Alone: Bass Trombone: Instrumental Work

SKU: CF.YPS223

ISBN 9781491156643. UPC: 680160915187. 9 x 12 inches.

Notes to the Conductor This adaptation of Christmas Carol Trilogy was arranged to accompany the choral arrangement of the same title by Russell Robinson. It can be played with Robinson's vocal arrangements with band and chorus together or as a stand-alone piece for band. If performed together with a chorus, it is recommended that the performers play one to two dynamic levels lower than written (depending on the size of the chorus) so as not to overpower the singers. Please see the chart below for further explanation.   Written Dynamic (To be used if band alone) Large Chorus (1 dynamic lower) Small Chorus (2 dynamics lower) mf f ff mp mf f   p mp mf     Another possibility for performance is for a small group of wind instruments with chorus. Here, performers would play the written dynamics. Below are a few recommended chamber ensembles that would work with a variety of choruses, though there are several other alternatives. In any case, the conductor should be careful to choose a set of instruments that is both balanced in register (soprano, alto, tenor, bass) and in role (melody, countermelody, bass line, etc.) Option 1 (Woodwind Sextet) Flute (Oboe) Clarinet 1 Clarinet 2 Alto Saxophone Tenor Saxophone (Bassoon) Baritone Saxophone (Bass Clarinet) Option 2 (Brass Quintet) Trumpet 1 Trumpet 2 Horn Trombone (Baritone) Tuba (Baritone Saxophone) A final option is to perform with one player per instrumental part. In all instances, the conductor should pay close attention to the balance of the percussion instruments.
Notes to the Conductor This adaptation of Christmas Carol Trilogy was arranged to accompany the choral arrangement of the same title by Russell Robinson. It can be played with Robinson’s vocal arrangements with band and chorus together or as a stand-alone piece for band. If performed together with a chorus, it is recommended that the performers play one to two dynamic levels lower than written (depending on the size of the chorus) so as not to overpower the singers. Please see the chart below for further explanation. Written Dynamic(To be used if band alone)Large Chorus(1 dynamic lower)Small Chorus(2 dynamics lower)mffffmpmff pmpmf  Another possibility for performance is for a small group of wind instruments with chorus. Here, performers would play the written dynamics. Below are a few recommended chamber ensembles that would work with a variety of choruses, though there are several other alternatives. In any case, the conductor should be careful to choose a set of instruments that is both balanced in register (soprano, alto, tenor, bass) and in role (melody, countermelody, bass line, etc.)Option 1 (Woodwind Sextet)Flute (Oboe)Clarinet 1Clarinet 2Alto SaxophoneTenor Saxophone (Bassoon)Baritone Saxophone (Bass Clarinet)Option 2 (Brass Quintet)Trumpet 1Trumpet 2HornTrombone (Baritone)Tuba (Baritone Saxophone)A final option is to perform with one player per instrumental part. In all instances, the conductor should pay close attention to the balance of the percussion instruments.

SKU: PR.44641192L

UPC: 680160610860. 11 x 14 inches.

One of my greatest pleasures in writing a concerto is exploring the new world that opens for me each time I enter the sometimes alien, but always fascinating, world of a solo instrument or instruments. For me, the challenge is to discover the deepest nature of the solo instrument (its karma, if you will) and to allow that essential character to guide the shape and form of the work and the nature of the interaction between soloists and orchestra. In recent years, many of us have become more aware of the musical world outside the Western tradition of musics that follow different procedures and spring from other aesthetics. And contemporary percussionists have opened many of these worlds to us, as they have ventured around the globe, participating in Brazilian Samba schools, studying Gamelan and African drumming with local experts, collecting instruments from Asia and Africa and South America and the South Pacific, widening our horizons in the process. I will never forget our first meeting in Toronto when Nexus invited me into their world of hundreds of exciting percussion instruments. The vast array of instruments in the collection of the Nexus ensemble is truly global in scope as well as offering a thrilling sound-universe. I was inspired by the incredible range of sound and moved by the fact that so many of these instruments were musical reflections of a spiritual dimension. After long consideration, I decided that it would not only be impossible, but even undesirable for this Western-tradition-steeped composer to attempt to use these instruments in a culturally authentic way. My goal was an existential kind of authenticity: searching instead for universal ideas that would be true to both myself and the performers while acknowledging the traditional uses of the instruments. Since many percussion instruments are associated with various kinds of ritual, I decided that I would allow that concept to shape my piece. Rituals is in four movements, each issuing from a ritual associated with percussion, but with the orchestral interaction providing an essential element in the musical form. I. Invocation alludes to the traditions of invoking the spirit of the instruments, or the gods, or the ancestors before performing. II. Ambulation moves from a processional, through march and dance to fantasy based on all three. III. Remembrances alludes to traditions of memorializing. IV. Contests progresses from friendly competition games, contests to a suggestion of a battle of big band drummers, to warlike exchanges. In the 2nd and 4th movements, another percussion tradition, improvisation, is employed. Written into these movements are a number of seeds for improvisation. Indications in the score call for the soloists to improvise in three different ways, marked A for percussion alone; marked B for percussion with and in response to the orchestra; and C where the percussionists are free to add and embellish the written parts. These improvisations should grow out of and embellish previous motives and gestures in the movement.

SKU: HP.8704

UPC: 763628187040. Rose Aspinall.

Lent & Easter Musical From Mary McDonald and Rose M. Aspinall this is a musical treatment of the events of Holy Week. It embraces the love Jesus expressed to us on Calvary through new and familiar texts and tunes. Its purpose is to give pause to those dreadful occurrences but, more importantly, to share the hope and love of our Savior to all who seek him. This 35-minute work features narration for two readers. Mary's piano score can carry the work alone, while Ed Hogan's orchestration powerfully supports the sweep and drama of this thrilling program. Orchestrations consists of: Conductor's Score, Flute, Oboe (or Soprano Sax* or Clarinet*), Clarinet, Horn in F (or Alto Sax* or Clarinet*) 2 Trumpets (or Alto Sax*), 2 Trombones (or Baritone T. C. * or Tenor Sax*), Percussion 1 & 2, Piano, Synth, Electric Bass, 2 Violins, Cello/Basson (or Bass Clarinet*), String Reduction. *Parts are included on the CD-ROM.

SKU: CA.1282009

Language: German. Text: Schindler, Peter / Dieterich, Babette. Text: Peter Schindler, Babette Dieterich.

Courage, tolerance and conciliation - this is the message of a sweet and sharp, thrilling love story. Based loosely on Shakespeare and his famous tragedy Romeo and Juliet, a prince, smitten with love, and a courageous baroness bring foreign cultures and two hostile families together in a dramatic happy end. Musically, Konig Keks thrives on contrasts: Whereas the music of Krokantia borrows from the world of operetta, the music of the Chili islands is fiery and rhythmic. On the one hand, a small salon orchestra, and on the other a band produce a diversified sound. An experienced pianst can accompany a performance of the piece alone. Konig Keks offers ample musical as well as scenic performance possibilities for people of all ages. Score and parts available separately - see item CA.1282000.