Format : Score and Parts
SKU: CF.CPS256F
ISBN 9781491159729. UPC: 680160918317.
As the title suggests, there should be a tongue-in-cheek aspect to the performance of this piece with the idea that it doesn't take itself too seriously. Close attention should be paid to staccato notes, making sure not to play them too short and clipped, keeping in mind that a staccato quarter note should have the length of an eighth note and not the length of a sixteenth note. Although the piece is a march, it needn't conform to any strict interpretation of what a march should be. Some of the tongued eighth-note passages may need to be double-tongued, depending on tempo, using the Dig-A-Duck method. For instance at m. 34 the repeated eighth notes might be tongued dig-a-da-duck, dig-a-duck, da dot dot. Slurred eighth-note passages should follow the curve of the line, getting slightly louder as notes ascend and slightly softer as they descend. Measure 39 through m. 51 will have a somewhat chaotic feel, so go with the flow! The sparsely orchestrated passage at m. 68 is understated--perhaps a little spacey in keeping with our theme--and not to be overplayed until the crescendo at m. 88, when we return to business as usual. Trumpets show off again (rarely a problem for trumpet players) on the D. S. back to m. 6. On the Coda, another disjointed-sounding theme, again departing from any strict interpretation of a march--again, making sure that the staccatos are not too clipped--is followed by a repeat of the main theme, this time layered. Care should be taken to balance the entrances of the layered instrument groups as they enter. An exuberant final four measures puts the cherry on top. Percussion can play out for the most part, very little subtlety required. Overall, this piece is meant to be FUN, for both the performers and the audience!.As the title suggests, there should be a tongue-in-cheek aspect to the performance of this piece with the idea that it doesn't take itself too seriously. Close attention should be paid to staccato notes, making surenot to play them too short and clipped, keeping in mind that a staccato quarter note should have the length of an eighth note and not the length of a sixteenth note. Although the piece is a march, it needn't conform toany strict interpretation of what a march should be. Some of the tongued eighth-note passages may need to be double-tongued, depending on tempo, using the Dig-A-Duck method. For instance at m. 34the repeated eighth notes might be tongued dig-a-da-duck, dig-a-duck, da dot dot. Slurred eighth-note passages should follow the curve of the line, getting slightly louder as notes ascend and slightly softeras they descend. Measure 39 through m. 51 will have a somewhat chaotic feel, so go with the flow!The sparsely orchestrated passage at m. 68 is understated—perhaps a little spacey in keeping with our theme—and not to be overplayed until the crescendo at m. 88, when we return to business as usual. Trumpets show off again (rarely a problem for trumpet players) on the D. S. back to m. 6. On the Coda, another disjointed-sounding theme, again departing from any strict interpretation of a march—again, making sure that the staccatos are not too clipped—is followed by a repeat of the main theme, this time layered. Care should be taken to balance the entrances of the layered instrument groups as they enter.An exuberant final four measures puts the cherry on top. Percussion can play out for the most part, very little subtlety required. Overall, this piece is meant to be FUN, for both the performers and the audience!
SKU: CF.CPS256
ISBN 9781491159712. UPC: 680160918300.
SKU: LM.28289
ISBN 9790230982894.
A la maniere de Jimi Hendrix - Doubles cordes et bending - Bending et pentatonique - Le moulinet - A la maniere d'Eric Clapton - Riff pentatonique - Plan en quintes - Legato ! - Fusee ascendante - Pentatonique et quintolet - Groove Blues-Rock - Riff rythmique - A la maniere de Robben Ford - Heavy metal ? - Plan en triolets - Pentatoniques et doubles croches - Plan en demanche - Montee en intervalles - Plan en 7eme avec 13eme - Plan solo en Sol 7 - Legato et cordes a vide - A la maniere de Ritchie Blackmore - Legato et sextolets - Plan bending.
SKU: OU.9780193528208
ISBN 9780193528208. 11 x 9 inches.
For violin and mixed choir This innovative and imaginative choral arrangement of The Lark Ascending has the original solo violin part accompanied by mixed choir. It sensitively sets George Meredith's poem (on which the original orchestration is based) and combines this with wordless vocal lines and vocal solos.
SKU: KN.62033S
UPC: 822795620337.
Commissioned by the Gates Chili High School Jazz Ensemble in Rochester (NY), this winning original alternates between a Latin and straight 8th-note feel, and draws from the ascending melodic minor scale and its related modes for source material. It's a sophisticated chart with moderate range demands and notated rhythm section parts. Soloists can navigate the 16-measure solo using just a single scale over hip jazz chords. Duration 6:55.
SKU: KN.62033
SKU: AP.36-60710008
ISBN 9798888522028. UPC: 676737624248. English.
Ralph Vaughan Williams, ever fond of poetry, found creative impetus for his beautiful romance The Lark Ascending, IRV 39, in an 1881 poem by George Meredith. Marie Pauline Hall, to whom the work was dedicated, gave the first performance of the original violin and piano version, here presented in a Masters reprint edition, at Shirehampton Public Hall on December 15, 1920, beside pianist Geoffrey Mendham. After World War I, the composer expanded the work for soloist and full orchestra. This has become the version most familiar to listeners. The violin, lifting its silvery tones above the stage, captures the soaring nature of Meredith's couplet: Till lost on his aerial rings/In light, and then the fancy sings. Reprint edition.
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: CF.BF126
ISBN 9781491150009. UPC: 680160907502. 9x12 inches.
Written by world renown pedagogue, Roland Vamos, this collection of double-stop exercises fill a void in the literature of technical exercises for cellists. These etudes feature a systematic series of fixed double-stops that enables the player to practice and master every possible combination of finger patterns across two strings without shifting. Mr. Vamos says of the book, The most important accomplishment is the development of a strong left handà These exercises, when practiced slowly and carefully, will help to develop a keen sense of pitch and intonation. Adapted for cello by Horacio Contreras, teacher, chamber musician, and recitalist.When I first became familiar with Roland Vamos’ Exercises, I was impressed with itsclarity and effectiveness. The book focuses on a few important fundamentals of string playing,and it is accessible to students of every age. Moreover, its tonal organization in C major makesit simple and easy to understand. I recognized the potential this book could have for cellists,and after spending several months working on an adaptation, I witnessed its results in buildingand maintaining important fundamentals of technique.Mr. Vamos’ Exercises is comprised of simple patterns of double-stops in sevenpositions. There are two basic groups of variations: seven double-stop variations in differentcombined rhythms that develop finger coordination and independence of the left hand, andnine bowing variations that use détaché at the frog, middle and tip of the bow to work onstring crossings, coordination, and balance of the bow. The whole work provides training thatimproves intonation, sound, and ease of playing in all positions and all parts of the bow.In order to adapt Mr. Vamos’ book for cello, I needed to make some modifications tothe original. To address the different needs of the neck and the thumb positions, I chose to writetwo separate books. I kept the original ascending stepwise motion for subsequent variationsin Book I by following a diatonic scale on the top line of the patterns. However, I modifiedthe tonal framework to adjust to the more limited range of the cello. Therefore, unlike in Mr.Vamos’ book, variations in Book I do not ascend through the positions in a uniform pattern.I also switched the order of patterns to create a gradual increase in difficulty. In Book II, Iadded options that work on the fourth finger and an extended left hand frame, and at the end, Iincluded five sets of variations with different bowing alternatives.Mr. Vamos provides a number of specific instructions regarding left hand techniquein his exercises. For his original version, two fingers must remain down for almost the entireset of variations, providing a solid reference for the frame of the hand. In variations H and I,he instructs students to lift these fingers when they are not being used. In the case of thumbposition on cello, lifting the thumb could make the hand unstable; therefore, I suggested thatthe thumb remains down while the other fingers are lifted alternately in H and I. I have foundthis exercise quite useful to work on thumb independence and relaxing the thumb while usingother fingers.Mr. Vamos gives precise instructions for the bowing exercises as well. Following hisdirections, the exercises should be performed with a relaxed hand and flexible fingers. Thenotes should be consistently connected even when crossing strings. The bowing patterns shouldbe performed at the frog, the middle and the tip of the bow in every position.
SKU: HL.278745
Herz an Herz, as the title implies (heart to heart), is a love duet. Two distinct voices, characterised through their respective male and female vocal registers, negotiate a warm, heartfelt melody through a loosely strophic form. Initially the voices sing in turn, each section - or verse - led predominantly by one. Each time their lines entwine, virtuosic flourishes ascend the keyboard, interrupting to render them silent again. It is only after one particularly tumultuous episode that the true duet appears: Out of the murky resonances of the lowest “A†emerges the throbbing chords and impassioned vocal lines from Wagner’s famous duet, O sink hernieder, Nacht der Liebefrom the second act of Tristan und Isolde. The 'singers', now reconciled, come together for one final verse before a fleeting memory of the beginning gently ushers in the end of the piece. Herz an Herz was awarded 1st prize in William Howard's Love Song Composing Competition and was premiered on 26th April 2017 at Hoxton Hall, London, by William Howard.
SKU: LO.10-5693L
ISBN 9780787776930.
With a fanfare style introduction, the words Glory! He is lifted up to ascend to Heaven's glory! ring out in celebration. This anthem is a wonderful option for Ascension Sunday or throughout Eastertide. The original words and music from Pepper Choplin are met with a section incorporating hymn tune WYE VALLEY and additional text based on Look, Ye Saints. The orchestral accompaniment is a spectacular addition to this celebratory anthem.
SKU: BC.75306
SKU: MN.60-6350
UPC: 688670663505. English.
Unexpected progressions and various textures provide ever-present interest in this anthem of praise. The descant allows the tenors to ascend along with the sopranos. The optional brass and congregation parts give the work added density and loftiness. Reproducible part for optional Congregation included. Reproducible instrumental parts include: Two Trumpets in Bb or C, Two Trombones, Horn in F [substitute for Trombone I].
SKU: GI.G-007978
SKU: AP.45973S
UPC: 038081525617. English.
Energy, impulse, ascension. Motifs (avatars) harbor energy, generate impulse, and ascend. The avatars in this new work do precisely that. Themes and harmonies soar, rhythms propel, energy issues forth---engaging, energizing, and exciting the young musicians in your band. (2:50).
