SKU: LM.25154
ISBN 9790230951548.
ANONYME : Deux basses dances du XVIe siecle - The Sick Tune - ATTAIGNANT : Basse dance - Recoupe - Tourdion - ASKUE : A Jig - BACH J.C. : Danse - CUTTIN : The Squirrel's Toy - MOZART L. : Bourree - RAMEAU : Menuet - TELEMAN : Gavotte.
SKU: HL.48181903
UPC: 888680848248. 0.067 inches.
380 Basses et chants donnes - Volume 3, Septiemes de dominante - 3a is part of the 10 volumes of 380 Basses et chants donnes by Henri Challan.This series of pieces for Voice should complete all the harmony treatises and should help singers to gain a clear and projective sound. This volume is written in F and C keys, with some accidental alterations. This book is completed by volume 3B. The whole series 380 Basses et chants donnes features: 1. Accords de 3 sons 2. Modulations et marches harmoniques 3. Septiemes de dominante 4. Septiemes de differentes especes 5. Neuviemes de dominante 6. Ensemble des accords ? alterations 7. Retards et appogiatures 8. Broderies ? notes de passage ? pedals 9. Basses sur l?ensemble des notes etrangeres 10. Chants sur l?ensemble des notes etrangeres All these volumes feature a minimum of two aspects: a. Textes, b. Elements realisateurs and for the volumes 9 and 10, c. Realisations de l?auteur Henri Challan (1910-1977) is a French composer and professor at the Paris Conservatoire.
SKU: HL.48181904
UPC: 888680848286. 5.75x8.25x0.126 inches.
380 Basses et chants donnes - Volume 3, Septiemes de Dominante - 3b is part of the 10 volumes of 380 Basses et chants donnes by Henri Challan.This series of pieces for Voice should complete all the harmony treatises and should help singers to gain a correct and clear sound. This volume is written in F and C keys, with some accidentals. This book completes the book 3a. The whole series 380 Basses et chants donnes features: 1. Accords de 3 sons 2. Modulations et marches harmoniques 3. Septiemes de dominante 4. Septiemes de differentes especes 5. Neuviemes de dominante 6. Ensemble des accords ? alterations 7. Retards et appogiatures 8. Broderies ? notes de passage ? pedals 9. Basses sur l?ensemble des notes etrangeres 10. Chants sur l?ensemble des notes etrangeres All these volumes features minimum two aspects: a. Textes, b. Elements realisateurs and for the volumes 9 and 10, c. Realisations de l?auteur Henri Challan (1910-1977) is a French composer and professor at the Paris Conservatoire.
SKU: HL.48181946
UPC: 888680849597. 8.25x0.076 inches.
“380 Basses and songs - Volume 5, Dominant Ninth - 5a is part of the 10 volumes of 380 Basses and songs by Henri Challan.This series of pieces for Voice should complete all the harmony treatises and should help the singers to gain a right and clear sound. This volume focuses on Dominant Ninth and is written in F and C keys, with some accidentals. This book completes the book 5b. The whole series of 380 Basses et chants donnés features: 1. Accords de 3 sons 2. Modulations et marches harmoniques 3. Septièmes de dominante 4. Septièmes de différentes espèces 5. Neuvièmes de dominante 6. Ensemble des accords ? alterations 7. Retards et appogiatures 8. Broderies ? notes de passage ? pedals 9. Basses sur l?ensemble des notes étrangères 10. Chants sur l?ensemble des notes étrangères All these volumes features minimum two aspects: a. Textes, b. Éléments réalisateurs and for the volumes 9 and 10, c. Réalisations de l?auteur Henri Challan (1910-1977) is a French composer and professor at the Paris Conservatoireâ€.
SKU: HL.48182095
UPC: 888680849931. 6.0x8.75x0.177 inches.
“Volume 10, Chants sur l''ensemble des notes étrangère - 10c is part of the 10 volumes of 380 Basses et chants donnés by Henri Challan. This series of pieces for Voice should complete all the harmony treatises and should help singers to gain a clear and projective sound. This volume 10c is titled ?Author?s realisations? and completes the volumes 10a and 10b on inharmonic tones. It includes the exercises 356 to 380 on the subject and is mainly written in C and F keys. The whole series 380 Basses et chants donnés features: 1. Accords de 3 sons 2. Modulations et marches harmoniques 3. Septièmes de dominante 4. Septièmes de différentes espèces 5. Neuvièmes de dominante 6. Ensemble des accords ? alterations 7. Retards et appogiatures 8. Broderies ? notes de passage ? pedals 9. Basses sur l?ensemble des notes étrangères 10. Chants sur l?ensemble des notes étrangères All these volumes feature a minimum of two aspects: a. Textes, b. Éléments réalisateurs and for the volumes 9 and 10, c. Réalisations de l?auteur Henri Challan (1910-1977) is a French composer and professor at the Paris Conservatoire.â€.
SKU: HL.48181912
UPC: 888680848484. 5.75x8.25x0.103 inches.
“Volume 4, Septièmes de différentes espèces - 4a is part of the 10 volumes of 380 Basses et chants donnés by Henri Challan.This series of pieces for Voice should complete all the harmony treatises and should help the singers to gain a clear and projective sound. This volume is written in F and C keys, with some accidentals. This book is completed by the volume 4b. The whole series 380 Basses et chants donnés features: 1. Accords de 3 sons 2. Modulations et marches harmoniques 3. Septièmes de dominante 4. Septièmes de différentes espèces 5. Neuvièmes de dominante 6. Ensemble des accords ? alterations 7. Retards et appogiatures 8. Broderies ? notes de passage ? pedals 9. Basses sur l?ensemble des notes étrangères 10. Chants sur l?ensemble des notes étrangères All these volumes feature a minimum of two aspects: a. Textes, b. Éléments réalisateurs and for the volumes 9 and 10, c. Réalisations de l?auteur Henri Challan (1910-1977) was a French composer and professor at the Paris Conservatoireâ€.
SKU: HL.14003446
ISBN 9780711954489. 9.0x12.0x0.088 inches. English.
Repertoire pieces for the young beginner, easy tunes compiled by Carol Barratt. Contents: Double Basses * Gigue * I Got Shoes * Minuet in C * Moderato * Naomi's Number * Ober the Hills and Far Away * Strolling Sam * Superfrog * The Bagpipers * The C Major Scale * The Fox Jumped Over the Person's Gate * The G Major Scale * The Juniper Tree * Twins * Variations On 'Ah Vous Dirai-Je, Maman?' (Twinkle, Twinkle, Little Star) * What You Will.
SKU: FZ.5968
ISBN 9790230659680. 23.50 x 31.50 cm inches.
This facsimile of an original by Louis de Caix d'Hervelois is part of our French classical music collection. Edition : Paris, l'Auteur, Foucault, 1719. Preface by Jean Saint-Arroman: the titles of the pieces. Two separate instrumental parts for the viol and the continuo. One of the classics of the viola da gamba repertoire. The pieces, of varying length and difficulty, are suitable for both students and professionals. Collection supervised by the musicologist Jean Saint-Arroman, professor at the Conservatoire National Superieur de Musique et de Danse of Paris and at the CEFEDEM Ile de France (Training Centre for Music Teachers). He is the author of the majority of our prefaces and has also been involved in library searches. Facsimile of a copy in the National Library of Paris (France). Anne Fuzeau Classique propose period copies of classical music scores.
SKU: BT.SCHBB1300057
SKU: HL.48014431
UPC: 073999159714.
Two or more Double Basses.
SKU: HL.50483829
8.25x11.75x0.24 inches.
SKU: CF.CAS110
ISBN 9781491151297. UPC: 680160908790. 9 x 12 inches. Key: E minor.
Bud Caputo presents Nutcracker Suite Selections for string orchestra featuring three abridged movements of?Tchaikovsky's Nutcracker Suite:?Dance of the Sugar Plum Fairy, March, and Trepak. These abridged movements are sure to be crowd-pleasers around the?winter holidays or a favorite for?any time of the year.This arrangement will challenge students, while fostering rhythmic independence, execution of bowing and pizzicato, and the ability to balance the melody with the accompaniment throughout the arrangement. However, ranges remain primarily in first position with some optional 8va passages, allowing intermediate groups to perform this in time for the winter holiday concert. Suitable for Grades 3 through 5. To the Director: Dance of the Sugar Plum Fairy: A steady tempo is critical when performing this movement, as students may have a tendency to rush during the pizzicato sections. There is a regularly occurring descending sixteenth-note rhythmic figure that is transcribed form the bass clarinet part in the original. It is important to maintain clarity and balance in performing these passages as seen in mm. 16-19, in the Basses and m. 34 in the Cello and Bass. The balancing of the chords will be a challenge in the execution of the many sforzandos in this movement. March: Measures 2 and 4, and similar melodic patterns that follow, require the performers to carefully balance their forte/pianos on beats 3 and 4, along with the rapid diminuendo. The contrasting rhythmic patterns in mm. 5-8, and later throughout this movement must line up precisely. Strings playing the pizzicato eight note, walking bass line, must not rush, and the upper strings playing the eighth-note/eight-rest figure must follow their section leaders in executing this in a unified manner. While there is no formal tempo change from mm. 40 to 41, directors may need to relax the tempo at the beginning of the movement to accommodate the technical challenge of the double time feel that happens in m. 41. Trepak: Tchaikovsky was careful to notate the p, f and sf, requiring the performers to recognize the difference between all three markings that frame the chief melody. The upper strings must be careful to support the melody in the lower strings that begins in m. 33. Directors will challenge their students to have fun in the last twelve measures with the accelerando passage to the end. Care must be taken to use an accelerando that works for all the players in the particular ensemble..This arrangement will challenge students, while fostering rhythmic independence, execution of bowing and pizzicato, and the ability to balance the melody with the accompaniment throughout the arrangement. However, ranges remain primarily in first position with some optional 8va passages, allowing intermediate groups to perform this in time for the winter holiday concert.A Suitable for Grades 3 through 5. To the Director: Dance of the Sugar Plum Fairy: A steady tempo is critical when performing this movement, as students may have a tendency to rush during the pizzicato sections. There is a regularly occurring descending sixteenth-note rhythmic figure that is transcribed form the bass clarinet part in the original. It is important to maintain clarity and balance in performing these passages as seen in mm.A 16-19, in the Basses and m.A 34A in the Cello and Bass. The balancing of the chords will be a challenge in the execution of the many sforzandosA in this movement. March: A Measures 2 and 4, and similar melodic patterns that follow, require the performers to carefully balance their forte/pianos on beats 3 and 4, along with the rapid diminuendo. The contrasting rhythmic patterns in mm. 5-8, and later throughout this movement must line up precisely. Strings playing the pizzicato eight note, walking bass line, must not rush, and the upper strings playing the eighth-note/eight-restA figure must follow their section leaders in executing this in a unified manner. While there is no formal tempo change from mm. 40 to 41, directors may need to relax the tempo at the beginning of the movement toA accommodate the technical challenge of the double time feel that happens in m. 41. Trepak: A Tchaikovsky was careful to notate the p, f and sf, requiring the performers to recognize the difference between all three markings that frame the chief melody. The upper strings must be careful to support the melody in the lower strings that begins in m. 33. Directors will challenge their students to have fun in the last twelve measures with the accelerando passage to the end. Care must be taken to use an accelerando that works for all the players in the particular ensemble..This arrangement will challenge students, while fostering rhythmic independence, execution of bowing and pizzicato, and the ability to balance the melody with the accompaniment throughout the arrangement. However, ranges remain primarily in first position with some optional 8va passages, allowing intermediate groups to perform this in time for the winter holiday concert.A Suitable for Grades 3 through 5. To the Director: Dance of the Sugar Plum Fairy: A steady tempo is critical when performing this movement, as students may have a tendency to rush during the pizzicato sections. There is a regularly occurring descending sixteenth-note rhythmic figure that is transcribed form the bass clarinet part in the original. It is important to maintain clarity and balance in performing these passages as seen in mm.A 16-19, in the Basses and m.A 34A in the Cello and Bass. The balancing of the chords will be a challenge in the execution of the many sforzandosA in this movement. March: A Measures 2 and 4, and similar melodic patterns that follow, require the performers to carefully balance their forte/pianos on beats 3 and 4, along with the rapid diminuendo. The contrasting rhythmic patterns in mm. 5-8, and later throughout this movement must line up precisely. Strings playing the pizzicato eight note, walking bass line, must not rush, and the upper strings playing the eighth-note/eight-restA figure must follow their section leaders in executing this in a unified manner. While there is no formal tempo change from mm. 40 to 41, directors may need to relax the tempo at the beginning of the movement toA accommodate the technical challenge of the double time feel that happens in m. 41. Trepak: A Tchaikovsky was careful to notate the p, f and sf, requiring the performers to recognize the difference between all three markings that frame the chief melody. The upper strings must be careful to support the melody in the lower strings that begins in m. 33. Directors will challenge their students to have fun in the last twelve measures with the accelerando passage to the end. Care must be taken to use an accelerando that works for all the players in the particular ensemble..This arrangement will challenge students, while fostering rhythmic independence, execution of bowing and pizzicato, and the ability to balance the melody with the accompaniment throughout the arrangement. However, ranges remain primarily in first position with some optional 8va passages, allowing intermediate groups to perform this in time for the winter holiday concert. Suitable for Grades 3 through 5. To the Director: Dance of the Sugar Plum Fairy: A steady tempo is critical when performing this movement, as students may have a tendency to rush during the pizzicato sections. There is a regularly occurring descending sixteenth-note rhythmic figure that is transcribed form the bass clarinet part in the original. It is important to maintain clarity and balance in performing these passages as seen in mm. 16-19, in the Basses and m. 34 in the Cello and Bass. The balancing of the chords will be a challenge in the execution of the many sforzandos in this movement. March: Measures 2 and 4, and similar melodic patterns that follow, require the performers to carefully balance their forte/pianos on beats 3 and 4, along with the rapid diminuendo. The contrasting rhythmic patterns in mm. 5-8, and later throughout this movement must line up precisely. Strings playing the pizzicato eight note, walking bass line, must not rush, and the upper strings playing the eighth-note/eight-rest figure must follow their section leaders in executing this in a unified manner. While there is no formal tempo change from mm. 40 to 41, directors may need to relax the tempo at the beginning of the movement to accommodate the technical challenge of the double time feel that happens in m. 41. Trepak: Tchaikovsky was careful to notate the p, f and sf, requiring the performers to recognize the difference between all three markings that frame the chief melody. The upper strings must be careful to support the melody in the lower strings that begins in m. 33. Directors will challenge their students to have fun in the last twelve measures with the accelerando passage to the end. Care must be taken to use an accelerando that works for all the players in the particular ensemble..This arrangement will challenge students, while fostering rhythmic independence, execution of bowing and pizzicato, and the ability to balance the melody with the accompaniment throughout the arrangement. However, ranges remain primarily in first position with some optional 8va passages, allowing intermediate groups to perform this in time for the winter holiday concert. Suitable for Grades 3 through 5. To the Director: Dance of the Sugar Plum Fairy: A steady tempo is critical when performing this movement, as students may have a tendency to rush during the pizzicato sections. There is a regularly occurring descending sixteenth-note rhythmic figure that is transcribed form the bass clarinet part in the original. It is important to maintain clarity and balance in performing these passages as seen in mm. 16-19, in the Basses and m. 34 in the Cello and Bass. The balancing of the chords will be a challenge in the execution of the many sforzandos in this movement. March: Measures 2 and 4, and similar melodic patterns that follow, require the performers to carefully balance their forte/pianos on beats 3 and 4, along with the rapid diminuendo. The contrasting rhythmic patterns in mm. 5-8, and later throughout this movement must line up precisely. Strings playing the pizzicato eight note, walking bass line, must not rush, and the upper strings playing the eighth-note/eight-rest figure must follow their section leaders in executing this in a unified manner. While there is no formal tempo change from mm. 40 to 41, directors may need to relax the tempo at the beginning of the movement to accommodate the technical challenge of the double time feel that happens in m. 41. Trepak: Tchaikovsky was careful to notate the p, f and sf, requiring the performers to recognize the difference between all three markings that frame the chief melody. The upper strings must be careful to support the melody in the lower strings that begins in m. 33. Directors will challenge their students to have fun in the last twelve measures with the accelerando passage to the end. Care must be taken to use an accelerando that works for all the players in the particular ensemble.This arrangement will challenge students, while fostering rhythmic independence, execution of bowing and pizzicato, and the ability to balance the melody with the accompaniment throughout the arrangement. However, ranges remain primarily in first position with some optional 8va passages, allowing intermediate groups to perform this in time for the winter holiday concert. Suitable for Grades 3 through 5.To the Director:Dance of the Sugar Plum Fairy: A steady tempo is critical when performing this movement, as students may have a tendency to rush during the pizzicato sections. There is a regularly occurring descending sixteenth-note rhythmic figure that is transcribed form the bass clarinet part in the original. It is important to maintain clarity and balance in performing these passages as seen in mm. 16-19, in the Basses and m. 34 in the Cello and Bass. The balancing of the chords will be a challenge in the execution of the many sforzandos in this movement. March:  Measures 2 and 4, and similar melodic patterns that follow, require the performers to carefully balance their forte/pianos on beats 3 and 4, along with the rapid diminuendo. The contrasting rhythmic patterns in mm. 5-8, and later throughout this movement must line up precisely. Strings playing the pizzicato eight note, walking bass line, must not rush, and the upper strings playing the eighth-note/eight-rest figure must follow their section leaders in executing this in a unified manner. While there is no formal tempo change from mm. 40 to 41, directors may need to relax the tempo at the beginning of the movement to accommodate the technical challenge of the double time feel that happens in m. 41. Trepak:  Tchaikovsky was careful to notate the p, f and sf, requiring the performers to recognize the difference between all three markings that frame the chief melody. The upper strings must be careful to support the melody in the lower strings that begins in m. 33. Directors will challenge their students to have fun in the last twelve measures with the accelerando passage to the end. Care must be taken to use an accelerando that works for all the players in the particular ensemble.
About Carl Fischer Concert String Orchestra Series
This series of pieces (Grade 3 and higher) is designed for advancing ensembles. The pieces in this series are characterized by:
SKU: CF.CAS110F
ISBN 9781491151662. UPC: 680160909162. 9 x 12 inches.
SKU: CF.W2693
ISBN 9781491158586. UPC: 680160917198. 9 x 12 inches.
While unknown today, composer William Pettee (1839a1891) was clearly a remarkable musician and composer evidenced by the fact that he wrote funeral music for Abraham Lincoln and General Ulysses S. Grant. This funeral music survives to this day in a piano reduction format and is the basis of some of my most current arranging projects. This new edition of Olosabut was the culmination of years of research into the era commonly called The Golden Age of Bands, a period spanning 1880a1920. This project initially began when I played the solo part for Olosabut with a reading band when I was a guest artist at the Northwest Brass Festival in Seattle in 2010. For this new edition, I created a score with modern transpositions. Prior to this, there has been no score for this music. There is often no score for American band music from this era. I also adjusted the dynamics and articulations to allow the soloist to be heard and composed a handful of new musical lines to correct the problems stemming from inconsistent number of measures in the original edition. Finally, I created a reduction for tuba and piano as well as a new edition for solo tuba and orchestra. Olosabut (atuba soloa spelled backwards) from 1885 is possibly the oldest American tuba solo to survive to the twenty-first century. I have done extensive research in this area, and while there may be some earlier pieces with small obbligato solos for tuba, and perhaps even earlier full-fledged tuba solos, I believe this is the earliest music with a serious solo tuba part throughout that survives to this day. In the Tuba Source Book, several early solos are listed from the 1880s. In my research, I have attempted to obtain all of the music listed in the Tuba Source Book from the 1880s or earlier though the Library of Congress and various historic libraries in America. Most of this music for solo tuba and band is incomplete or entirely unavailable today though. The earliest of these is Southwellas Quickstep (Fun for Basses) from 1881. This is described as a novelty march for tuba section, however. A notable omission from the Tuba Source Book, though, is William Petteeas Olosabut, which is clearly marked 1885 on the original published sheet music. This piece is not listed in the Tuba Source Book. However, a different piece by Pettee called Osceola is listed from 1889.While unknown today, composer William Pettee (1839-1891) was clearly a remarkable musician and composer evidenced by the fact that he wrote funeral music for Abraham Lincoln and General Ulysses S. Grant. This funeral music survives to this day in a piano reduction format and is the basis of some of my most current arranging projects. This new edition of Olosabut was the culmination of years of research into the era commonly called The Golden Age of Bands, a period spanning 1880-1920. This project initially began when I played the solo part for Olosabut with a reading band when I was a guest artist at the Northwest Brass Festival in Seattle in 2010. For this new edition, I created a score with modern transpositions. Prior to this, there has been no score for this music. There is often no score for American band music from this era. I also adjusted the dynamics and articulations to allow the soloist to be heard and composed a handful of new musical lines to correct the problems stemming from inconsistent number of measures in the original edition. Finally, I created a reduction for tuba and piano as well as a new edition for solo tuba and orchestra. Olosabut (tuba solo spelled backwards) from 1885 is possibly the oldest American tuba solo to survive to the twenty-first century. I have done extensive research in this area, and while there may be some earlier pieces with small obbligato solos for tuba, and perhaps even earlier full-fledged tuba solos, I believe this is the earliest music with a serious solo tuba part throughout that survives to this day. In the Tuba Source Book, several early solos are listed from the 1880s. In my research, I have attempted to obtain all of the music listed in the Tuba Source Book from the 1880s or earlier though the Library of Congress and various historic libraries in America. Most of this music for solo tuba and band is incomplete or entirely unavailable today though. The earliest of these is Southwell's Quickstep (Fun for Basses) from 1881. This is described as a novelty march for tuba section, however. A notable omission from the Tuba Source Book, though, is William Pettee's Olosabut, which is clearly marked 1885 on the original published sheet music. This piece is not listed in the Tuba Source Book. However, a different piece by Pettee called Osceola is listed from 1889.While unknown today, composer William Pettee (1839–1891) was clearly a remarkable musician and composer evidenced by the fact that he wrote funeral music for Abraham Lincoln and General Ulysses S. Grant. This funeral music survives to this day in a piano reduction format and is the basis of some of my most current arranging projects. This new edition of Olosabut was the culmination of years of research into the era commonly called The Golden Age of Bands, a period spanning 1880–1920. This project initially began when I played the solo part for Olosabut with a reading band when I was a guest artist at the Northwest Brass Festival in Seattle in 2010. For this new edition, I created a score with modern transpositions. Prior to this, there has been no score for this music. There is often no score for American band music from this era. I also adjusted the dynamics and articulations to allow the soloist to be heard and composed a handful of new musical lines to correct the problems stemming from inconsistent number of measures in the original edition. Finally, I created a reduction for tuba and piano as well as a new edition for solo tuba and orchestra.Olosabut (“tuba solo†spelled backwards) from 1885 is possibly the oldest American tuba solo to survive to the twenty-first century. I have done extensive research in this area, and while there may be some earlier pieces with small obbligato solos for tuba, and perhaps even earlier full-fledged tuba solos, I believe this is the earliest music with a serious solo tuba part throughout that survives to this day. In the Tuba Source Book, several early solos are listed from the 1880s. In my research, I have attempted to obtain all of the music listed in the Tuba Source Book from the 1880s or earlier though the Library of Congress and various historic libraries in America. Most of this music for solo tuba and band is incomplete or entirely unavailable today though. The earliest of these is Southwell’s Quickstep (Fun for Basses) from 1881. This is described as a novelty march for tuba section, however. A notable omission from the Tuba Source Book, though, is William Pettee’s Olosabut, which is clearly marked 1885 on the original published sheet music. This piece is not listed in the Tuba Source Book. However, a different piece by Pettee called Osceola is listed from 1889.
SKU: CF.YAS205F
ISBN 9781491159354. UPC: 680160917938.
Get your superstar bass section out of the back row and into the spotlight with Vanguard, an exciting section feature. They'll get to showcase their skills with hooked bowings, dotted rhythms and exciting, driving melodies. Meanwhile, the rest of the orchestra gets to experience playing mixed C naturals and C sharps, counting challenging rhythms, and taking the spotlight with some fun melodies of their own. All students will love the fast cut-time tempo and dark E-minor tonality, but basses will especially appreciate this exciting chance to finally take center stage!.Get your superstar bass section out of the back row and into the spotlight with Vanguard, an exciting section feature. They’ll get to showcase their skills with hooked bowings, dotted rhythms and exciting, driving melodies. Meanwhile, the rest of the orchestra gets to experience playing mixed C naturals and C sharps, counting challenging rhythms, and taking the spotlight with some fun melodies of their own. All students will love the fast cut-time tempo and dark E-minor tonality, but basses will especially appreciate this exciting chance to finally take center stage!
About Carl Fischer Young String Orchestra Series
This series of Grade 2/Grade 2.5 pieces is designed for second and third year ensembles. The pieces in this series are characterized by:--Occasionally extending to third position--Keys carefully considered for appropriate difficulty--Addition of separate 2nd violin and viola parts--Viola T.C. part included--Increase in independence of parts over beginning levels
SKU: CF.YAS205
ISBN 9781491159187. UPC: 680160917761.
SKU: CF.CAS98
ISBN 9781491146583. UPC: 680160904082. 9 x 12 inches. Key: G major.
Composer Bud Woodruff takes his musical inspiration for Adventurer's Dream from a rooster named Wally. Mr. Woodruff turns this charming four-note crow into the main thematic material for this piece that is reminiscent of classic movie scores.The principal theme to this piece has an interesting history . We had a very young rooster named Wally . He had a quite rhythmic four-pitched crow, which was very unique and consistent . As he aged, his crow settled into pitches and the opening melodic figure of this piece is the very pitches and rhythm of Wally’s crow . However, Wally had a touch of a glissando between the last two pitches, which I chose to eliminate, for musicality’s sake . Wally's crow is spun out in different ways and used one way or another in all the sections of the piece . Wally was a very energetic, if not egotistical, young bird, and the piece should be performed accordingly, in a dashing, swashbuckling, heroic style, which Wally would appreciate greatly and agree that it was very appropriate!Rehearsal suggestions:The most difficult thing to accomplish in this work will be deciding if you want the repeated eight-note figure on the string or off the string . I don’t care as long as it sounds staccato . On the string, it needs to be played at or by the camber point; off the string, that point will change depending upon your tempo, but the stroke itself should remain consistent .Although the basses never have the melody, they are a critically important section and can make or break this piece . Their part counters the others and fills in rhythmic gaps in a number of places . It needs to be played aggressively and metronomically; they are the glue that makes the piece work . The cellos need to sing for all they are worth at m . 63 and do so with joy in their hands . Their theme needs to be very lyrical and smooth . The countermelody at m . 79 should be understated, yet not buried while being intertwined with the cellos’ theme . It harkens back to the main theme and needs a dreamy quality to it .The piece was written as a string orchestra piece . The optional harp part was added later and is not necessary for an effective performance of the piece . However, it does add some extra variety and color to the piece, and reinforces the basses when they fill in those rhythmic gaps to which I referred earlier .A very special thanks goes to harpist Jane Minnis for the great and insightful suggestions for this part .Thank you for playing this piece . I trust you will enjoy it as much as I do .
SKU: PE.EP68779A
ISBN 9790300762463.
O Salutaris Hostia is one of Eriks Ešenvalds' most popular pieces. Originally written for female voices, the composer later created a version for full choir on which this arrangement is based. It has a gentle meditation with the two soloists drifting across the soft band accompaniment, alternately echoing and imitating each other or joining together in thirds. The effect is quietly ecstatic, a brief moment of adoration and wonderment. This arrangement can be played with either two cornets or two euphoniums as soloists as the accompaniment works just as effectively with either.
Orchestration:
1 1st Bb Soloist, 1 2nd Bb Soloist, 1 Eb Soprano Cornet, 1 Bb Solo Cornet (marked tacet), 1 Bb Repiano Cornet, 2 2nd Bb Cornet, 2 3rd Bb Cornet, 1 Bb Flugel Horn, 1 Solo Eb Horn, 1 1st Eb Horn, 1 2nd Eb Horn, 1 1st Bb Baritone, 1 2nd Bb Baritone, 1 1st Bb Trombone, 1 2nd Bb Trombone, 1 Bass Trombone, 1 Bb Euphonium (marked tacet), 2 Eb Basses, 2 Bb Basses, Timpani, 1 Percussion (suspended cymbal)