Matériel : Octavo
SKU: OU.9780193544666
ISBN 9780193544666. 10 x 7 inches.
This well-known song by Vaughan Williams is arranged here for mixed voices, with additional lower voice parts by Alan Bullard. The pastoral imagery in the lyrics is beautifully brought to life by the trademark folk-inspired melodies, fluid harmonies, and a lively piano accompaniment.
SKU: CF.CM9608
ISBN 9781491154304. UPC: 680160912803. 6.875 x 10.5 inches. Key: E major. English. Alfred, Lord Tennyson (1809-1892).
The beauty in Alfred, Lord Tennysons poem is reflected by the music with the use of text painting. The piano creates the sound of moving water in m. 19, providing the first instance of text painting. When the men enter, they continue this idea of the ocean tide while the descent into the word deep in m. 27 gives another instance of text painting. Take advantage of the minor second suspension on the word dark in m. 38 in order to achieve a feeling of suspense. The entrance at m. 41 is full, and while still minor, the text gives us hope for a change. The change comes in m. 45 with the staggered entrances creating a sense of building and ascent until the climax of this moment at m. 47 on the word embark, which is to be an ascent to Heaven. The melody moves between voice parts, even as early as m. 14 where the altos have the melody for only a single measure; it is then handed back to the sopranos. From mm. 5764, the altos trade the melody back and forth with the sopranos. Take note that the alto melody should be brought out, but the line does not actually begin until the word when. Lastly, be intentional with syllabic stress (no two eighth notes or quarter notes alike) and to give direction to any note longer than a quarter. I hope you enjoy learning and performing Crossing the Bar as much as I enjoyed writing it. ~Jamey Ray.The beauty in Alfred, Lord Tennysonas poem is reflected by the music with the use of text painting. The piano creates the sound of moving water in m.A 19, providing the first instance of text painting. When the men enter, they continue this idea of the ocean tide while the descent into the word adeepa in m. 27 gives another instance of text painting. Take advantage of the minor second suspension on the word adarka in m. 38 in order to achieve a feeling of suspense. The entrance at m. 41 is full, and while still minor, the text gives us hope for a change. The change comes in m. 45 with the staggered entrances creating a sense of building and ascent until the climax of this moment at m. 47 on the word aembark,a which is to be an ascent to Heaven. The melody moves between voice parts, even as early as m. 14 where the altos have the melody for only a single measure; it is then handed back to the sopranos. From mm. 57a64, the altos trade the melody back and forth with the sopranos. Take note that the alto melody should be brought out, but the line does not actually begin until the word awhen.a Lastly, be intentional with syllabic stress (no two eighth notes or quarter notes alike) and to give direction to any note longer than a quarter. I hope you enjoy learning and performing Crossing the Bar as much as I enjoyed writing it. ~Jamey Ray.The beauty in Alfred, Lord Tennyson's poem is reflected by the music with the use of text painting. The piano creates the sound of moving water in m. 19, providing the first instance of text painting. When the men enter, they continue this idea of the ocean tide while the descent into the word deep in m. 27 gives another instance of text painting. Take advantage of the minor second suspension on the word dark in m. 38 in order to achieve a feeling of suspense. The entrance at m. 41 is full, and while still minor, the text gives us hope for a change. The change comes in m. 45 with the staggered entrances creating a sense of building and ascent until the climax of this moment at m. 47 on the word embark, which is to be an ascent to Heaven. The melody moves between voice parts, even as early as m. 14 where the altos have the melody for only a single measure; it is then handed back to the sopranos. From mm. 57-64, the altos trade the melody back and forth with the sopranos. Take note that the alto melody should be brought out, but the line does not actually begin until the word when. Lastly, be intentional with syllabic stress (no two eighth notes or quarter notes alike) and to give direction to any note longer than a quarter. I hope you enjoy learning and performing Crossing the Bar as much as I enjoyed writing it. ~Jamey Ray.The beauty in Alfred, Lord Tennyson's poem is reflected by the music with the use of text painting. The piano creates the sound of moving water in m. 19, providing the first instance of text painting. When the men enter, they continue this idea of the ocean tide while the descent into the word deep in m. 27 gives another instance of text painting. Take advantage of the minor second suspension on the word dark in m. 38 in order to achieve a feeling of suspense. The entrance at m. 41 is full, and while still minor, the text gives us hope for a change. The change comes in m. 45 with the staggered entrances creating a sense of building and ascent until the climax of this moment at m. 47 on the word embark, which is to be an ascent to Heaven. The melody moves between voice parts, even as early as m. 14 where the altos have the melody for only a single measure; it is then handed back to the sopranos. From mm. 57-64, the altos trade the melody back and forth with the sopranos. Take note that the alto melody should be brought out, but the line does not actually begin until the word when. Lastly, be intentional with syllabic stress (no two eighth notes or quarter notes alike) and to give direction to any note longer than a quarter. I hope you enjoy learning and performing Crossing the Bar as much as I enjoyed writing it. ~Jamey Ray.The beauty in Alfred, Lord Tennyson’s poem is reflected by the music with the use of text painting. The piano creates the sound of moving water in m. 19, providing the first instance of text painting. When the men enter, they continue this idea of the ocean tide while the descent into the word “deep†in m. 27 gives another instance of text painting.Take advantage of the minor second suspension on the word “dark†in m. 38 in order to achieve a feeling of suspense. The entrance at m. 41 is full, and while still minor, the text gives us hope for a change. The change comes in m. 45 with the staggered entrances creating a sense of building and ascent until the climax of this moment at m. 47 on the word “embark,†which is to be an ascent to Heaven.The melody moves between voice parts, even as early as m. 14 where the altos have the melody for only a single measure; it is then handed back to the sopranos. From mm. 57–64, the altos trade the melody back and forth with the sopranos. Take note that the alto melody should be brought out, but the line does not actually begin until the word “when.â€Lastly , be intentional with syllabic stress (no two eighth notes or quarter notes alike) and to give direction to any note longer than a quarter.I hope you enjoy learning and performing Crossing the Bar as much as I enjoyed writing it.~Jamey Ray.
SKU: CL.012-3315-01
A very exciting and contemporary work that is descriptive of the tragedy that occurred in Central America in 1541 when a long quiet volcano that had filled with water suddenly erupted, sending mud and water covering the city of Ciudad Vieja killing many and completely wiping out the city. The name of that volcano was Agua, which on that day brought whelm on to everything that its waters touched. This is the second published work by young composer Cory McBride and was written when he was a 16 year old high school student. Bold, unique and distinctive, includes solos for flute, tenor sax, bari sax & horn and it’s an excellent programming choice for any festival or concert performance by better bands.
About Heritage of the March
Full -sized concert band editions of the greatest marches of all time. Each has been faithfully re-scored to accommodate modern instrumentation and incorporate performance practices of classic march style
SKU: HP.1755
UPC: 763628117559.
As the title indicates, there are 13 new hymn texts based on Psalms, 12 as hymns and 24 as new spiritual songs. All are set to tunes ancient and modern, and all have been written since the publication of A Year of Grace (1990) and To Sing God's Praise (1992).
SKU: PR.110418480
ISBN 9781491136294. UPC: 680160688784.
Chen Yi’s beautiful and highly-textured tone poem was inspired by ancient Chinese poetry; its melodic ideas were developed from musical phrases characteristic of Chinese opera. Wang Ya’s original verse as translated by Chen Yi reads:“SONG OF SPRING OUTING”Ten thousand apricot trees by the riverside,Spring flowers bloom after the wind at night.Covered over the garden, colors dark and light,Mirrored in the green water ripples.SONG OF SPRING OUTING was commissioned by the Center for East Asian Studies and the Asian Classical Music Initiative at the University of Kansas in 2022 for Dr. Yi-Yang Chen to premiere in 2023.The work was inspired by an ancient Chinese poem with the same title:Song of Spring Outingby Wang Ya (Tang Dynasty)English translation by Chen YiTen thousand apricot trees by the riverside,Spring flowers bloom after the wind at night.Covered over the garden, colors dark and light,Mirrored in the green water ripples.This inspiring image is like taking a walk through a beautiful garden with layers of colorful trees and flowers, mirrored in the green water.The opening phrase of the music introduces the signature intervals, the leap of a seventh found in Beijing Opera fiddle’s language, followed by melodic material with a major 2nd and perfect 4th in pentatonic style as the thematic materials. [C-Bb-G in bars 1-2, followed by the top pitches A-B and Ab-E( in bars 2-3]. This statement is brought back (Rehearsal F) in a retrograded form of the introduction at the climatic end of the piece.The musical form is a combination of variations on thematic materials, and a rondo. After the introductory section, Rehearsal A introduces an improvisation-like mountain song melody (developed from the pentatonic material in the introduction).Rehearsal B brings in a lively texture in short groupings with staccato in both hands (using the seventh leap interval introduced in the opening of the piece).Rehearsals C and D develop the introduction’s pentatonic melody and the mountain tune (introduced in Rehearsal A) with more layers in the texture.Rehearsal E develops the material presented in Rehearsal B, with an extended range in both ends of the keyboard, increasing the freshness and excitement.
SKU: HL.49046438
ISBN 9781540094056. UPC: 840126924183. 9.0x12.0x0.078 inches.
Judith Butler defines 'precarity' as the unequal distribution of precariousness. These are precarious times, in which access to safe clean water is an endangered human right, increasingly under siege by the damage to the planet brought about by humankind's excesses. But this is also an epoch of systemic inequality, in which corporations, municipalities, and nation-states can and do inflict incremental or drastic harm on entire vulnerable populations, through war, deregulated pollution, and the differential withholding of basic life needs. Jasbir Puar has called out this cruel, largely unchecked capacity of the powerful, which she critically labels 'the right to maim.' The people of Flint, Michigan became a historic example of a living population subjected to this kind of violence, in the form of environmental racism. In this Year of Water, I offer this piece, and my commission, to the children of Flint.- Vijay IyerNew York CityOctober 2, 2019.
SKU: PR.466411770
UPC: 680160640850. 9 x 12 inches.
Mississippi I. Father of Waters: born of the Highlands and the Lakes; the Glaciers, the Mountains, and the Prairies. The picture of your birth is clounded in the ice and mists of ancient ages but your spirit remains our life stream. II. The Red Man knew your bountiful gifts and gave thanks to the Great Spirit on your banks. -- The Spanish and French Fathers brought the glory of Christianity to America on Mississippi. But all men, white and dark; -- Indian, Spaniard, and Negro; Bourbon and Yankee, combined to make Mississippi the heart of America. Saga of the Mississippi Harl McDonald Born near Boulder, Colorado, July 27, 1899 Now living in Philadelphia The original suggestion for a symphonic work on the subject of the Mississippi came indirectly from the late Booth Tarkington who saw in it color and movement and atmosphere translatable into the terms of music. In the course of time, by the mysterious processes of composers' chemistry, it took shape as a tone-poem of two sections, one representing the rise of the great stream from its primeval geologic sources, the other the human history of the river. Mr. McDonald devised the following verbal outline of the general scheme of his diptych: I. Father of Waters: born of the Highlands and the Lakes; the Glaciers, the Mountains, and the Prairies. The picture of your birth is clounded in the ice and mists of ancient ages but your spirit remains our life stream. II. The Red Man knew your bountiful gifts and gave thanks to the Great Spirit on your banks. -- The Spanish and French Fathers brought the glory of Christianity to America on Mississippi. But all men, white and dark; -- Indian, Spaniard, and Negro; Bourbon and Yankee, combined to make Mississippi the heart of America. The first of the two movements, beginning molto andante, is vaguel modal to hint at antiquity. It is built upon the conventional two themes, with an episode, poco piu mosso, misterioso, for prehistoric murk and muck. There are various changes of pace and mood. The second, Allegro ma vigorosamente, prefigures an Indian ceremony. A theme presented by flute, clarinet and bassoon is a Canadian Indian fishing call collected by the late J.B. Beck. A later passage of quasi-Gregorian chant identifies the French and Spanish priests who made the great river their highway. The fishing-call is altered in rhythm and harmony to represent Negro field hands and roustabous. A turbulent close brings all these elemts together in the muddy swirling currents of the Mississippi. The work was begun in the summer of 1945, and was revised and completed in the summer of 1947. Harl McDonald, who is the manager of The Philadelphia Orchestra, has concerned himself with music as an art, as a science and as a business in course of his career. He was born on a cattle ranch in the Rockies, but since his was a musical family, his up-bringing combined piano lessons with ranch life. Years of study and professional experience followed in Los Angeles and in Germany. In 1927 he was appointed lecuter in composition at the University of Pennsylvania and he has since then made is home in Philadelphia. In 1933 under a grant of the Rockefeller FOundation he collaborated with physicists in research dealing with the measurement of instrumental and vocal tone, new scale divisions and the resultant harmonies. In that same year he was named head of the University's music faculty and conductor of its choral organizations. In 1939, having been a member of the Board of Directors for five years, he was appointed manager of The Philadelphia Orchestra. He continus to write, but otherwise his entire attention is now devoted to managerial duties. Chief items in the catalogue of his compositions are four symphonies, three orchestra suites, a half-dozen tone-poems, three concertos and considerable quantity of choral music.
