SKU: HL.14012764
UPC: 884088808310. 8.5x11.0x0.212 inches.
Brass Ensemble Score to George Frideric Handel's Music For The Royal Fireworks. Edited by Elgar Howarth.
SKU: HL.14002654
8.25x11.75x0.185 inches.
Arthur Bliss was born in London on 2 August 1891. For over 50 years he was a familiar and central figure on the English musical scene. He was educated at Rugby and at Pembroke College, Cambridge, where he studied with Charles Wood. He attended the Royal College of Music for a single term before the First World War broke out and interrupted his studies for the duration.
SKU: ST.H477
ISBN 9790220223532.
Writ ten in the year of the Queen's Diamond Jubilee, Malcolm Archer reflects the mood of national celebration in his new march for organ The Royal Standard. The title alludes to the famous emblem of royalty that flies proudly over Buckingham Palace when the sovereign is in residence. Befitting its subject, this stirring music is in the high ceremonial style of Elgar and Walton, as colourful as the royal banner in blue, red and gold, but with a modern flavour too in its syncopated main theme. Director of Chapel Music at Winchester College, Malcolm Archer needs no introduction as a church musician, conductor, composer and recitalist. The piece is of intermediate standard, and is suitable for a variety of instruments with two manuals and pedals.
SKU: LP.765762193802
UPC: 765762193802.
Actio n-packed drama, complete with investigations, mystery, travel and, oh yes - royalty; songs that are catchy and fun with tracks that rock, and a spiritual concept at the heart of it all, Celeste Clydesdale has done it, again! This is Celeste's first musical for LillenasKids and she has brought every strength she has to this kids' Christmas musical that tells the story of Christmas in a brand new way. When King Herod sends Sherlock Watson to find out why the kings from the East did not return to him, we discover, along with Sherlock, that Jesus is the King of kings and if we believe in Him, we answer to a higher calling than to any king on earth. Professional choreography by Judith Burns, and a new and improved Director's Resource written and designed by Sarah Harris complete the perfect package for A Rockin' Royal Christmas. Your kids will love the music and story, you will be thrilled to have the teaching helps and materials, and your audience or congregation will be touched and moved by this presentation. Don't miss this! Make yours...A Rockin' Royal Christmas.
SKU: HL.49009580
ISBN 9790200210965. UPC: 884088083304. 5.5x7.5x0.112 inches.
With more than 1,200 titles from the orchestral and choral repertoire, from chamber music and musical theatre, Edition Eulenburg is the world's largest series of scores, covering large part of music history from the Baroque to the Classical era and looking back on a long tradition.
SKU: HL.14019710
ISBN 9788759853375. 8.25x11.75x0.115 inches. English.
SKU: CL.011-2116-01
Full-scored arrangement of a well-known theme from, Music for the Royal Fireworks.’â€℠¢ Carefully crafted and maintains the spirit of the Baroque era.
About C.L. Barnhouse Command Series
The Barnhouse Command Series includes works at grade levels 2, 2.5, and 3. This series is designed for middle school and junior high school bands, as well as high school bands of smaller instrumentation or limited experience. Command Series publications have a slightly larger instrumentation than the Rising Band Series, and are typically of larger scope, duration, and musical content.
SKU: GI.G-9436
English.
Founded in 1927, the Royal School of Church Music spent much of its working life at Addington Palace in Croydon, an era which saw a massive expansion of its work and influence in parish church music, both at home and abroad. This is the first published comprehensive history of those years - stretching from the post-WWII years based at Canterbury, through four decades at Addington Palace, up to the move in 1996 to Cleveland Lodge in Dorking, Surrey. The included CD includes a selection of music from the RSCM Archives. John Henderson and Trevor Jarvis are Hon Librarian and Hon Assistant Librarian to the Royal School of Church Music. Psallam Spiritu et Mente Sing with the Spirit and Understanding.
SKU: KN.19635
UPC: 822795196351.
These 18 trios cover a wide range of styles from the Baroque era to the 20th Century. Published in score form for any combination of instruments using the appropriate key-compatible books.Contents:Royal Fanfare (Duncombe); Minuet (Purcell); Bagatelle (Diabelli); Quadrille (Haydn); Minuet From The Royal Fireworks (Handel); Largo (Corelli); March Alla Turka (Mozart); German Dance (Beethoven); Rondo (Mozart); Sailor's Song (Grieg); Scherzando (Schumann); Polka (Tschaikowsky); Slavonic Dance (Dvorak); March Of The Tin Soldiers (Tschaikowsky); Country Dance (German); Pizzicato Polka (Delibes); Eine Kleine Nachtmusik (Mozart); and Ecossaise (Schubert).
SKU: WD.080689551239
UPC: 080689551239.
From the Integrity collection, Emergent , arranged and orchestrated by J. Daniel Smith, Royal Blood speaks to the royal inheritance we have as believers in Christ. This anthem is passionate and vivacious, proclaiming the overwhelming power and strength of God that flows through our veins. Because of His royal blood, we are made more than conquerors in Jesus Christ.
SKU: KN.19605
UPC: 822795196054.
SKU: KN.19604
UPC: 822795196047.
SKU: KN.19638
UPC: 822795196382.
SKU: KN.19601
UPC: 822795196016.
SKU: MH.1-59913-054-8
ISBN 9781599130545.
Roya l Coronation Dances is the first sequel to the Fanfare Ode & Festival, both being settings of dance music originally arranged by Gervaise in the mid 16th-century (the next sequel is The Renaissance Fair, which uses music of Susato and Praetorius). Fanfare Ode & Festival has been performed by many tens of thousands of students, both in high school and junior high school. I have heard that some of them are amazed that the music they are playing was first played and danced to over 400 years ago. Some students tend to think that music started with Handel and his Messiah to be followed by Beethoven and his Fifth Symphony, with naught in between or before of consequence. Although Royal Coronation Dances is derived from the same source as Fanfare Ode & Festival, they are treated in different ways. I envisioned this new suite programmatically -- hence the descriptive movement titles, which I imagined to be various dances actually used at some long-ago coronation. The first movement depicts the guests, both noble and common, flanked by flag and banner bearers, arriving at the palace to view the majestic event. They are festive, their flags swirling the air, their cloaks brightly colored. In the second movement, the queen in stately measure moves to take her place on the throne as leader and protector of the realm. In the third movement, the jesters of the court entertain the guests with wild games of sport. Musically, there are interesting sonorities to recreate. Very special attention should be given to the tambourine/tenor drum part in the first movement. Their lively rhythms give the movement its power. Therefore they should be played as distinctly and brilliantly as possible. The xylophone and glockenspiel add clarity, but must not be allowed to dominate. Observe especially the differing dynamics; the intent is to allow much buzzing bass to penetrate. The small drum (starting at meas. 29) should be played expressively, with attention to the notated articulations, with the brass light and detached, especially in a lively auditorium. It is of some further interest that the first dance is extremely modal. The original is clearly in G mixolydian mode (scale: G-A-B-C-D-E-F-G). However, other editors might put in F-sharps in many places (changing the piece almost to G major), in the belief that such ficta would have been automatically put in by the 16th-century performers as they played. I doubt it. I have not only eschewed these within the work, but even at the cadences. So this arrangement is most distinctly modal (listen to the F-naturals in meas. 22 and 23, for instance), with all the part-writing as Gervaise wrote it. In the second movement, be careful that things do not become too glued together. In the 16th century this music might have been played by a consort of recorders, instruments very light of touch and sensitive to articulation. Concert band can easily sound heavy, and although this movement has been scored for tutti band, it must not sound it. It is essential, therefore, that you hear all the instruments, with none predominating. Only when each timbre can be heard separately and simultaneously will the best blend occur, and consequently the greatest transparency. So aim for a transparent, spacious tutti sound in this movement. Especially have the flutes, who do this so well, articulate rather sharply, so as to produce a chiffing sound, and do not allow the quarter-notes to become too tied together in the entire band. The entrance of the drums (first tenor, then bass) are events and as such should be audible. Incidentally, this movement begins in F Major and ends in D Minor: They really didn't care so much about those things then. The third movement (one friend has remarked that it is the most Margolisian of the bunch, but actually I am just getting subtler, I hope) again relies upon the percussion (and the scoring) to make its points. Xylophone in this movement is meant to be distinctly audible. Therefore, be especially sure that the xylophone player is secure in the part, and also that the tambourine and toms sound good. This movement must fly or it will sink, so rev up the band and conduct it in 1 for this mixolydian jesting. I suppose the wildly unrelated keys (clarinets and then brass at the end) would be a good 16th-century joke, but to us, our put-up-the-chorus-a-half- step ears readily accept such shenanigans. Ensemble instrumentation: 1 Full Score, 1 Piccolo, 4 Flute 1, 4 Flute 2 & 3, 2 Oboe 1 & 2, 2 Bassoon 1 & 2, 1 Eb Clarinet, 4 Bb Clarinet 1, 4 Bb Clarinet 2, 4 Bb Clarinet 3, 2 Eb Alto Clarinet, 1 Eb Contra Alto Clarinet, 3 Bb Bass & Bb Contrabass Clarinet, 2 Eb Alto Saxophone 1, 2 Eb Alto Saxophone 2, 2 Bb Tenor Saxophone, 2 Eb Baritone Saxophone, 3 Bb Trumpet 1, 3 Bb Trumpet 2, 3 Bb Trumpet 3, 4 Horn in F 1 & 2, 2 Trombone 1, 4 Trombone 2 & 3, 3 Euphonium (B.C.), 2 Euphonium (T.C.), 4 Tuba, 1 String Bass, 1 Timpani (optional), 2 Xylophone & Glockenspiel, 5 Percussion.
SKU: A3.9781848495791
ISBN 9781848495791. 9 x 6 inches.
This ground-breaking history explores how ABRSM became such a formative influence and looks at some of the consequences resulting from its pre-eminent position in British musical life. Its exploration of how ABRSM negotiated music's changing social, educational and cultural landscape casts fresh light on the challenges now facing music education.
