Matériel : Conducteur et Parties séparées
SKU: AP.36-10205066
ISBN 9781628760781. UPC: 659359725395. English.
SHENANDOAH is one of America's most popular folk songs. It is a capstan (or short haul) chanty of American origin whose subject is said to be the Valley of the Shenandoah (between the Blue Ridge and Allegheny mountains) and the great Indian chieftain after whom both the valley and the river were named. American cavalrymen sang it, and it became a rowing song sung on midwestern rivers. This fine orchestral setting by Albert Davis of Shenandoah captures the rich folk quality inherent in this lovely melodic song.
These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months.
SKU: CL.JCM-2502-00
A magnificent tour-de-force for solo trumpet and wind ensemble! Composed by Jay Chattaway for trumpet virtuoso Jens Lindemann, Shenandoah Fantasy brilliantly showcases the full range of trumpet virtuosity. Contrasting sections feature lyrical playing, rapid tonguing, jazz inflections, and brilliant range and dexterity. An astonishing addition to solo trumpet repertoire! Set includes oversized spiral-bound score.
SKU: CL.026-4384-01
A beautiful setting of this famous melody! It begins with a solo or soli for any instrument(s), then flows in and out of various textures, building to a dramatic finale. Very effective in helping smaller bands sound full and mature. An excellent choice to help develop blend, balance, intonation, and lyrical playing. An excellent contest selection, or perfect as a daily warm-up. Your students will ask to play Shenandoah every day!
About Build-A-Band Series
The Build-A-Band Series provides educational and enjoyable music for bands with incomplete or unbalanced instrumentation. Written using just four or five parts (plus percussion), these effective arrangements will work with any combination of brass, woodwind, string and percussion instruments as long as you distribute the parts so that each of the five parts is covered. All of the publications in the Build-A-Band Series have been arranged to be playable with any instrumentation as long as each part is used: 1st Part, 2nd Part, 3rd Part, 4th Part, and Bass Part. (Please note: In some of these arrangements the 4th Part, and the Bass Part are the same, making it possible to play those arrangements with only 4 parts.)
SKU: MB.30964
ISBN 9781513469775. 8.75x11.75 inches.
This collection of 41 timeless melodies is tastefully arranged for soprano and tenor recorders with suggested breath marks and accompaniment chords. Selections include a variety of influences which provide a historical and aesthetic view of the American musical landscape. The works of both well-known, classically trained composers and unknown folk artists are featured in standard notation arrangements suitable for performance by intermediate players. The one thing these tunes have in common is their striking melodies, which in many cases have endured throughout the ages.
SKU: CF.YPS214
ISBN 9781491152331. UPC: 680160909834. Key: Bb major.
This new piece from composer George Sweet is a delightful combination of Scotland the Brave and Amazing Grace. Each tune on its own is wonderful, but in Sweet's setting, they are masterfully layered to reflect the composer's Scottish-American heritage. This presentation of a Scottish melody with Americana-inspired harmonies is a stunning example of compositional craft.Bravery and Grace is a setting of the unofficial Scottish national anthem, Scotland the Brave. While the melody is taken from Scotland the Brave, the accompaniment and harmony both have a “Western Americana†feel, reminiscent of composers like Roy Harris and Aaron Copland.  This combination of a Scottish melody with American harmony is a reflection of the composer’s Scottish-American Heritage.The piece begins with a fragment of Scotland the Brave presented in a lush and reflective context. The main theme is performed in full by the upper voices at m. 9. The middle voices perform the material at m. 17, and the lower voices perform it again at m. 33. This results in a loud passage representing pipers at m. 46. The traditional spiritual Amazing Grace appears suddenly at m. 51 in a somewhat polytonal setting. This is, once again, reminiscent of practices of the aforementioned American composers.  After this lyrical presentation, a fragment of the main theme returns at m. 66. This is followed by a broad restatement of the theme at m. 70 and a brisk conclusion with a final flair of polytonality.
