 680160637188. 11x17 inches.
The aim of this work is not to illustrate a sequence of historical events, but to convey the impressions of one visiting Valley Forge to-day. As the great panorama unfolds, majestic and serene, one's thoughts turn to the human drama of the past; to the unwavering fortitude shown in the face of every deprivation; to the slow return of spiritual strength which turned the tide of victory and culminated in renewed courage and great rejoicing.
SKU: PR.476001440
UPC: 680160099665. 9x12 inches.
SKU: AP.24735S
UPC: 038081268668. English.
This substantive four-movement suite encompasses several musical styles: legato, swing, march, and more, with a spirited bravura conclusion that students and audiences will love. The contrasting movements include the lyrical River Echoes, the jazzy Railroads, the hard-driving Machines section, and the climactic Traditions finale. Though written to represent central Illinois, each movement references significant events encompassing several periods in U.S. history. Kevin Mixon's River Valley Legacy offers abundant opportunities for cross-curricular instruction with a piece that is sure to be a favorite at your next concert.
SKU: FJ.FJH2133
ISBN 9781569398647. UPC: 674398227785. English.
This collection of seven intermediate/late intermediate level solos offers an assortment of colorful new arrangements, which include four NFMC selections from the 2011--- 2013 bulletin. Selections include: Red River Valley Rock; Let Us Break Bread Together; Cool Jazz Clementine; Just a Closer Walk with Thee; Careless Love; The Yellow Rose of Texas; and Poor Wayfaring Stranger.
