Format : Score and Parts
SKU: HL.9971239
ISBN 9781423461845. UPC: 884088270995. 8.5x11 inches. Patrick Bolek/Norma Freeman/Linda Rann.
We are pleased to announce the launch of the Leonard Bernstein Young People's Classics, a new series for the music classroom that presents essential selections from the Leonard Bernstein recorded library with units of study built around them. The first in this series features some of the more popular works of Aaron Copland, including Fanfare for the Common Man, and his ballets Billy the Kid, Appalachian Spring and Rodeo.Make music listening engaging and active with beautifully-designed full-color listening maps, easy-to-follow lesson plans and full-length recorded orchestral versions of Copland's music. Included in the Classroom Kit is the Bernstein Century Copland CD featuring Leonard Bernstein conducting the New York Philharmonic. The Enhanced CD in the Teacher book contains audio folksong recordings, full-color PDFs of the student booklet, student handouts and bonus materials, all for duplication or projection.Part II features an in-depth study of Copland's ballet Rodeo, specifically “Hoe-down,” based on the Artful Learning transformative learning system inspired by Leonard Bernstein. Working together in learning centers, students engage in cross-curricular activities that are incorporated into the music lessons. Available separately: Teacher Book/Enhanced CD, Student Book 5-Pak, the Bernstein Century Copland CD, and a Classroom Kit (1 Teacher Edition/Enhanced CD, 20 Student Books, 1 Copland CD). Suggested for Grades 5-9.
SKU: CF.CPS259
ISBN 9781491161487. UPC: 680160920112.
Fanfare for Hope was commissioned in honor of the inauguration of Father James P. Burns, the 14th President of Saint Mary's University of Minnesota. The theme of the inauguration was Saint Mary's: A Sign of Faith, Hope, & Knowledge. The fanfare is based on the hymn tune Melita, more commonly known as the Navy Hymn, Eternal Father, Strong to Save, with the text My hope is built on nothing less ... serving as the inspiration for the piece. The opening brass fanfare features the uplifting first notes of the tune transitioning into a legato treatment for the woodwinds and horns. The theme builds as the brass and percussion eventually return leading back to the original fanfare. The music ends triumphantly with the entire ensemble joining in celebration.Fanfare for Hope was commissioned in honor of the inauguration of Father James P. Burns, the 14th President of Saint Mary's University of Minnesota. The theme of the inauguration was Saint Mary's: A Sign of Faith, Hope, & Knowledge. The fanfare is based on the hymn tune Melita, more commonly known as the Navy Hymn, Eternal Father, Strong to Save, with the text My hope is built on nothing less ... serving as the inspiration for the piece. The opening brass fanfare features the uplifting first notes of the tune transitioning into a legato treatment for the woodwinds and horns. The theme builds as the brass and percussion eventually return leading back to the original fanfare. The music ends triumphantly with the entire ensemble joining in celebration.Fanfare for Hope was commissioned in honor of the inauguration of Father James P. Burns, the 14th President of Saint Mary's University of Minnesota. The theme of the inauguration was “Saint Mary’s: A Sign of Faith, Hope, & Knowledgeâ€. The fanfare is based on the hymn tune Melita, more commonly known as the Navy Hymn, Eternal Father, Strong to Save, with the text “My hope is built on nothing less …†serving as the inspiration for the piece. The opening brass fanfare features the uplifting first notes of the tune transitioning into a legato treatment for the woodwinds and horns. The theme builds as the brass and percussion eventually return leading back to the original fanfare. The music ends triumphantly with the entire ensemble joining in celebration.
SKU: CF.CPS259F
ISBN 9781491161692. UPC: 680160920372.
Fanfare for Hope was commissioned in honor of the inauguration of Father James P. Burns, the 14th President of Saint Mary's University of Minnesota. The theme of the inauguration was Saint Mary's: A Sign of Faith, Hope, & Knowledge. The fanfare is based on the hymn tune Melita, more commonly known as the Navy Hymn, Eternal Father, Strong to Save, with the text My hope is built on nothing less ... serving as the inspiration for the piece. The opening brass fanfare features the uplifting first notes of the tune transitioning into a legato treatment for the woodwinds and horns. The theme builds as the brass and percussion eventually return leading back to the original fanfare. The music ends triumphantly with the entire ensemble joining in celebration.Fanfare for Hope was commissioned in honor of the inauguration of Father James P. Burns, the 14th President of Saint Mary's University of Minnesota. The theme of the inauguration was “Saint Mary’s: A Sign of Faith, Hope, & Knowledgeâ€. The fanfare is based on the hymn tune Melita, more commonly known as the Navy Hymn, Eternal Father, Strong to Save, with the text “My hope is built on nothing less …†serving as the inspiration for the piece. The opening brass fanfare features the uplifting first notes of the tune transitioning into a legato treatment for the woodwinds and horns. The theme builds as the brass and percussion eventually return leading back to the original fanfare. The music ends triumphantly with the entire ensemble joining in celebration.
SKU: AP.45976
ISBN 9781470662028. UPC: 038081523477. English.
Written to evoke a universal sense of heroism, pride, and bravery, here is a wonderful concert selection for any serious, ceremonial, or formal occasion. The stirring fanfare and lyrical themes, along with regal percussion scoring, combine to make this work an ideal processional. (3:00).
SKU: BT.CMP-0489-01-020
Contrasting colors and varied orchestration techniques make this majestic setting of OH LITTLE TOWN OF BETHLEHEM come alive for Christmas. Of the three different tunes that are commonly associated with the original carol text, this arrangement uses the melody that’s best known in England. ENGLISH CAROL FANTASY remains entirely accessible to bands at this level and plenty of cueing makes sure it’s useful for ensembles of all shapes and sizes. Feature your deserving young trumpet section leader on the easy solo, or let the entire first trumpet section play it soli. The low woodwinds and brass also get some “well doubled†exposure, so playing this one will be fun for all.Try it!
SKU: CF.YPS244
ISBN 9781491159859. UPC: 680160918447.
Brasstown Bald is the highest point in the U. S. state of Georgia standing at 4,784 ft. It is located in the northeastern part of the state and is part of the southern Appalachians. The mountain received its name from the Cherokee word Itse'yi (New Green Place) or (Place of Fresh Green) referring to its grassy, instead of timbered summit. The term Brasstown came from a confusion of Itse'yi with Untsaiyi (brass). The mountain itself is known to the native Cherokee people as Mt. Enotah. The term Bald is common terminology describing mountaintops that have 360-degree unobstructed views. Brasstown Bald Overture was written to depict the beauty and grandeur of the panoramic views from the top of this mountain. The opening fanfare sets the mood for the majesty of the Appalachians. The addition of the woodwinds during the second time through the fanfare portrays the dancing sunlight across the mountain peaks. The middle section is a quaint folk tune to represent the quiet stillness of the night. The fanfare return and a new day breaks forth.Brasstown Bald is the highest point in the U. S. state of Georgia standing at 4,784 ft. It is located in the northeastern part of the state and is part of the southern Appalachians. The mountain received its name from the Cherokee word Itse’yi (“New Green Placeâ€) or (“Place of Fresh Greenâ€) referring to its grassy, instead of timbered summit. The term “Brasstown†came from a confusion of Itse’yi with Untsaiyi (“brassâ€). The mountain itself is known to the native Cherokee people as Mt. Enotah. The term “Bald†is common terminology describing mountaintops that have 360-degree unobstructed views.  Brasstown Bald Overture was written to depict the beauty and grandeur of the panoramic views from the top of this mountain. The opening fanfare sets the mood for the majesty of the Appalachians. The addition of the woodwinds during the second time through the fanfare portrays the dancing sunlight across the mountain peaks. The middle section is a quaint folk tune to represent the quiet stillness of the night. The fanfare return and a new day breaks forth.
SKU: CF.YPS244F
ISBN 9781491159866. UPC: 680160918454.
SKU: CF.CPS234
ISBN 9781491156346. UPC: 680160914883. 9 x 12 inches.
Mercury - the Roman god of financial gain, commerce, travelers, boundaries, luck, trickery, merchants, and thieves. A popular deity in Roman culture, he was instantly recognized by his unique winged shoes (talaria) and hat (petasos). With its close proximity to the sun and faster orbit than all other planets, the Romans named this small celestial body after the swift-winged messenger of their culture. It is not surprising that in Holst's major orchestral suite The Planets that Mercury utilizes such light and swift themes. There is some duality to the title of the work. Part of it involves my impression of what a playful chase of the winged messenger sounds like. The other part is the opening motif chasing two themes of Holst around the rest of the work. It was only after developing the first few ideas that I recognized some of the commonalities with some of those same themes from Holst's orchestral work. There are several quotations from that famous piece by Holst (notably as both are stated successively at mm. 13-20). The idea of someone having to chase the Winged Messenger struck me as a unique title around which to craft a work. One of my core beliefs about music is that it can be imbued with meaning by a composer, and as the sonic story unfolds an ensemble, director, and audience members can draw out their own meaning from the experience. Who exactly is chasing Mercury? I leave that up to the wonderfully creative minds of the young ladies and gentlemen who have the opportunity to bring this work to life. The opportunity to compose music and allow student musicians to give this piece new life and draw out different meanings is a humbling experience. Rehearsal Notes and Suggestions As stated earlier, the opening motif (a range of a seventh) comes back frequently in the work in a variety of settings and textures. Throughout the work, it is important for students to recognize the two themes from Holst when they are present in the sound canvas. If the solos (clarinet and alto saxophone) are utilized, the supporting parts around and underneath those lines must be sensitive and play in such a way to properly balance those parts. There are number of muted sections for the trumpet section, and I would advocate for all trumpets acquiring the same mute to contribute to unity in timbre. The bold fanfare sections (the first occurs at m. 37) must be presented with a unified articulation style. As the texture intensifies prior to m. 169, it is crucial for the ensemble to play within themselves and exercise musical courtesy to allow all voices to be heard as they arrive at m. 181. My thanks in advance for your support of this music, and I wish you well as you and your ensemble begin Chasing Mercury!.Mercury – the Roman god of financial gain, commerce, travelers, boundaries, luck, trickery, merchants, and thieves. A popular deity in Roman culture, he was instantly recognized by his unique winged shoes (talaria) and hat (petasos). With its close proximity to the sun and faster orbit than all other planets, the Romans named this small celestial body after the swift-winged messenger of their culture. It is not surprising that in Holst’s major orchestral suite The Planets that Mercury utilizes such light and swift themes.There is some duality to the title of the work. Part of it involves my impression of what a playful chase of the winged messenger sounds like. The other part is the opening motif chasing two themes of Holst around the rest of the work. It was only after developing the first few ideas that I recognized some of the commonalities with some of those same themes from Holst’s orchestral work. There are several quotations from that famous piece by Holst (notably as both are stated successively at mm. 13–20). The idea of someone having to chase the Winged Messenger struck me as a unique title around which to craft a work.One of my core beliefs about music is that it can be imbued with meaning by a composer, and as the sonic story unfolds an ensemble, director, and audience members can draw out their own meaning from the experience. Who exactly is chasing Mercury? I leave that up to the wonderfully creative minds of the young ladies and gentlemen who have the opportunity to bring this work to life. The opportunity to compose music and allow student musicians to give this piece new life and draw out different meanings is a humbling experience.Rehearsal Notes and SuggestionsAs stated earlier, the opening motif (a range of a seventh) comes back frequently in the work in a variety of settings and textures. Throughout the work, it is important for students to recognize the two themes from Holst when they are present in the sound canvas. If the solos (clarinet and alto saxophone) are utilized, the supporting parts around and underneath those lines must be sensitive and play in such a way to properly balance those parts. There are number of muted sections for the trumpet section, and I would advocate for all trumpets acquiring the same mute to contribute to unity in timbre. The bold fanfare sections (the first occurs at m. 37) must be presented with a unified articulation style. As the texture intensifies prior to m. 169, it is crucial for the ensemble to play within themselves and exercise musical courtesy to allow all voices to be heard as they arrive at m. 181. My thanks in advance for your support of this music, and I wish you well as you and your ensemble begin Chasing Mercury!
SKU: CF.CPS234F
ISBN 9781491156353. UPC: 680160914890. 9 x 12 inches.
SKU: CF.CM9714
ISBN 9781491160329. UPC: 680160918904. Key: F major. English. Robert Frost.
About the work ... Few American poems are as well known as The Road Not Taken. Robert Frost, the author, is an international icon, not unlike Pablo Picasso, Winston Churchill or Mark Twain in their own disciplines.The poem is full of contradictions and quirks of form and structure. Perhaps that illusiveness is part of the poem's intrigue. But beyond all of the literary devices that only a few scholars may fully appreciate, this poem has taken on a sort of fanfare for the common person credo - a challenge to individualism, stepping out on one's own, and breaking the mold out of sheer determination if nothing else. Frost connects to the core of the human spirit in just a few stanzas using the analogy of a fork in a road. The message super cedes geography, culture, race or creed. Rather, it is part of the DNA of most every person on the planet - the inner desire to feel empowered to create one's own destiny, to forge a road not taken, and ultimately in doing so, to make a difference. Rehearsal notes ... Research strongly suggests that there is a direct connection between the first rehearsal and the performance. First impressions last. I find it helpful to immediately lock three concepts into place - mechanics (notes/rhythms), text/phrasing (intent and motivation) and color (timbre). Performers need to think musically from the first reading forward (first impression). The cello is very much a collaborative instrument in this work, and should be located in front of the ensemble (not to side). Lastly, let the text speak. The simplest melodic lines are often the most exposed. Keep the voices clear and transparent, floating over the top in softer passages, and singing with vibrancy and forward focus throughout. Z. Randall Stroope A definitive recording was made by the New American Voices, with Randall conducting. This can be found on Spotify, YouTube, his website (www.zrstroope), and other social media. About the composer ... Z. Randall Stroope is an American composer and conductor. His composition teachers were Normand Lockwood and Cecil Effinger, both students of the Nadia Boulanger, the famous French teacher (and student of Gabriel Faure). He is the artistic director of two international summer music festivals, is an Honorary Member of the National Association of Italian Choral Directors, and has conducted in 25 countries. He has directed over 40 times at Carnegie Hall, and is a frequent conductor at other prestigious concert venues. Randall has 190 published works, and his music can be heard on Spotify, YouTube and other platforms, including his website (www.zrstroope.com).About the work ...Few American poems are as well known as The Road Not Taken. Robert Frost, the author, is an international icon, not unlike Pablo Picasso, Winston Churchill or Mark Twain in their own disciplines.The poem is full of contradictions and quirks of form and structure. Perhaps that illusiveness is part of the poem's intrigue. But beyond all of the literary devices that only a few scholars may fully appreciate, this poem has taken on a sort of fanfare for the common person credo - a challenge to individualism, stepping out on one's own, and breaking the mold out of sheer determination if nothing else. Frost connects to the core of the human spirit in just a few stanzas using the analogy of a fork in a road. The message super cedes geography, culture, race or creed. Rather, it is part of the DNA of most every person on the planet - the inner desire to feel empowered to create one's own destiny, to forge a road not taken, and ultimately in doing so, to make a difference.Rehearsal notes ...Research strongly suggests that there is a direct connection between the first rehearsal and the performance. First impressions last. I find it helpful to immediately lock three concepts into place - mechanics (notes/rhythms), text/phrasing (intent and motivation) and color (timbre). Performers need to think musically from the first reading forward (first impression). The cello is very much a collaborative instrument in this work, and should be located in front of the ensemble (not to side). Lastly, let the text speak. The simplest melodic lines are often the most exposed. Keep the voices clear and transparent, floating over the top in softer passages, and singing with vibrancy and forward focus throughout.Z. Randall StroopeA definitive recording was made by the New American Voices, with Randall conducting. This can be found on Spotify, YouTube, his website (www.zrstroope), and other social media.About the composer ...Z. Randall Stroope is an American composer and conductor. His composition teachers were Normand Lockwood and Cecil Effinger, both students of the Nadia Boulanger, the famous French teacher (and student of Gabriel FaureÌ). He is the artistic director of two international summer music festivals, is an Honorary Member of the National Association of Italian Choral Directors, and has conducted in 25 countries. He has directed over 40 times at Carnegie Hall, and is a frequent conductor at other prestigious concert venues. Randall has 190 published works, and his music can be heard on Spotify, YouTube and other platforms, including his website (www.zrstroope.com).