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Do You Hear What I Hear? Conductor Score
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Do You Hear What I Hear? Conductor Score
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1
Americana Symphony "Variations on Appalachia Waltz" (score – symphony orchestra)
Americana Symphony "Variations on Appalachia Waltz" (score – symphony orchestra)
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Orchestra
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ADVANCED
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Mark O'Connor
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Americana Symphony "Variations
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Mark O'Connor Musik International
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SheetMusicPlus
Full Orchestra - Level 5 - Digital Download SKU: A0.861959 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 93 pages. Mark O'C...
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Full Orchestra - Level 5 - Digital Download SKU: A0.861959 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 93 pages. Mark O'Connor Musik International #6209393. Published by Mark O'Connor Musik International (A0.861959). Americana Symphony Variations on Appalachia Waltz (score – symphony orchestra) MO164AScore (parts available)Music by Mark O’Connor86 pages – 33:00 minutes in length Americana Symphony Variations on Appalachia WaltzFor Large Symphony Orchestra3333/4331/timp/perc/pno/harp+stringsComposed and orchestrated by Mark O’Connor 1st Movement: Brass Fanfare: Wide Open Spaces2nd Movement: New World Fanciful Dance3rd Movement: Different Paths Towards Home4th Movement: Open Plains Hoedown5th Movement: Soaring Eagle, Setting Sun6th Movement: Theme: Splendid HorizonsNote: Any movement or combination of the movements can be singled out or re-organized for performance. Most any order of movements is acceptable. Suggestions for consideration included I., II., III., and IV., all recommended as stand alone pieces. Most an order of movements is acceptable. The composition was designed for maximum flexibility. Three or four movements combine to make a shorter variation Symphony. What is American Classical music? This CD contains Mark O'Connor's latest orchestral works: Americana Symphony Variations on Appalachia Waltz(2006) and Concerto No. 6 Old Brass (2003). Sony Classical//BMG label director Gilbert Hetherwick explains; Dvorak and Copland painted symphonic landscapes using melodies inspired by the Americana tradition, and Mark O'Connor actually comes from that tradition itself. He's lived it every day of his life. And you hear it in every note of his Americana Symphony. For the majority of his solo career, O'Connor has dedicated himself to composing for orchestra: he has written six full-length concertos, several orchestral suites and string orchestra compositions, and most recently his first Symphony.David Wallace, Juilliard School faculty member and Senior Teaching Artist with the New York Philharmonic, comments on the overall characteristics of O'Connor's music: The Americana Symphony combines historical narrative with classical and folk variation principles. The Symphony contains instrumental virtuosity, rhythmic drive, poignant lyricism, and probing counterpoint. With the Americana Symphony, Mark O'Connor provides his answer to a question that has intrigued U. S. composers since the debut of Dvorak's New World Symphony in 1892: How do you write the great American Symphony?William Intrilligator, artistic director of the Dubuque Symphony, conducted one of the first performances of the Americana Symphony: Very few pieces of new music have the same emotional and visceral effect as this Symphony, he writes. It has such power and beauty, and these traits are expressed in original ways that are pure O'Connor and truly American.Marin Alsop, artistic director of the Baltimore Symphony Orchestra and this recording's conductor of the Americana Symphony, calls the Symphony simply A hit! Original music printed from the composer’s manuscripts.Music editing, copying and engraving by Mark O’Connorusing Finale on Apple Macintosh 2006 - 2007 Composed by Mark O’ConnorCommissioned by: Cabrillo Music Festival and Marin Alsop, Colorado Symphony, Dubuque Symphony, Fargo Moorhead Symphony, Fox Valley Symphony, Garrett Lakes Arts Festival, Greater Anderson Musical Arts Consortium, Imperial Symphony, Reading Symphony, Richmond Symphony, Rockford Symphony, Santa Fe Symphony, Springfield Symphony, Springfield Symphony, Symphony Silicon Valley, Youngstown Youth Symphony. Can be heard on Americana Symphony! OMAC RecordsBaltimore Symphony Orchestra, Marin Alsop
$40.00 ≈
£30.37
What Child is This
What Child is This
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Christmas
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Traditional English carol, 16t
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Richard Joseph Barber
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What Child is This
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Barber Music Company
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SheetMusicPlus
Small Ensemble Cello,Hand Percussion,High Voice,Low Voice - Level 3 - Digital Download SKU: A0.915683 Composed by Traditional English carol, 16th century...
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Small Ensemble Cello,Hand Percussion,High Voice,Low Voice - Level 3 - Digital Download SKU: A0.915683 Composed by Traditional English carol, 16th century. Arranged by Richard Joseph Barber. 20th Century,Christmas,Folk,Renaissance,Sacred. Score and parts. 11 pages. Barber Music Company #3691799. Published by Barber Music Company (A0.915683). This lilting, joyful arrangement of this familiar traditional carol (tune: Greensleeves) is arranged for two-part duet (SA or SB) and small treble choirs, with cello, tambourine, and zill (finger cymbal) accompaniment. You should purchase one copy of this score for each singer and one for the conductor. Individual parts are also available separately under the title of the composition with the part name following.Author's note:The vocal parts are not a great challenge in range or difficulty, and the percussion parts are not complex. The cello part, on the other hand, is difficult in places and will require more practice than the other parts.If you use this composition, please contact me with any performance questions you may have and to let me know if you enjoyed it and why. I do enjoy hearing from you! -Dick Barber, barberpianoserv@gmail.com
$3.50 ≈
£2.66
Requiem
Requiem
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Chamber Orchestra
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Harald Weiss
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Requiem
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Schott Music - Digital
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SheetMusicPlus
Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra - Digital Download SKU: S9.Q7038 Teil I: Schwarz vor Augen... · Teil I...
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Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra - Digital Download SKU: S9.Q7038 Teil I: Schwarz vor Augen... · Teil II: ...und es ward Licht!. Composed by Harald Weiss. This edition: study score. Music Of Our Time. Downloadable, Study score. Duration 100' 0. Schott Music - Digital #Q7038. Published by Schott Music - Digital (S9.Q7038). Latin • German.On letting go(Concerning the selection of the texts) In the selection of the texts, I have allowed myself to be motivated and inspired by the concept of “letting goâ€. This appears to me to be one of the essential aspects of dying, but also of life itself. We humans cling far too strongly to successful achievements, whether they have to do with material or ideal values, or relationships of all kinds. We cannot and do not want to let go, almost as if our life depended on it. As we will have to practise the art of letting go at the latest during our hour of death, perhaps we could already make a start on this while we are still alive. Tagore describes this farewell with very simple but strikingly vivid imagery: “I will return the key of my doorâ€. I have set this text for tenor solo. Here I imagine, and have correspondingly noted in a certain passage of the score, that the protagonist finds himself as though “in an ocean†of voices in which he is however not drowning, but immersing himself in complete relaxation. The phenomenon of letting go is described even more simply and tersely in Psalm 90, verse 12: “So teach us to number our days, that we may apply our hearts unto wisdomâ€. This cannot be expressed more plainly.I have begun the requiem with a solo boy’s voice singing the beginning of this psalm on a single note, the note A. This in effect says it all. The work comes full circle at the culmination with a repeat of the psalm which subsequently leads into a resplendent “lux aeternaâ€. The intermediate texts of the Requiem which highlight the phenomenon of letting go in the widest spectrum of colours originate on the one hand from the Latin liturgy of the Messa da Requiem (In Paradisum, Libera me, Requiem aeternam, Mors stupebit) and on the other hand from poems by Joseph von Eichendorff, Hermann Hesse, Rabindranath Tagore and Rainer Maria Rilke.All texts have a distinctive positive element in common and view death as being an organic process within the great system of the universe, for example when Hermann Hesse writes: “Entreiß dich, Seele, nun der Zeit, entreiß dich deinen Sorgen und mache dich zum Flug bereit in den ersehnten Morgen†[“Tear yourself way , o soul, from time, tear yourself away from your sorrows and prepare yourself to fly away into the long-awaited morningâ€] and later: “Und die Seele unbewacht will in freien Flügen schweben, um im Zauberkreis der Nacht tief und tausendfach zu leben†[“And the unfettered soul strives to soar in free flight to live in the magic sphere of the night, deep and thousandfoldâ€]. Or Joseph von Eichendorff whose text evokes a distant song in his lines: “Und meine Seele spannte weit ihre Flügel aus. Flog durch die stillen Lande, als flöge sie nach Haus†[“And my soul spread its wings wide. Flew through the still country as if homeward bound.â€]Here a strong romantically tinged occidental resonance can be detected which is however also accompanied by a universal spirit going far beyond all cultures and religions. In the beginning was the sound Long before any sort of word or meaningful phrase was uttered by vocal chords, sounds, vibrations and tones already existed. This brings us back to the music. Both during my years of study and at subsequent periods, I had been an active participant in the world of contemporary music, both as percussionist and also as conductor and composer. My early scores had a somewhat adventurous appearance, filled with an abundance of small black dots: no rhythm could be too complicated, no register too extreme and no harmony too dissonant. I devoted myself intensely to the handling of different parameters which in serial music coexist in total equality: I also studied aleatory principles and so-called minimal music.I subsequently emigrated and took up residence in Spain from where I embarked on numerous travels over the years to India, Africa and South America. I spent repeated periods during this time as a resident in non-European countries. This meant that the currents of contemporary music swept past me vaguely and at a great distance. What I instead absorbed during this period were other completely new cultures in which I attempted to immerse myself as intensively as possible.I learned foreign languages and came into contact with musicians of all classes and styles who had a different cultural heritage than my own: I was intoxicated with the diversity of artistic potential.Nevertheless, the further I distanced myself from my own Western musical heritage, the more this returned insistently in my consciousness.The scene can be imagined of sitting somewhere in the middle of the Brazilian jungle surrounded by the wailing of Indians and out of the blue being provided with the opportunity to hear Beethoven’s late string quartets: this can be a heart-wrenching experience, akin to an identity crisis. This type of experience can also be described as cathartic. Whatever the circumstances, my “renewed†occupation with the “old†country would not permit me to return to the point at which I as an audacious young student had maltreated the musical parameters of so-called contemporary music. A completely different approach would be necessary: an extremely careful approach, inching my way gradually back into the Western world: an approach which would welcome tradition back into the fold, attempt to unfurl the petals and gently infuse this tradition with a breath of contemporary life.Although I am aware that I will not unleash a revolution or scandal with this approach, I am nevertheless confident as, with the musical vocabulary of this Requiem, I am travelling in an orbit in which no ballast or complex structures will be transported or intimated: on the contrary, I have attempted to form the message of the texts in music with the naivety of a “homecomerâ€. Harald WeissColonia de San PedroMarch 20091 (auch Altfl.) · 2 (2. auch Engl. Hr.) · 1 (auch Bassklar.) · 0 - 2 · Flhr. · 0 · 0 - P. S. (Glsp. · Röhrengl. · Gongs · Trgl. · Beck. · Tamt. · 2 Holzschlitztr. (oder Woodbl.) · Woodbl. · gr. Tr.) (3 Spieler) - Org. (Positiv) - Str. (4 · 4 · 4 · 4 · 2).
$55.99 ≈
£42.51
Stabat Mater - string ensemble parts
Stabat Mater - string ensemble parts
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Contemporary
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Annemieke Lustenhouwer
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Stabat Mater - string ensemble
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Annemieke Lustenhouwer
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SheetMusicPlus
Small Ensemble - Level 4 - Digital Download SKU: A0.1195919 Composed by Annemieke Lustenhouwer. Contemporary. Score and parts. 80 pages. Annemieke Lusten...
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Small Ensemble - Level 4 - Digital Download SKU: A0.1195919 Composed by Annemieke Lustenhouwer. Contemporary. Score and parts. 80 pages. Annemieke Lustenhouwer #795094. Published by Annemieke Lustenhouwer (A0.1195919). What happens when you close your eyes and you see yourself standing next to Mother Mary when Jesus dies? What do you see and what do you feel? That was what I’ve been asking myself for years when I read the text Stabat Mater. This composition tells about this experience and this questions. Sometimes a motif tells quite literally about this story, like the moment when Jesus is nailed down the cross: first the right hand, then the left hand and finaly with one nail both feet. In the first part of the composition, the viola tells with sforzato accents about this.This Stabat Mater is not only an expression of the pain of the Virgin Mother, but is also a tribute to JS Bach as well. Bach is by some seen as a fith evangelist. Nowadays there are still a lot of people who are affected by how his music tells about biblical stories, like I am. In this Stabat Mater I use the number 5 to express that: the first part is written in 5/4th and the last part Quando corpus et Amen is written with 5 parts in the choir. There can also be found a reworked choral in the choir passages of  O quam tristis et afflicta. It is the choral Wie nahe mir mein Ende from BWV 166.Polyfony is a returning presence in this Stabat Mater. I had an visual idea about this. When I was young I saw in an exhibition a tapestry with all kinds of colours and threads, and everything felt in motion. It was a kind of organized mess, but it was beautiful and felt perfect. I wondered if I could manage to express this idea in music as well. Under one of the polyphonic passages there is a Latin-American dance rhythm to express that motion. I heard that rhythm in my childhood in a rhythmbox of the keyboard of my dad. Another passage has the baroque sarabande-rhythme underneath in the double bass.A lullaby-feeling in some parts of the Stabat Mater tells about another story that got intertwined with this composition. It’s the story of a mother who rocks her terminal dying little son in her arms. I once read that story and it felt connected with the Stabat Mater text for a long time. I decided to express that as well.This composition is dedicated to the Dutch conductor Geert van den Dungen. However I saw many conductors, while playing the oboe and clarinet from a young age, there was nobody who let me think very deeply about music. Geert was the one who changed that for me. I started to study scores and developed a great interest in music analysis and music psychology. Many moments of inspiration and understanding for this Stabat Mater happened on choir rehearsals and concerts where Geert was working. I am very grateful for that.String parts only, see for conductors/ choir score Sheet Music plus and Sheet music direct.
$19.00 ≈
£14.42
Americana Symphony "Variations on Appalachia Waltz" (wind parts – symphony orchestra)
Americana Symphony "Variations on Appalachia Waltz" (wind parts – symphony orchestra)
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Orchestra
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ADVANCED
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Mark O'Connor
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Americana Symphony "Variations
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Mark O'Connor Musik International
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SheetMusicPlus
Full Orchestra - Level 5 - Digital Download SKU: A0.861960 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 176 pages. Mark O'...
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Full Orchestra - Level 5 - Digital Download SKU: A0.861960 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 176 pages. Mark O'Connor Musik International #6209395. Published by Mark O'Connor Musik International (A0.861960). Americana Symphony Variations on Appalachia Waltz (wind parts – symphony orchestra) MO164B-IWind Parts (score and parts available)Music by Mark O’Connor164 pages – 33:00 minutes in length Americana Symphony Variations on Appalachia WaltzFor Large Symphony Orchestra3333/4331/timp/perc/pno/harp+stringsComposed and orchestrated by Mark O’Connor 1st Movement: Brass Fanfare: Wide Open Spaces2nd Movement: New World Fanciful Dance3rd Movement: Different Paths Towards Home4th Movement: Open Plains Hoedown5th Movement: Soaring Eagle, Setting Sun6th Movement: Theme: Splendid HorizonsNote: Any movement or combination of the movements can be singled out or re-organized for performance. Most any order of movements is acceptable. Suggestions for consideration included I., II., III., and IV., all recommended as stand alone pieces. Most an order of movements is acceptable. The composition was designed for maximum flexibility. Three or four movements combine to make a shorter variation Symphony. What is American Classical music? This CD contains Mark O'Connor's latest orchestral works: Americana Symphony Variations on Appalachia Waltz(2006) and Concerto No. 6 Old Brass (2003). Sony Classical//BMG label director Gilbert Hetherwick explains; Dvorak and Copland painted symphonic landscapes using melodies inspired by the Americana tradition, and Mark O'Connor actually comes from that tradition itself. He's lived it every day of his life. And you hear it in every note of his Americana Symphony. For the majority of his solo career, O'Connor has dedicated himself to composing for orchestra: he has written six full-length concertos, several orchestral suites and string orchestra compositions, and most recently his first Symphony.David Wallace, Juilliard School faculty member and Senior Teaching Artist with the New York Philharmonic, comments on the overall characteristics of O'Connor's music: The Americana Symphony combines historical narrative with classical and folk variation principles. The Symphony contains instrumental virtuosity, rhythmic drive, poignant lyricism, and probing counterpoint. With the Americana Symphony, Mark O'Connor provides his answer to a question that has intrigued U. S. composers since the debut of Dvorak's New World Symphony in 1892: How do you write the great American Symphony?William Intrilligator, artistic director of the Dubuque Symphony, conducted one of the first performances of the Americana Symphony: Very few pieces of new music have the same emotional and visceral effect as this Symphony, he writes. It has such power and beauty, and these traits are expressed in original ways that are pure O'Connor and truly American.Marin Alsop, artistic director of the Baltimore Symphony Orchestra and this recording's conductor of the Americana Symphony, calls the Symphony simply A hit! Original music printed from the composer’s manuscripts.Music editing, copying and engraving by Mark O’Connorusing Finale on Apple Macintosh 2006 - 2007 Composed by Mark O’ConnorCommissioned by: Cabrillo Music Festival and Marin Alsop, Colorado Symphony, Dubuque Symphony, Fargo Moorhead Symphony, Fox Valley Symphony, Garrett Lakes Arts Festival, Greater Anderson Musical Arts Consortium, Imperial Symphony, Reading Symphony, Richmond Symphony, Rockford Symphony, Santa Fe Symphony, Springfield Symphony, Springfield Symphony, Symphony Silicon Valley, Youngstown Youth Symphony. Can be heard on Americana Symphony! OMAC RecordsBaltimore Symphony Orchestra, Marin Alsop
$80.00 ≈
£60.73
Garage Sale Llama
Garage Sale Llama
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3 Saxophones (trio)
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INTERMEDIATE/ADVANCED
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Contemporary
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Jeffrey Hoover
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Garage Sale Llama
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Musicart Publications
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SheetMusicPlus
Woodwind Ensemble,Woodwind Trio Alto Saxophone,Baritone Saxophone,Clarinet - Level 4 - Digital Download SKU: A0.971660 Composed by Jeffrey Hoover. 20th C...
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Woodwind Ensemble,Woodwind Trio Alto Saxophone,Baritone Saxophone,Clarinet - Level 4 - Digital Download SKU: A0.971660 Composed by Jeffrey Hoover. 20th Century,Contemporary. 30 pages. Musicart Publications #5992037. Published by Musicart Publications (A0.971660). Garage Sale Llama is for Bb clarinet and Eb Alto saxophone (or Eb baritone saxophone). Duration, 5 min. 30 sec. Garage Sale Llama is a humorous and energetic duo for clarinet and saxophone. About 2/3 of the way into the music, there is an optional narrative that the clarinetist can speak.The score and parts in this edition are arranged to be printed double-sided, with correct page turns.Program NoteA conversation recently overheard at a grocery store: 'Why do you go to garage sales? What do you buy at garage sales?' 'Anything and everything!' 'Anything, really? What about... a Llama? Would you buy a Llama at a garage sale?' 'Well?... Yes!... I'd buy a llama.'It was at a holiday party I had a close encounter with a garage sale llama. 'True story. The llama was in the back yard of the neighbor's house where the party was being held. Having a llama in the neighbor's backyard is wild, but to hear how the neighbor acquired the llama at a garage sale is unimaginable! Even Hollywood could not come up with such a tall tale. – Jeffrey HooverJeffrey Hoover's compositions- music ranging from soloist to symphony orchestra -have received recognition through the Universal Edition/SMP Press Contemporary Composition Award, the prestigious Trieste prize, the international Luigi Russolo competition, awards from Mu Phi Epsilon, the Lancaster Fine Arts Festival, grants, publications fellowships, and more than 25 commissions. He is a member of the ACME roster of Mu Phi Epsilon, recognized for distinguished achievement as a composer. One unique aspect of Hoover’s work is when he combines composition with his paintings, creating synergetic art that intrigues and captivate audiences and performers alike. His paintings are seen in exhibitions and in concerts where his paintings are projected while musicians perform his music. Hoover’s background as a performer includes both classical and jazz music, as saxophonist and conductor. His book The Arts and Society: Making New Worlds is published by Kendall Hunt Publishing.Hoover was born on September 11, 1959, in Anderson, Indiana. He holds a Ph.D. in Fine Arts (Composition and Interdisciplinary Fine Arts) from Texas Tech University, as well as an M.M. and a Bch.Sc. from Ball State University. His career in higher education has included both faculty and arts administration appointments. To learn more about Jeffrey Hoover's work, or for specific inquiries about his music, guest residencies/festivals, and commissions, please visit his website: https://jeffreyhooverart.wixsite.com/mysiteTo Contact Musicart PublicationsCarlos Rio, Editormusicart.publications.editor@gmail.com
$14.95 ≈
£11.35
Americana Symphony "Variations on Appalachia Waltz" (string parts – symphony orchestra)
Americana Symphony "Variations on Appalachia Waltz" (string parts – symphony orchestra)
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Orchestra
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ADVANCED
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Mark O'Connor
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Americana Symphony "Variations
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Mark O'Connor Musik International
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SheetMusicPlus
Full Orchestra - Level 5 - Digital Download SKU: A0.861963 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 163 pages. Mark O'...
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Full Orchestra - Level 5 - Digital Download SKU: A0.861963 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 163 pages. Mark O'Connor Musik International #6209407. Published by Mark O'Connor Musik International (A0.861963). Americana Symphony Variations on Appalachia Waltz (string parts – symphony orchestra) MO164U-ZString Parts (score and parts available)Music by Mark O’Connor163 pages – 33:00 minutes in length Americana Symphony Variations on Appalachia WaltzFor Large Symphony Orchestra3333/4331/timp/perc/pno/harp+stringsComposed and orchestrated by Mark O’Connor 1st Movement: Brass Fanfare: Wide Open Spaces2nd Movement: New World Fanciful Dance3rd Movement: Different Paths Towards Home4th Movement: Open Plains Hoedown5th Movement: Soaring Eagle, Setting Sun6th Movement: Theme: Splendid HorizonsNote: Any movement or combination of the movements can be singled out or re-organized for performance. Most any order of movements is acceptable. Suggestions for consideration included I., II., III., and IV., all recommended as stand alone pieces. Most an order of movements is acceptable. The composition was designed for maximum flexibility. Three or four movements combine to make a shorter variation Symphony. What is American Classical music? This CD contains Mark O'Connor's latest orchestral works: Americana Symphony Variations on Appalachia Waltz(2006) and Concerto No. 6 Old Brass (2003). Sony Classical//BMG label director Gilbert Hetherwick explains; Dvorak and Copland painted symphonic landscapes using melodies inspired by the Americana tradition, and Mark O'Connor actually comes from that tradition itself. He's lived it every day of his life. And you hear it in every note of his Americana Symphony. For the majority of his solo career, O'Connor has dedicated himself to composing for orchestra: he has written six full-length concertos, several orchestral suites and string orchestra compositions, and most recently his first Symphony.David Wallace, Juilliard School faculty member and Senior Teaching Artist with the New York Philharmonic, comments on the overall characteristics of O'Connor's music: The Americana Symphony combines historical narrative with classical and folk variation principles. The Symphony contains instrumental virtuosity, rhythmic drive, poignant lyricism, and probing counterpoint. With the Americana Symphony, Mark O'Connor provides his answer to a question that has intrigued U. S. composers since the debut of Dvorak's New World Symphony in 1892: How do you write the great American Symphony?William Intrilligator, artistic director of the Dubuque Symphony, conducted one of the first performances of the Americana Symphony: Very few pieces of new music have the same emotional and visceral effect as this Symphony, he writes. It has such power and beauty, and these traits are expressed in original ways that are pure O'Connor and truly American. Marin Alsop, artistic director of the Baltimore Symphony Orchestra and this recording's conductor of the Americana Symphony, calls the Symphony simply A hit! Original music printed from the composer’s manuscripts.Music editing, copying and engraving by Mark O’Connorusing Finale on Apple Macintosh 2006 - 2007 Composed by Mark O’ConnorCommissioned by: Cabrillo Music Festival and Marin Alsop, Colorado Symphony, Dubuque Symphony, Fargo Moorhead Symphony, Fox Valley Symphony, Garrett Lakes Arts Festival, Greater Anderson Musical Arts Consortium, Imperial Symphony, Reading Symphony, Richmond Symphony, Rockford Symphony, Santa Fe Symphony, Springfield Symphony, Springfield Symphony, Symphony Silicon Valley, Youngstown Youth Symphony. Can be heard on Americana Symphony! OMAC RecordsBaltimore Symphony Orchestra, Marin Alsop
$80.00 ≈
£60.73
Americana Symphony "Variations on Appalachia Waltz" (brass parts – symphony orchestra)
Americana Symphony "Variations on Appalachia Waltz" (brass parts – symphony orchestra)
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Orchestra
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ADVANCED
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Mark O'Connor
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Americana Symphony "Variations
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Mark O'Connor Musik International
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SheetMusicPlus
Full Orchestra - Level 5 - Digital Download SKU: A0.861961 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 162 pages. Mark O'...
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Full Orchestra - Level 5 - Digital Download SKU: A0.861961 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 162 pages. Mark O'Connor Musik International #6209399. Published by Mark O'Connor Musik International (A0.861961). Americana Symphony Variations on Appalachia Waltz (brass parts – symphony orchestra) MO164J-PBrass Parts (score and parts available)Music by Mark O’Connor162 pages – 33:00 minutes in length Americana Symphony Variations on Appalachia WaltzFor Large Symphony Orchestra3333/4331/timp/perc/pno/harp+stringsComposed and orchestrated by Mark O’Connor 1st Movement: Brass Fanfare: Wide Open Spaces2nd Movement: New World Fanciful Dance3rd Movement: Different Paths Towards Home4th Movement: Open Plains Hoedown5th Movement: Soaring Eagle, Setting Sun6th Movement: Theme: Splendid HorizonsNote: Any movement or combination of the movements can be singled out or re-organized for performance. Most any order of movements is acceptable. Suggestions for consideration included I., II., III., and IV., all recommended as stand alone pieces. Most an order of movements is acceptable. The composition was designed for maximum flexibility. Three or four movements combine to make a shorter variation Symphony. What is American Classical music? This CD contains Mark O'Connor's latest orchestral works: Americana Symphony Variations on Appalachia Waltz(2006) and Concerto No. 6 Old Brass (2003). Sony Classical//BMG label director Gilbert Hetherwick explains; Dvorak and Copland painted symphonic landscapes using melodies inspired by the Americana tradition, and Mark O'Connor actually comes from that tradition itself. He's lived it every day of his life. And you hear it in every note of his Americana Symphony. For the majority of his solo career, O'Connor has dedicated himself to composing for orchestra: he has written six full-length concertos, several orchestral suites and string orchestra compositions, and most recently his first Symphony.David Wallace, Juilliard School faculty member and Senior Teaching Artist with the New York Philharmonic, comments on the overall characteristics of O'Connor's music: The Americana Symphony combines historical narrative with classical and folk variation principles. The Symphony contains instrumental virtuosity, rhythmic drive, poignant lyricism, and probing counterpoint. With the Americana Symphony, Mark O'Connor provides his answer to a question that has intrigued U. S. composers since the debut of Dvorak's New World Symphony in 1892: How do you write the great American Symphony?William Intrilligator, artistic director of the Dubuque Symphony, conducted one of the first performances of the Americana Symphony: Very few pieces of new music have the same emotional and visceral effect as this Symphony, he writes. It has such power and beauty, and these traits are expressed in original ways that are pure O'Connor and truly American.Marin Alsop, artistic director of the Baltimore Symphony Orchestra and this recording's conductor of the Americana Symphony, calls the Symphony simply A hit! Original music printed from the composer’s manuscripts.Music editing, copying and engraving by Mark O’Connorusing Finale on Apple Macintosh 2006 - 2007 Composed by Mark O’ConnorCommissioned by: Cabrillo Music Festival and Marin Alsop, Colorado Symphony, Dubuque Symphony, Fargo Moorhead Symphony, Fox Valley Symphony, Garrett Lakes Arts Festival, Greater Anderson Musical Arts Consortium, Imperial Symphony, Reading Symphony, Richmond Symphony, Rockford Symphony, Santa Fe Symphony, Springfield Symphony, Springfield Symphony, Symphony Silicon Valley, Youngstown Youth Symphony. Can be heard on Americana Symphony! OMAC RecordsBaltimore Symphony Orchestra, Marin Alsop
$80.00 ≈
£60.73
Americana Symphony "Variations on Appalachia Waltz" (percussion parts – symphony orchestra)
Americana Symphony "Variations on Appalachia Waltz" (percussion parts – symphony orchestra)
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Orchestra
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ADVANCED
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Mark O'Connor
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Americana Symphony "Variations
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Mark O'Connor Musik International
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SheetMusicPlus
Full Orchestra - Level 5 - Digital Download SKU: A0.861962 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 99 pages. Mark O'C...
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Full Orchestra - Level 5 - Digital Download SKU: A0.861962 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 99 pages. Mark O'Connor Musik International #6209401. Published by Mark O'Connor Musik International (A0.861962). Americana Symphony Variations on Appalachia Waltz (percussion parts – symphony orchestra) MO164Q-TPercussion Parts (score and parts available)Music by Mark O’Connor99 pages – 33:00 minutes in length Americana Symphony Variations on Appalachia WaltzFor Large Symphony Orchestra3333/4331/timp/perc/pno/harp+stringsComposed and orchestrated by Mark O’Connor 1st Movement: Brass Fanfare: Wide Open Spaces2nd Movement: New World Fanciful Dance3rd Movement: Different Paths Towards Home4th Movement: Open Plains Hoedown5th Movement: Soaring Eagle, Setting Sun6th Movement: Theme: Splendid HorizonsNote: Any movement or combination of the movements can be singled out or re-organized for performance. Most any order of movements is acceptable. Suggestions for consideration included I., II., III., and IV., all recommended as stand alone pieces. Most an order of movements is acceptable. The composition was designed for maximum flexibility. Three or four movements combine to make a shorter variation Symphony. What is American Classical music? This CD contains Mark O'Connor's latest orchestral works: Americana Symphony Variations on Appalachia Waltz(2006) and Concerto No. 6 Old Brass (2003). Sony Classical//BMG label director Gilbert Hetherwick explains; Dvorak and Copland painted symphonic landscapes using melodies inspired by the Americana tradition, and Mark O'Connor actually comes from that tradition itself. He's lived it every day of his life. And you hear it in every note of his Americana Symphony. For the majority of his solo career, O'Connor has dedicated himself to composing for orchestra: he has written six full-length concertos, several orchestral suites and string orchestra compositions, and most recently his first Symphony.David Wallace, Juilliard School faculty member and Senior Teaching Artist with the New York Philharmonic, comments on the overall characteristics of O'Connor's music: The Americana Symphony combines historical narrative with classical and folk variation principles. The Symphony contains instrumental virtuosity, rhythmic drive, poignant lyricism, and probing counterpoint. With the Americana Symphony, Mark O'Connor provides his answer to a question that has intrigued U. S. composers since the debut of Dvorak's New World Symphony in 1892: How do you write the great American Symphony?William Intrilligator, artistic director of the Dubuque Symphony, conducted one of the first performances of the Americana Symphony: Very few pieces of new music have the same emotional and visceral effect as this Symphony, he writes. It has such power and beauty, and these traits are expressed in original ways that are pure O'Connor and truly American.Marin Alsop, artistic director of the Baltimore Symphony Orchestra and this recording's conductor of the Americana Symphony, calls the Symphony simply A hit! Original music printed from the composer’s manuscripts.Music editing, copying and engraving by Mark O’Connorusing Finale on Apple Macintosh 2006 - 2007 Composed by Mark O’ConnorCommissioned by: Cabrillo Music Festival and Marin Alsop, Colorado Symphony, Dubuque Symphony, Fargo Moorhead Symphony, Fox Valley Symphony, Garrett Lakes Arts Festival, Greater Anderson Musical Arts Consortium, Imperial Symphony, Reading Symphony, Richmond Symphony, Rockford Symphony, Santa Fe Symphony, Springfield Symphony, Springfield Symphony, Symphony Silicon Valley, Youngstown Youth Symphony. Can be heard on Americana Symphony! OMAC RecordsBaltimore Symphony Orchestra, Marin Alsop
$50.00 ≈
£37.96
Rocky Mountain Vista
Rocky Mountain Vista
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Concert band
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EASY
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Folkloric/Traditional
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Stephen R Dalrymple
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Stephen R Dalrymple
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hear the wind blow
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Rocky Mountain Vista
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Stephen R Dalrymple
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SheetMusicPlus
Concert Band - Level 2 - Digital Download SKU: A0.818279 By Stephen R Dalrymple. By American Folk Song. Arranged by Stephen R Dalrymple. Folk. Score and ...
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Concert Band - Level 2 - Digital Download SKU: A0.818279 By Stephen R Dalrymple. By American Folk Song. Arranged by Stephen R Dalrymple. Folk. Score and parts. 52 pages. Stephen R Dalrymple #4854631. Published by Stephen R Dalrymple (A0.818279). Rocky Mountain Vista ♫ American Folk Song ♫ “Rocky Mountain High†with “Down in the Valley†and “Home on the Range†♫ arranged for concert band by Stephen R Dalrymple ♫ What would you see if you climbed to the rim of the Rocky Mountains (or the Appalachians)? I arranged 2 American folk songs of unknown authorship, Rocky Mountain and Down in the Valley, plus Home on the Range (by Brewster Higley (lyrics 1874) and Daniel Kelly (melody pre 1905) to portray our western mountains and range land. ♫ [2021 Update: Actually, modern theory says Rocky Mountain came from the Appalachian Mountains and describes the rocky mountains of the Appalachians, not the Rockies. But for many the song evokes memories of the Rocky Mountains. So if you look to the west or the east for high mountains, you're covered.] ♫ Rocky mountain, rocky mountain, rocky mountain high, When you’re on that rocky mountain, hang your head and cry. Loo, loo, loo, loo, Do remember me. Loo, loo, loo, loo, Do remember me. ♫ Down in the valley the valley so low, Hang your head over; hear the wind blow. Hear the wind blow dear; hear the wind blow. Hang your head over; hear the wind blow. ♫ Oh, give me a home where the buffalo roam, Where the deer and the antelope play, Where seldom is heard a discouraging word, And the skies are not cloudy all day. ♫ Home, home on the range, Where the deer and the antelope play, Where seldom is heard a discouraging word, And the skies are not cloudy all day. ♫ How often at night, when the heavens were bright, With the light of the twinkling stars, Have I stood here amazed, and asked as I gazed, If their glory exceeds that of ours! ♫ sequenced by the arranger ♫ arrangement © 2001, 2019 Stephen R Dalrymple ♫ recording ℗ 2021 Stephen R Dalrymple ♫ presentation © 2021 Stephen R Dalrymple ♫ sequenced by the arranger ♫ Purchase price includes permission to make photocopies of parts and additional scores for a medium size school band. ♫ This .pdf file includes 1) Condensed Conductor’s Score 2) Individual parts for: Instrumentation: Flute/Oboe, Clarinet 1, Clarinet 2, Clarinet 3, Bass Clarinet, Alto Clarinet/Alto Alto Sax, Tenor Sax, Baritone Sax, Trumpet 1, Trumpet 2, French Horn, Trombone/Bass Clef Baritone/Bassoon, Treble Clef Baritone, Tuba, Electric Bass, Snare Drum/Bass Drum, Triangle/Cymbal, and Bells. ♫ The YouTube video contains the full recording.
$19.00 ≈
£14.42
LILLY'S DANCE (THE TUMBLER)
LILLY'S DANCE (THE TUMBLER)
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Tenor Saxophone and Piano
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INTERMEDIATE/ADVANCED
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Joe Procopio
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the vocalist/bassist I
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LILLY'S DANCE
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JoeCopio Music LLC
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SheetMusicPlus
Large Ensemble Alto Saxophone,Baritone Saxophone,Bass Guitar,Clarinet,Drums,Flute,Piano,Tenor Saxophone - Level 4 - Digital Download SKU: A0.876447 Compo...
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Large Ensemble Alto Saxophone,Baritone Saxophone,Bass Guitar,Clarinet,Drums,Flute,Piano,Tenor Saxophone - Level 4 - Digital Download SKU: A0.876447 Composed by Joe Procopio. Dance,Jazz,Pop. Score and parts. 24 pages. JoeCopio Music LLC #53323. Published by JoeCopio Music LLC (A0.876447). LILLY’S DANCE (THE TUMBLER) Back to School 2015 From PAPA’S FAMOUS DANCES by Joe Procopio LILLY’S DANCE (THE TUMBLER) is a delightful Latin flavored dance that was inspired by Little Miss Lilly who could tumble on command all by her big self when she was only 15 months old. When I first saw her dance and tumble at such a young age, I was so moved that I wrote this piece to celebrate her ability to amaze everyone with her dancing and tumbling. LILLY’S DANCE (THE TUMBLER) was originally written and arranged for a small ensemble, band, stage band or combo with flexible instrumentation so that it may be performed with only two Saxophones (Alto Sax I and Alto Sax II) and a standard backup with Piano/Keyboard, Guitar, Bass and Drums. In addition, any combo may be augmented by adding any or all of the parts included for Flute, Clarinet, Tenor Sax, and Baritone Sax. This flexible or variable instrumentation of LILLY’S DANCE (THE TUMBLER) makes it unique and perfect for schools and colleges that do not have a permanent roster of music students entering their music programs annually. It also eases the burden for Directors searching for good music to perform for groups with ever changing numbers of music students. What’s more, LILLY’S DANCE (THE TUMBLER) has a section open for solos to enable the ensemble to feature players who can improvise well enhancing not only the group’s enjoyment but also everyone’s listening pleasure. This piece is composed in the same style of the other dances in the set - all of which have been performed by College and High School students in many major concert events along the East Coast with great success. It is published separately and in a set entitled PAPA’S FAMOUS DANCES PART 1 from the sets PAPA’S FAMOUS DANCES Part I and Part II. Each Part contains 3 Dances. I have adapted the audio here for synthesizer so that it may be previewed. It is one of 6 works named and dedicated to each of my 6 Grandchildren: Lilly, Mary, Lydia, Emma, Joey and Wilson. Instrumentation for LILLY’S DANCE (THE TUMBLER) includes SCORE and parts for: ALTO SAX I ALTO SAX II TENOR SAX BARITONE SAX FLUTE CLARINET PIANO/KEYBOARD - GUITAR - BASS - DRUMS VITA Joe Procopio is a master musician and teacher with proven success for over 50 years. His purpose in teaching, writing music and books is to make his successful method of making musicians available to as many people as possible around the world. While I cannot guarantee that my methods will make you a great musician as they have for many others, says Procopio, I can say that they are designed to magnify your love of music - and that I guarantee each will enrich and enhance your life. People from all over the world have written to me to tell me so. As a Master Musician , Joe Procopio is an ASCAP Artist, composer, conductor and professional musician. He was the Lead Reed for many of the nation's top recording artists including: The Temptations, Steve and Eydie Gorme, Aretha Franklin, Tony Bennett, Lawrence Welk, Frankie Avalon, Frankie Laine, Jack Jones, Kathryn Grayson, Carmel Quinn, Don Cornell, Bobby Rydell, Vic Damone, Rodney Dangerfield, Foster Brooks, The Vagabonds, The Ritz Brothers, Sammy Cohn, Jimmy Van Heusen, Tiny Tim, Al Martino, Petula Clark, Wayne Newton, Pat Cooper, The Four Tops, The Spinners, etc. Lead Alto Sax Jimmy Dorsey Orchestra and the Palace Theater Myrtle Beach, SC He is listed in The Encyclopedia of Saxophone Music Londeix, Roncorp Pub. He is the teacher of Guitarist T. Maxwell heard in TV’s Magnum P.I., The Rockford Files and Kojak ; the vocalist/bassist I. Cattell of Brit Floyd (Pink Floyd) and New York Tenor Saxophonist Paul Carlon to mention a few. His accomplishments as a teacher include: The Miles Clark Endowed Chair, Music, College of the Albemarle, Elizabeth City, NC, Chair Music Depart.
$4.99 ≈
£3.79
MY SWEET LYDIA
MY SWEET LYDIA
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Tenor Saxophone and Piano
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INTERMEDIATE/ADVANCED
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Joe Procopio
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the vocalist/bassist I
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MY SWEET LYDIA
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JoeCopio Music LLC
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SheetMusicPlus
Large Ensemble Alto Saxophone,Baritone Saxophone,Bass Guitar,Clarinet,Drums,Flute,Piano,Tenor Saxophone - Level 4 - Digital Download SKU: A0.876449 Compo...
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Large Ensemble Alto Saxophone,Baritone Saxophone,Bass Guitar,Clarinet,Drums,Flute,Piano,Tenor Saxophone - Level 4 - Digital Download SKU: A0.876449 Composed by Joe Procopio. Dance,Jazz,Pop. Score and parts. 33 pages. JoeCopio Music LLC #53329. Published by JoeCopio Music LLC (A0.876449). MY SWEET LYDIA Back to School 2015 From PAPA’S FAMOUS DANCES by Joe Procopio MY SWEET LYDIA is a dance written and arranged by Joe Procopio for a small ensemble, band, stage band or combo. It was originally composed for a small band with flexible instrumentation. It may be performed with only two Saxophones (Alto Sax I and Alto Sax II) and a standard backup with Piano/Keyboard, Guitar, Bass and Drums. In addition, any combo may be augmented by adding any or all of the parts included for Flute, Clarinet, Tenor Sax, and Baritone Sax. This flexible or variable instrumentation of MY SWEET LYDIA makes it unique and perfect for schools and colleges that do not have a permanent roster of music students entering their music programs annually. It also eases the burden for Directors searching for good music to perform for groups with ever changing numbers of music students. What’s more, MY SWEET LYDIA has a section open for solos to enable the ensemble to feature players who can improvise well enhancing not only the group’s enjoyment but also everyone’s listening pleasure. This piece has been performed by College and High School students in many major concert events all along the East Coast with great success. It is published separately and in a set entitled PAPA’S FAMOUS DANCES PART 1 from the sets PAPA’S FAMOUS DANCES Part I and Part II. Each Part contains 3 Dances. I have adapted the audio here for synthesizer so that it may be previewed. It is one of 6 works named and dedicated to each of my 6 Grandchildren: Lilly, Mary, Lydia, Emma, Joey and Wilson. Instrumentation for MY SWEET LYDIA includes SCORE and parts for: ALTO SAX I ALTO SAX II TENOR SAX BARITONE SAX FLUTE CLARINET PIANO/KEYBOARD - GUITAR - BASS - DRUMS VITA Joe Procopio is a master musician and teacher with proven success for over 50 years. His purpose in teaching, writing music and books is to make his successful method of making musicians available to as many people as possible around the world. While I cannot guarantee that my methods will make you a great musician as they have for many others, says Procopio, I can say that they are designed to magnify your love of music - and that I guarantee each will enrich and enhance your life. People from all over the world have written to me to tell me so. As a Master Musician , Joe Procopio is an ASCAP Artist, composer, conductor and professional musician. He was the Lead Reed for many of the nation's top recording artists including: The Temptations, Steve and Eydie Gorme, Aretha Franklin, Tony Bennett, Lawrence Welk, Frankie Avalon, Frankie Laine, Jack Jones, Kathryn Grayson, Carmel Quinn, Don Cornell, Bobby Rydell, Vic Damone, Rodney Dangerfield, Foster Brooks, The Vagabonds, The Ritz Brothers, Sammy Cohn, Jimmy Van Heusen, Tiny Tim, Al Martino, Petula Clark, Wayne Newton, Pat Cooper, The Four Tops, The Spinners, etc. Lead Alto Sax Jimmy Dorsey Orchestra and the Palace Theater Myrtle Beach, SC He is listed in The Encyclopedia of Saxophone Music Londeix, Roncorp Pub. He is the teacher of Guitarist T. Maxwell heard in TV’s Magnum P.I., The Rockford Files and Kojak ; the vocalist/bassist I. Cattell of Brit Floyd (Pink Floyd) and New York Tenor Saxophonist Paul Carlon to mention a few. His accomplishments as a teacher include: The Miles Clark Endowed Chair, Music, College of the Albemarle, Elizabeth City, NC, Chair Music Department Cazenovia Central School NY Director Of Instrumental Music Chapel Hill/Carrboro City Schools NC Adjunct Professor Applied Music Cazenovia College, NY.
$4.99 ≈
£3.79
MARY ~ ELAINE
MARY ~ ELAINE
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Tenor Saxophone and Piano
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INTERMEDIATE/ADVANCED
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Joe Procopio
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the vocalist/bassist I
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MARY ~ ELAINE
#
JoeCopio Music LLC
#
SheetMusicPlus
Large Ensemble Alto Saxophone,Baritone Saxophone,Bass Guitar,Clarinet,Drums,Flute,Piano,Tenor Saxophone - Level 4 - Digital Download SKU: A0.876448 Compo...
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Large Ensemble Alto Saxophone,Baritone Saxophone,Bass Guitar,Clarinet,Drums,Flute,Piano,Tenor Saxophone - Level 4 - Digital Download SKU: A0.876448 Composed by Joe Procopio. Dance,Jazz,Pop. Score and parts. 23 pages. JoeCopio Music LLC #53327. Published by JoeCopio Music LLC (A0.876448). MARY ~ ELAINE Back to School 2015 From PAPA’S FAMOUS DANCES by Joe Procopio MARY ~ ELAINE is a dance written and arranged by Joe Procopio for a small ensemble, band, stage band or combo. It was originally composed for a small band with flexible instrumentation. It may be performed with only two Saxophones (Alto Sax I and Alto Sax II) and a standard backup with Piano/Keyboard, Guitar, Bass and Drums. In addition, any combo may be augmented by adding any or all of the parts included for Flute, Clarinet, Tenor Sax, and Baritone Sax. This flexible or variable instrumentation of MARY ~ ELAINE makes it unique and perfect for schools and colleges that do not have a permanent roster of music students entering their music programs annually. It also eases the burden for Directors searching for good music to perform for groups with ever changing numbers of music students. What’s more, MARY ~ ELAINE has a section open for solos to enable the ensemble to feature players who can improvise well enhancing not only the group’s enjoyment but also everyone’s listening pleasure. This piece has been performed by College and High School students in many major concert events all along the East Coast with great success. It is published separately and in a set entitled PAPA’S FAMOUS DANCES PART 1 from the sets PAPA’S FAMOUS DANCES Part I and Part II. Each Part contains 3 Dances. I have adapted the audio here for synthesizer so that it may be previewed. It is one of 6 works named and dedicated to each of my 6 Grandchildren: Lilly, Mary, Lydia, Emma, Joey and Wilson. Instrumentation for MARY ~ ELAINE includes SCORE and parts for: ALTO SAX I ALTO SAX II TENOR SAX BARITONE SAX FLUTE CLARINET PIANO/KEYBOARD - GUITAR - BASS - DRUMS VITA Joe Procopio is a master musician and teacher with proven success for over 50 years. His purpose in teaching, writing music and books is to make his successful method of making musicians available to as many people as possible around the world. While I cannot guarantee that my methods will make you a great musician as they have for many others, says Procopio, I can say that they are designed to magnify your love of music - and that I guarantee each will enrich and enhance your life. People from all over the world have written to me to tell me so. As a Master Musician , Joe Procopio is an ASCAP Artist, composer, conductor and professional musician. He was the Lead Reed for many of the nation's top recording artists including: The Temptations, Steve and Eydie Gorme, Aretha Franklin, Tony Bennett, Lawrence Welk, Frankie Avalon, Frankie Laine, Jack Jones, Kathryn Grayson, Carmel Quinn, Don Cornell, Bobby Rydell, Vic Damone, Rodney Dangerfield, Foster Brooks, The Vagabonds, The Ritz Brothers, Sammy Cohn, Jimmy Van Heusen, Tiny Tim, Al Martino, Petula Clark, Wayne Newton, Pat Cooper, The Four Tops, The Spinners, etc. Lead Alto Sax Jimmy Dorsey Orchestra and the Palace Theater Myrtle Beach, SC He is listed in The Encyclopedia of Saxophone Music Londeix, Roncorp Pub. He is the teacher of Guitarist T. Maxwell heard in TV’s Magnum P.I., The Rockford Files and Kojak ; the vocalist/bassist I. Cattell of Brit Floyd (Pink Floyd) and New York Tenor Saxophonist Paul Carlon to mention a few. His accomplishments as a teacher include: The Miles Clark Endowed Chair, Music, College of the Albemarle, Elizabeth City, NC, Chair Music Department Cazenovia Central School NY Director Of Instrumental Music Chapel Hill/Carrboro City Schools NC Adjunct Professor Applied Music Cazenovia College, NY.
$4.99 ≈
£3.79
JOEY'S READY
JOEY'S READY
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Tenor Saxophone and Piano
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INTERMEDIATE/ADVANCED
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Joe Procopio
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the vocalist/bassist I
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JOEY'S READY
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JoeCopio Music LLC
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SheetMusicPlus
Large Ensemble Alto Saxophone,Baritone Saxophone,Bass Guitar,Clarinet,Drums,Flute,Piano,Tenor Saxophone - Level 4 - Digital Download SKU: A0.876451 Compo...
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Large Ensemble Alto Saxophone,Baritone Saxophone,Bass Guitar,Clarinet,Drums,Flute,Piano,Tenor Saxophone - Level 4 - Digital Download SKU: A0.876451 Composed by Joe Procopio. Dance,Jazz,Pop. Score and parts. 28 pages. JoeCopio Music LLC #53333. Published by JoeCopio Music LLC (A0.876451). JOEY’S READY Back to School 2015 From PAPA’S FAMOUS DANCES by Joe Procopio JOEY’S READY is a dance written and arranged by Joe Procopio for a small ensemble, stage band or combo. It was originally composed for a small band with flexible instrumentation. It may be performed with only two Saxophones (Alto Sax I and Alto Sax II) and a standard backup with Piano/Keyboard, Guitar, Bass and Drums. In addition, any combo may be augmented by adding any or all of the parts included for Flute, Clarinet, Tenor Sax, and Baritone Sax. This flexible or variable instrumentation of JOEY’S READY makes it unique and perfect for schools and colleges that do not have a permanent roster of music students entering their music programs annually. It also eases the burden for Directors searching for good music to perform for groups with ever changing numbers of music students. What’s more, JOEY’S READY has a section open for solos to enable the ensemble to feature players who can improvise well enhancing not only the group’s enjoyment but also everyone’s listening pleasure. This piece has been performed by College and High School students in many major concert events along the East Coast with great success. It is published separately and in a set entitled PAPA’S FAMOUS DANCES PART 2 from the sets PAPA’S FAMOUS DANCES Part I and Part II. Each Part contains 3 Dances. I have adapted the audio here for synthesizer so that it may be previewed. It is one of 6 works named and dedicated to each of my 6 Grandchildren: Lilly, Mary, Lydia, Emma, Joey and Wilson. Instrumentation for JOEY’S READY includes SCORE and parts for: ALTO SAX I ALTO SAX II TENOR SAX BARITONE SAX FLUTE CLARINET PIANO/KEYBOARD - GUITAR - BASS - DRUMS VITA Joe Procopio is a master musician and teacher with proven success for over 50 years. His purpose in teaching, writing music and books is to make his successful method of making musicians available to as many people as possible around the world. While I cannot guarantee that my methods will make you a great musician as they have for many others, says Procopio, I can say that they are designed to magnify your love of music - and that I guarantee each will enrich and enhance your life. People from all over the world have written to me to tell me so. As a Master Musician , Joe Procopio is an ASCAP Artist, composer, conductor and professional musician. He was the Lead Reed for many of the nation's top recording artists including: The Temptations, Steve and Eydie Gorme, Aretha Franklin, Tony Bennett, Lawrence Welk, Frankie Avalon, Frankie Laine, Jack Jones, Kathryn Grayson, Carmel Quinn, Don Cornell, Bobby Rydell, Vic Damone, Rodney Dangerfield, Foster Brooks, The Vagabonds, The Ritz Brothers, Sammy Cohn, Jimmy Van Heusen, Tiny Tim, Al Martino, Petula Clark, Wayne Newton, Pat Cooper, The Four Tops, The Spinners, etc. Lead Alto Sax Jimmy Dorsey Orchestra and the Palace Theater Myrtle Beach, SC He is listed in The Encyclopedia of Saxophone Music Londeix, Roncorp Pub. He is the teacher of Guitarist T. Maxwell heard in TV’s Magnum P.I., The Rockford Files and Kojak ; the vocalist/bassist I. Cattell of Brit Floyd (Pink Floyd) and New York Tenor Saxophonist Paul Carlon to mention a few. His accomplishments as a teacher include: The Miles Clark Endowed Chair, Music, College of the Albemarle, Elizabeth City, NC, Chair Music Department Cazenovia Central School NY Director Of Instrumental Music Chapel Hill/Carrboro City Schools NC Adjunct Professor Applied Music Cazenovia College, NY.
$4.99 ≈
£3.79
Ben Hur Chariot Race March
Ben Hur Chariot Race March
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Brass Quintet: 2 trumpets, horn, trombone, tuba
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1894, he was the manager of th
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Edward Taylor Paull
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Judith Katz
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one in 1907, 1925, and 1959
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Ben Hur Chariot Race March
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Imagine Music - Digital
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SheetMusicPlus
Brass quintet - Digital Download SKU: IZ.CMS164 Composed by Edward Taylor Paull. Arranged by Judith Katz. Score and Parts. 24 pages. Imagine Music - Digi...
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Brass quintet - Digital Download SKU: IZ.CMS164 Composed by Edward Taylor Paull. Arranged by Judith Katz. Score and Parts. 24 pages. Imagine Music - Digital #CMS164. Published by Imagine Music - Digital (IZ.CMS164). 9 x 12 in inches.While doing some research on pre-20th Century American composers, I came across the name of Edward Taylor Paull. In all of my years as a flutist, conductor, and now writer, I never heard of Paull before, but I was curious enough to look for any sound files of his music, and came across both live piano performances and piano roll performances of the Ben HurChariot Race March on YouTube.Edward Taylor Paul, known in some circles as The Other March King was born on February 16th, 1858. In Gerrardstown, Virginia, now West Virginia. While not too much is known about his early years, we do know that his adult years were spent as itinerant musician, instrument sales person, selling pianos and organs, composer, as well as publisher.The Civil War era had Patrick Sarsfield Gillmore as the most famous bandleader and composer. As children of this era, John Philip Sousa and Edward Taylor Paull, were destined to follow in Gillmore's footsteps. While Sousa became successful through his work as both conductor and composer, even attaining the moniker of March King, the road to success and fame was more difficult for Paull. We do know, that by 1878, he was the manager of a music store that sold pianos and organs, eventually going bankrupt, and having to be bailed out by his own father. By 1894, he was the manager of the Richmond Music Publishing Company, and this was the same year that he was issued his first copyright on the Ben Hur Chariot Race March This was originally written for piano, particularly, the parlour piano. This was to become one of many marches and parlour piano compositions by 'E.T, Paull. He may not have been the most skilled musician of his era, but he was wise enough to realize how popular marches became in 1880's and '90's.Paull's compositions were also associated with beautiful color covers. He was fortunate to live in Richmond, Virginia, and the lithography company of A. Hoen & Company, provided him the highest quality and richly-colored art work for his compositions. This company was unique, in that they used a five- color process, which added depth to the color. Thepopularity of marches, plus the great covers, both contributed to the 60,000 copies that the Ben Hur Chariot Race March sold in its first printing. Not bad, for a first composition.Paull found inspiration for his march from the novel Ben Hur, written and published by General Lew Wallace in 1880. Paull dedicated his composition to Wallace, who sold many copies of his book. Eventually, there was a stage play and three film renditions; one in 1907, 1925, and 1959. Some time in the 1920's, the Sousa Band recorded the Ben Hur Chariot Race March, and of course, the MGM, 1925 film version, helped in a renewed popularity of Paull's composition.Edward Taylor Paull died in 1924, and his wife retained the copyright, until it went into public domain. What remains today are a few music examples in the Library of Congress collection, as well as some 78's and piano rolls. While I did my research on this piece, I tried to find any applicable Sousa manuscripts of a possible arrangement, but I could not findany. I usually write for woodwinds, but in this case, I thought that a brass quintet would sound far better. I also chose a moderate tempo, so as not to lose some of the nuances of the original composition.
$12.00 ≈
£9.11
PAPA'S FAMOUS DANCES PART 2
PAPA'S FAMOUS DANCES PART 2
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Tenor Saxophone and Piano
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INTERMEDIATE/ADVANCED
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Joe Procopio
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the vocalist/bassist I
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PAPA'S FAMOUS DANCES PART 2
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JoeCopio Music LLC
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SheetMusicPlus
Large Ensemble Alto Saxophone,Baritone Saxophone,Bass Guitar,Clarinet,Drums,Flute,Piano,Tenor Saxophone - Level 4 - Digital Download SKU: A0.876455 Compo...
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Large Ensemble Alto Saxophone,Baritone Saxophone,Bass Guitar,Clarinet,Drums,Flute,Piano,Tenor Saxophone - Level 4 - Digital Download SKU: A0.876455 Composed by Joe Procopio. Dance,Jazz,Pop. Score and parts. 82 pages. JoeCopio Music LLC #53355. Published by JoeCopio Music LLC (A0.876455). PAPA’S FAMOUS DANCES - PART 2 Back to School 2015 From A Collection Of Six Dances As Combo Music EMMA’S BLUES JOEY’S READY WILSON’S BOOGIE WOOGIE PAPA’S FAMOUS DANCES PART 2 is a collection of 3 Dances as combo music composed and arranged by Joe Procopio for a small ensemble, band, stage band or combo with flexible instrumentation. These works may be performed with only two Saxes (Alto Sax I and Alto Sax II) and a standard backup with Piano/Keyboard, Guitar, Bass and Drums. In addition, any combo may be augmented by adding any or all of the parts included for Flute, Clarinet, Tenor Sax, and Baritone Sax. This flexible or variable instrumentation of the dances makes them unique and perfect for schools and colleges that do not have a permanent roster of music students entering their music programs annually. It also eases the burden for Directors searching for good music to perform for groups with ever changing numbers of music students. What’s more, each dance has a section open for solos to enable the ensemble to feature players who can improvise well enhancing not only the group’s enjoyment but also everyone’s listening pleasure. These works have been performed by College and High School students in many major concert events along the East Coast with great success. They are published separately and in sets PAPA’S FAMOUS DANCES Part 1 and PAPA’S FAMOUS DANCES Part 2 with each Part containing 3 Dances. I have adapted the audio here for synthesizer so that they may be previewed. The works are named and dedicated to each of my 6 Grandchildren: Lilly, Mary, Lydia, Emma, Joey and Wilson. VITA Joe Procopio is a master musician and teacher with proven success for over 50 years. His purpose in teaching, writing music and books is to make his successful method of making musicians available to as many people as possible around the world. While I cannot guarantee that my methods will make you a great musician as they have for many others, says Procopio, I can say that they are designed to magnify your love of music - and that I guarantee each will enrich and enhance your life. People from all over the world have written to me to tell me so. As a Master Musician , Joe Procopio is an ASCAP Artist, composer, conductor and professional musician. He was the Lead Reed for many of the nation's top recording artists including: The Temptations, Steve and Eydie Gorme, Aretha Franklin, Tony Bennett, Lawrence Welk, Frankie Avalon, Frankie Laine, Jack Jones, Kathryn Grayson, Carmel Quinn, Don Cornell, Bobby Rydell, Vic Damone, Rodney Dangerfield, Foster Brooks, The Vagabonds, The Ritz Brothers, Sammy Cohn, Jimmy Van Heusen, Tiny Tim, Al Martino, Petula Clark, Wayne Newton, Pat Cooper, The Four Tops, The Spinners, etc. Lead Alto Sax Jimmy Dorsey Orchestra and the Palace Theater Myrtle Beach, SC He is listed in The Encyclopedia of Saxophone Music Londeix, Roncorp Pub. He is the teacher of Guitarist T. Maxwell heard in TV’s Magnum P.I., The Rockford Files and Kojak ; the vocalist/bassist I. Cattell of Brit Floyd (Pink Floyd) and New York Tenor Saxophonist Paul Carlon to mention a few. His accomplishments as a teacher include: The Miles Clark Endowed Chair, Music, College of the Albemarle, Elizabeth City, NC, Chair Music Department Cazenovia Central School NY Director Of Instrumental Music Chapel Hill/Carrboro City Schools NC Adjunct Professor Applied Music Cazenovia College, NY.
$9.99 ≈
£7.58
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Do You Hear What I Hear? Conductor Score
