SKU: CF.YPS253
ISBN 9781491161364. UPC: 680160919956.
A brief introduction sets the mood for this hauntingly beautiful piece. As gentle breezes begin to blow on the surface, the clouds above begin appear in an array of different formations. The clouds float slowly from east to west, as if in an Impressionistic painting. This is one of nature's beautiful settings, and one can seemingly follow the clouds for hours. From a young player's vantage point they must confidently play the intentional dissonance on the third beat of measures 10, 14, 42 and 46. Once they get used to the sound it should become an enjoyable dissonance. In measures 25 to 27, balance the flutes and clarinets so the volume level is consistent between both parts. In general, the piece should be performed at a very relaxed pace, but a disciplined steady beat will be necessary to keep the sixteenth notes even and relaxed at measures 29 through 34. The final chord is a Bb major 7, and the clarinets and alto saxes should be equal in volume before the gradual fade.A brief introduction sets the mood for this hauntingly beautiful piece. As gentle breezes begin to blow on the surface, the clouds above begin appear in an array of different formations. The clouds float slowly from east to west, as if in an Impressionistic painting. This is one of nature's beautiful settings, and one can seemingly follow the clouds for hours.From a young player's vantage point they must confidently play the intentional dissonance on the third beat of measures 10, 14, 42 and 46. Once they get used to the sound it should become an ??enjoyable dissonance.? In measures 25 to 27, balance the flutes and clarinets so the volume level is consistent between both parts. In general, the piece should be performed at a very relaxed pace, but a disciplined steady beat will be necessary to keep the sixteenth notes even and relaxed at measures 29 through 34. The final chord is a Bb major 7, and the clarinets and alto saxes should be equal in volume before the gradual fade.
SKU: CF.YPS253F
ISBN 9781491161920. UPC: 680160920600.
A brief introduction sets the mood for this hauntingly beautiful piece. As gentle breezes begin to blow on the surface, the clouds above begin appear in an array of different formations. The clouds float slowly from east to west, as if in an Impressionistic painting. This is one of nature's beautiful settings, and one can seemingly follow the clouds for hours. From a young player's vantage point they must confidently play the intentional dissonance on the third beat of measures 10, 14, 42 and 46. Once they get used to the sound it should become an enjoyable dissonance. In measures 25 to 27, balance the flutes and clarinets so the volume level is consistent between both parts. In general, the piece should be performed at a very relaxed pace, but a disciplined steady beat will be necessary to keep the sixteenth notes even and relaxed at measures 29 through 34. The final chord is a Bb major 7, and the clarinets and alto saxes should be equal in volume before the gradual fade.A brief introduction sets the mood for this hauntingly beautiful piece. As gentle breezes begin to blow on the surface, the clouds above begin appear in an array of different formations. The clouds float slowly from east to west, as if in an Impressionistic painting. This is one of nature's beautiful settings, and one can seemingly follow the clouds for hours.From a young player's vantage point they must confidently play the intentional dissonance on the third beat of measures 10, 14, 42 and 46. Once they get used to the sound it should become an “enjoyable dissonance.†In measures 25 to 27, balance the flutes and clarinets so the volume level is consistent between both parts. In general, the piece should be performed at a very relaxed pace, but a disciplined steady beat will be necessary to keep the sixteenth notes even and relaxed at measures 29 through 34. The final chord is a Bb major 7, and the clarinets and alto saxes should be equal in volume before the gradual fade.
SKU: HL.50514212
SKU: HL.228948
UPC: 680160431755. 8.5x11 inches.
For alto flute, clarinet, piano and percussion.
SKU: CF.CPS250
ISBN 9781491159576. UPC: 680160918164.
Kalei doscope Sky is inspired by the breathtaking pastime of hot-air ballooning and the glorious festivals around the world that honor the practice. A sky full of colorful spheres elegantly floating at the Albuquerque International Balloon Fiesta, International Balloon Festival of Saint-Jean-sur-Richelieu, Bristol International Balloon Fiesta, Mondial Air Ballons and more draw thousands of people to witness awe-inspiring scenes full of passionate balloonists. Traditional hot-air balloons mix with creatively designed balloons to thrill the tens of thousands of spectators below. While I personally am not a person who dreams of taking my own flight--heights are not my thing--I have to marvel at how gently and easily these vessels float among the clouds. It truly is an image of exquisite freedom. This piece reflects the view and experience of the onlooker taking in an elegantly shifting scene reminiscent of kaleidoscope patterns. Spectators like me can appreciate the beauty and vibrancy associated with a horizon full of adventurous balloonists and their wondrous aircrafts. Kaleidoscope Sky starts in a triumphant and celebratory fashion and continues to conjure images reminiscent of the wide variety of soaring colors on display at a hot-air balloon event. Ultimately, the piece appropriately concludes with a suspenseful, yet graceful, run to the finish line. Melodic lines should soar with attention being paid to phrase markings and assigned articulations. Encourage musicians to allow room for the melodic material to be heard in thicker textures where supporting harmonies are often rhythmic in nature. These harmonies should support, and not cloud the melodies. The meter changes should sound effortless, and the continuous figures in the percussion will help to achieve this effect. The snare drum, in particular, should bring accented notes to the foreground while maintaining a steady textural effect with non-accented notes as a rhythmic background. This will go a long way in finding a cohesive subdivision and ensemble pulse.Kaleidoscope Sky is inspired by the breathtaking pastime of hot-air ballooning and the glorious festivals around the world that honor the practice. A sky full of colorful spheres elegantly floating at the Albuquerque International Balloon Fiesta, International Balloon Festival of Saint-Jean-sur-Richelieu, Bristol International Balloon Fiesta, Mondial Air Ballons and more draw thousands of people to witness awe-inspiring scenes full of passionate balloonists. Traditional hot-air balloons mix with creatively designed balloons to thrill the tens of thousands of spectators below. While I personally am not a person who dreams of taking my own flight—heights are not my thing—I have to marvel at how gently and easily these vessels float among the clouds. It truly is an image of exquisite freedom. This piece reflects the view and experience of the onlooker taking in an elegantly shifting scene reminiscent of kaleidoscope patterns. Spectators like me can appreciate the beauty and vibrancy associated with a horizon full of adventurous balloonists and their wondrous aircrafts. Kaleidoscope Sky starts in a triumphant and celebratory fashion and continues to conjure images reminiscent of the wide variety of soaring colors on display at a hot-air balloon event. Ultimately, the piece appropriately concludes with a suspenseful, yet graceful, run to the finish line.Melodic lines should “soar†with attention being paid to phrase markings and assigned articulations. Encourage musicians to allow room for the melodic material to be heard in thicker textures where supporting harmonies are often rhythmic in nature. These harmonies should support, and not “cloud†the melodies. The meter changes should sound effortless, and the continuous figures in the percussion will help to achieve this effect. The snare drum, in particular, should bring accented notes to the foreground while maintaining a steady textural effect with non-accented notes as a rhythmic background. This will go a long way in finding a cohesive subdivision and ensemble pulse.
SKU: CF.CPS250F
ISBN 9781491159583. UPC: 680160918171.
SKU: CY.CC3066
ISBN 9790530110430. 8.5 x 11 in inches.
Nuages (Clouds) is the first movement from the orchestral tryptych, Nocturnes written in 1899 and inspired by a series of impressionist paintings by the same name by James Abbot McNeill Whistler. The work is flowing and mysterious and uses the sky as the musical canvas with the slow motion of the clouds floating across with the tones of color from white to dark gray. Randall Malmstrom's unique arrangement for 8-part Trombone Ensemble uses a family of mutes (optional....straight, cup and bucket) to bring out the colors of Debussy's work of genius.
SKU: AP.47430S
ISBN 9781470653194. UPC: 038081544670. English.
There is a method book hidden within the context of this concert piece! While floating through the Clouds, Rain, Thunder, and Sun, this multi-movement work focuses students on music literacy. A-, D-, and G-string notes are introduced one movement at a time. Throughout each of the movements, students will explore different time signatures, tempi, and bow techniques---then get a chance to put all their knowledge together in the finale. Perfect as a review for intermediate players or even as an intro to music reading for beginners! This title is available in MakeMusic Cloud.
SKU: HL.645680
UPC: 008148061471. 9.0x12.0x0.012 inches.
SKU: HL.233289
12.0x9.25x0.43 inches.
Score and separate parts with spiral-bound keyboard/organ part. Number 5, 1950 was Mark Rothko's last painting before the breakthrough into his mature format. In it the luminous color fields of a classic Rothko are inscribed across the middle with three delicate lines. Describing this painting and its pivotal position in Rothko's work, Brian O'Doherty observes: 'After this, the lines disappear completely.' In recent years gesture and figuration have disappeared from my music. What used to be background has emerged to become a musical world composed entirely of floating color fields. In this new world I've changed media, moving from the orchestra to smaller combinations of acoustical instruments and electronically-processed sounds. I still think in orchestral terms, but this hybrid medium allows me to create orchestral textures for more practical and readily available ensembles. Initially I imagined this as a kind of monolithic music -an entire piece as one rich and complex sound. Then I came to hear it as homophonic or heterophonic. And now - in this musical world that I thought was completely free of lines - I've come to hear a polyphony of harmonic clouds. Maybe the lines never disappear completely. Maybe Christian Wolff was right when he quipped: 'No matter what we do, sooner or later it all sounds melodic.' - John Luther Adams.
