Quartet In C Major For Woodwinds

SKU: GI.G-018000

[Category].

Befo re the implementation of the new translation of The Roman Missal, the Mass of Redemption enjoyed a high level of popularity in parishes across the country and beyond. With the advent of the new translation, this Mass has become even more popular. Steve Janco rewrote the Gloria for the new translation and his through-composed setting is energetic and bright, bringing a sparkle to the new text. The Mass is written in the bright key of D major, bringing a joyful quality to the celebration of Sunday Mass, especially during the Christmas and Easter seasons, as well as the Sundays of Ordinary Time. Set for cantor, choir, assembly, keyboard, and guitar (with optional instrumental parts for brass quartet and timpani, two woodwinds, and handbells), the choral writing is in two parts (SA/TB) with optional third voice, often a soprano descant, at climaxes in various sections. Music directors agree that the simple choral arranging makes this a setting appropriate for parishes that do not have the musical “forces” to sing many of the more vocally complex Mass settings. Mass of Redemption brings the choir, musicians, and assembly together in a symphony of praise and thanksgiving for the great gift of redemption in Christ—a wonderful setting to raise hearts and voices to God at Sunday Mass. Join the hundreds of parishes that have made Mass of Redemption a musical staple and a reliable setting of the Mass. Parishes simply never grow weary of singing this setting!   Highlights: Highly popular among parishes before the implementation of new texts, now even more widely used! Written in the key of D major, bringing jubilance to the celebration of Mass. A variety of options for instrumentation with simple choral arrangements—ideal for smaller choirs. A delightful setting for the Christmas and Easter seasons and ideal for Sundays during Ordinary Time.  .

SKU: CL.CTS-7709-00

Legendary composer W. Francis McBeth once said, If Claude Smith only wrote the fanfare to Eternal Father, he would still be a legend. Smith takes the Navy’s hymn as the basis for his fanfare. This famous hymn tune, normally in the major key, has now been placed in the minor key then transitions to Allegro Vivace. The hymn tune is put through its paces including several variations and two fugatos (one for the woodwinds and one for brass). A short transition,(including the famous 7/8 measure!) to the now well-known setting for French horn quartet, gives us an emotional rendition of the original hymn tune now in the major key. The full band plays the hymn, and a timpani roll takes us back to the original fanfare now in C major. A classic of literature and a composition which will provide a meaningful experience for musician and audience member alike.

SKU: CL.CTS-7709-01

Legendary composer W. Francis McBeth once said, If Claude Smith only wrote the fanfare to Eternal Father, he would still be a legend. Smith takes the Navy’s hymn as the basis for his fanfare. This famous hymn tune, normally in the major key, has now been placed in the minor key then transitions to Allegro Vivace. The hymn tune is put through its paces including several variations and two fugatos (one for the woodwinds and one for brass). A short transition,(including the famous 7/8 measure!) to the now well-known setting for French horn quartet, gives us an emotional rendition of the original hymn tune now in the major key. The full band plays the hymn, and a timpani roll takes us back to the original fanfare now in C major. A classic of literature and a composition which will provide a meaningful experience for musician and audience member alike.

SKU: HL.4008643

ISBN 9798350114997. UPC: 196288189664.

Durin g his experience as a band conductor and teacher of wind orchestra conducting at university, Franco Cesarini has dealt with the topic of warm-ups very frequently. Throughout these long years of conducting he has had the opportunity to try many existing methods, evaluating their advantages and disadvantages. After a long time, he has decided to compile a collection of chorales for warm-ups, which are organized according to the criteria that he considers most effective. While working on his60 Warm-up Chorales for Concert Band, Franco Cesarini has always borne in mind that amateur musicians play for pleasure. He feels that it is extremely important that they have satisfaction at every moment of the rehearsal and not to start the rehearsal with needless “punishing” exercises. Nobody is really motivated to start playing with scales, long notes, or tricky rhythmical exercises. There is often a distinguished absentee in band rehearsals, namely music itself! Although this publication does not foresee a specific tempo for the chorales, they should often be performed rather slowly but without dragging. Dynamics are not indicated, so that the conductor has the opportunity to draw the attention of the musicians to his gestures and to make them react according to his indications. Timpani and bell parts have been added with the aim of not leaving the percussionists completely inactive during the warm-up phase, but can also be omitted. The chorales are written in four parts (SATB) and are also playable in smaller groups. The four voices can be played in different combinations of woodwinds or brass quartets or in mixed combinations. The collection includes ten chorales for the following keys: D flat major, A flat major, E flat major, B flat major, F major and C major. With his 60 Warm-up Chorales Franco Cesarini would like to convey the message to play the chorales in a musical way, thus raising the musicians’awareness of phrasing, the right interpretation of cadences, rubato and agogic. Above all, never do anything withoutputting the musical aspect in the foreground.

SKU: HL.4007483

UPC: 196288058175.

Durin g his experience as a band conductor and teacher of wind orchestra conducting at university, Franco Cesarini has dealt with the topic of warm-ups very frequently. Throughout these long years of conducting he has had the opportunity to try many existing methods, evaluating their advantages and disadvantages. After a long time, he has decided to compile a collection of chorales for warm-ups, which are organized according to the criteria that he considers most effective. While working on his60 Warm-up Chorales for Concert Band, Franco Cesarini has always borne in mind that amateur musicians play for pleasure. He feels that it is extremely important that they have satisfaction at every moment of the rehearsal and not to start the rehearsal with needless “punishing” exercises. Nobody is really motivated to start playing with scales, long notes, or tricky rhythmical exercises. There is often a distinguished absentee in band rehearsals, namely music itself! Although this publication does not foresee a specific tempo for the chorales, they should often be performed rather slowly but without dragging. Dynamics are not indicated, so that the conductor has the opportunity to draw the attention of the musicians to his gestures and to make them react according to his indications. Timpani and bell parts have been added with the aim of not leaving the percussionists completely inactive during the warm-up phase, but can also be omitted. The chorales are written in four parts (SATB) and are also playable in smaller groups. The four voices can be played in different combinations of woodwinds or brass quartets or in mixed combinations. The collection includes ten chorales for the following keys: D flat major, A flat major, E flat major, B flat major, F major and C major. With his 60 Warm-up Chorales Franco Cesarini would like to convey the message to play the chorales in a musical way, thus raising the musicians’awareness of phrasing, the right interpretation of cadences, rubato and agogic. Above all, never do anything withoutputting the musical aspect in the foreground.

SKU: SU.00220550

This CD Sheet Music� collection makes available fourteen essential flute methods, studies and exercises, as well as over 150 works for flute duos, trios and quartets by over 30 composers from the 18th and 19th centuries. Methods, Studies and Exercises include: Altès (Method for the Boehm Flute, 26 Selected Studies), J.S. Bach (24 Flute Concert Studies), Andersen (24 Etudes, Op. 33), Gariboldi (20 Studies, Op. 132, 30 Easy and Progressive Studies), Hughes (24 Studies, Op. 32/75); Karg-Elert (30 Studies, Op. 107), Köhler (25 Romantic Etudes, Op. 66, 20 Easy Melodic Progressive Exercises, Op. 93), Reichert (7 Daily Exercises, Op. 5), Wagner (Flute Studies in Old and Modern Styles) Duets, Trios and Quartets include: W.F. Bach (6 Duets), de la Barre (Prelude), Beethoven (Allegro and Mineut), Berbiguier (Six Duets, Op. 59), Boismortier (Two Sonatas), Bordet (Timbourins), Briccaldi (Eight Duos, Op. 132), Chinzer/Bordet (The Hunt), Devienne (6 Duets, Op. 82), Dietter(Romance), Finger Fugue); Fürstenau (6 Duets, Op. 137), Gariboldi (Six Easy Duets), Hotteterre (Les Fargis sur les délices), Hugot/Wunderlich (Four Duets), Koechlin (Sonata for Two Flutes), Köhler (Forty Progressive Duets), Kuhlau (Three Brilliant Duos, Op. 81 and 102, Three Grand Duets, Op. 39, Three Grand Trios, Op. 86), Kummer (Trio, Op. 24)), de Lasso (Two Fantasies), Legoux/Bordet (Musette), Le Loup (Sarabande), Loeillet (Sonata in E minor and Sonata in G minor for two flutes and piano), Mozart (3 Duets, Op. 156 and 157), Müller (Theme with Variations), Naudot (Gavotte), Quantz (Three Duets, Op. 2), Reicha (Sinfonico for Four Flutes), Soussman (Twelve Duets, Op. 53), Stamitz (Three Duets, Op. 27), Sweelinck (Duo), Telemann (Sonata in E major, Sonata in A major for two flutes and piano), Tulou (Three Easy Duets, Op. 102 and 103) Also includes composer biographies and relevant articles from the 1911 edition of Grove's Dictionary of Music and Musicians 1800 pages

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