Propulsion

SKU: HL.48024624

ISBN 9781540052834. UPC: 888680940782. 9.0x12.0 inches.

Organ transcription of Anthony Payne's 2006 orchestral completion from Elgar's sketches. Robert Gower comments, Working from the orchestral score confirms Payne's musical intuition in taking fragments and developing them into an entirely convincing whole, one imbued with Elgarian spirit and characterised through the economical precision of his own art. Here, intellectual and artistic integrity combine to construct overall architecture in which not a note is wasted, painstaking care is evident in the subtle details of instrumental coloring, and where there is thrilling rhythmic forward propulsion. In saluting the skills of both composers, I have sought to open out for organists the excitement and sincerity of their work, being designed for performance not only on larger organs with a full range of orchestral color, but also made entirely feasible for performance on smaller two-manual instruments..

SKU: CF.CAS112

ISBN 9781491151310. UPC: 680160908813. 9 x 12 inches. Key: E minor.

Peter Terry's Unleashed?makes for an impressive concert opener that is the musical equivalent of unleashing a caged animal. The piece is exciting from start to finish, with energetic and bold material that students will love to play.
Everyone wants to be unleashed, to be set free of restraints. This piece captures the exhilaration of being set into motion with unlimited optimism and energy. The piece is a rhythmic and propulsive gallop that spins off lyrical material as it drives to a climactic finish that is both exciting and fun. The piece opens with a robust first theme, then transitions on a rhythmic figure spun off from the opening material. The opening section repeats in variation with different orchestration. The more lyrical material that emerges should be brought out to balance the first theme and rhythmic figures from the first section. A development of the material from the opening follows, driving to a brief pause. This pause feels like it will lead to a contrasting lyrical theme, but the energy is just suspended for a second before the piece takes off again. The work finishes with a repeated-note transition back to variations on the opening material and a propulsive rush to the end. I enjoyed writing this piece and hope your students will enjoy playing these contrasting styles and that you will find the piece beneficial in teaching important musical concepts. ?????????Peter Terry, 2018.
Everyone wants to be unleashed, to be set free of restraints. This piece captures the exhilaration of being set into motion with unlimited optimism and energy.A The piece is a rhythmic and propulsive gallop that spins off lyrical material as it drives to a climactic finish that is both exciting and fun. The piece opens with a robust first theme, then transitions on a rhythmic figure spun off from the opening material. The opening section repeats in variation with different orchestration. The more lyrical material that emerges should be brought out to balance the first theme and rhythmic figures from the first section. A development of the material from the opening follows, driving to a brief pause. This pause feels like it will lead to a contrasting lyrical theme, but the energy is just suspended for a second before the piece takes off again. The work finishes with a repeated-note transition back to variations on the opening material and a propulsive rush to the end. I enjoyed writing this piece and hope your students will enjoy playing these contrasting styles and that you will find the piece beneficial in teaching important musical concepts. ?????????Peter Terry, 2018.
Everyone wants to be unleashed, to be set free of restraints. This piece captures the exhilaration of being set into motion with unlimited optimism and energy.A The piece is a rhythmic and propulsive gallop that spins off lyrical material as it drives to a climactic finish that is both exciting and fun. The piece opens with a robust first theme, then transitions on a rhythmic figure spun off from the opening material. The opening section repeats in variation with different orchestration. The more lyrical material that emerges should be brought out to balance the first theme and rhythmic figures from the first section. A development of the material from the opening follows, driving to a brief pause. This pause feels like it will lead to a contrasting lyrical theme, but the energy is just suspended for a second before the piece takes off again. The work finishes with a repeated-note transition back to variations on the opening material and a propulsive rush to the end. I enjoyed writing this piece and hope your students will enjoy playing these contrasting styles and that you will find the piece beneficial in teaching important musical concepts. ?????????Peter Terry, 2018.
Everyone wants to be unleashed, to be set free of restraints. This piece captures the exhilaration of being set into motion with unlimited optimism and energy. The piece is a rhythmic and propulsive gallop that spins off lyrical material as it drives to a climactic finish that is both exciting and fun. The piece opens with a robust first theme, then transitions on a rhythmic figure spun off from the opening material. The opening section repeats in variation with different orchestration. The more lyrical material that emerges should be brought out to balance the first theme and rhythmic figures from the first section. A development of the material from the opening follows, driving to a brief pause. This pause feels like it will lead to a contrasting lyrical theme, but the energy is just suspended for a second before the piece takes off again. The work finishes with a repeated-note transition back to variations on the opening material and a propulsive rush to the end. I enjoyed writing this piece and hope your students will enjoy playing these contrasting styles and that you will find the piece beneficial in teaching important musical concepts. ?????????Peter Terry, 2018.
Everyone wants to be unleashed, to be set free of restraints. This piece captures the exhilaration of being set into motion with unlimited optimism and energy. The piece is a rhythmic and propulsive gallop that spins off lyrical material as it drives to a climactic finish that is both exciting and fun. The piece opens with a robust first theme, then transitions on a rhythmic figure spun off from the opening material. The opening section repeats in variation with different orchestration. The more lyrical material that emerges should be brought out to balance the first theme and rhythmic figures from the first section. A development of the material from the opening follows, driving to a brief pause. This pause feels like it will lead to a contrasting lyrical theme, but the energy is just suspended for a second before the piece takes off again. The work finishes with a repeated-note transition back to variations on the opening material and a propulsive rush to the end. I enjoyed writing this piece and hope your students will enjoy playing these contrasting styles and that you will find the piece beneficial in teaching important musical concepts. Peter Terry, 2018.
Everyone wants to be unleashed, to be set free of restraints. This piece captures the exhilaration of being set into motion with unlimited optimism and energy. The piece is a rhythmic and propulsive gallop that spins off lyrical material as it drives to a climactic finish that is both exciting and fun.The piece opens with a robust first theme, then transitions on a rhythmic figure spun off from the opening material. The opening section repeats in variation with different orchestration. The more lyrical material that emerges should be brought out to balance the first theme and rhythmic figures from the first section. A development of the material from the opening follows, driving to a brief pause. This pause feels like it will lead to a contrasting lyrical theme, but the energy is just suspended for a second before the piece takes off again. The work finishes with a repeated-note transition back to variations on the opening material and a propulsive rush to the end.I enjoyed writing this piece and hope your students will enjoy playing these contrasting styles and that you will find the piece beneficial in teaching important musical concepts.​​​​​​​​​Peter Terry, 2018.

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:

• Expanded use of rhythms, ranges and keys but technical demands are still carefully considered
• More comprehensive bowing techniques
• Viola T.C. included
• Careful selection of keys and degree of difficulty for advancing musicians

SKU: CF.CPS244F

ISBN 9781491157992. UPC: 680160916597. 9 x 12 inches.

On Wings of Flight is a jubilant, short overture that is meant to convey the wonder of soaring high above the ground. Programmatically, it can represent either the flight of birds or aircraft. Donat be concerned if you donat have some of the lower voice color instruments such as bass clarinet, baritone saxophone, and/or bassoon. Those instruments are doubled in the low brass. Bass trombone isnat essential as it doubles tuba, but a lack or scarcity of bass trombone and/or tuba isnat critical if you do have those other low woodwinds. The repetitive eighth-note accents should be lighter than normal so the ongoing effect is more propulsive than heavy. Keep those eighth-note patterns locked into the tempo so the band refrains from unwittingly accelerating. Think of the legato accented notes as slightly separated as opposed to being slurred. When the accented whole notes surrounded by rests are played, be sure they are held out for a full four counts. Save the crescendo for m. 19 and quickly drop back down in volume at m. 21. At m. 31, the whole notes do not crescendo to the same ff volume as the melody. Those parts are to save their crescendo for m. 35. Pay attention to the instruments that do not diminuendo at m. 39. In the slower section after m. 41, be careful that the diminuendos on the half notes donat sag in pitch as the notes get softer. Trumpets and horns at m. 49 must not play their notes as accents. Give particular attention to the diminuendos in the melody at m. 56, so that they fade out as the volume of the other instruments grows. The accented notes at mm. 85 and 86 should each be heard through the volume of the rest of the instruments, so that the addition of each pitch is adequately heard. If you wish, you may place more emphasis on the accents in the last two measures of the piece than you did earlier throughout the piece.
On Wings of Flight is a jubilant, short overture that is meant to convey the wonder of soaring high above the ground. Programmatically, it can represent either the flight of birds or aircraft. Don't be concerned if you don't have some of the lower voice color instruments such as bass clarinet, baritone saxophone, and/or bassoon. Those instruments are doubled in the low brass. Bass trombone isn't essential as it doubles tuba, but a lack or scarcity of bass trombone and/or tuba isn't critical if you do have those other low woodwinds. The repetitive eighth-note accents should be lighter than normal so the ongoing effect is more propulsive than heavy. Keep those eighth-note patterns locked into the tempo so the band refrains from unwittingly accelerating. Think of the legato accented notes as slightly separated as opposed to being slurred. When the accented whole notes surrounded by rests are played, be sure they are held out for a full four counts. Save the crescendo for m. 19 and quickly drop back down in volume at m. 21. At m. 31, the whole notes do not crescendo to the same ff volume as the melody. Those parts are to save their crescendo for m. 35. Pay attention to the instruments that do not diminuendo at m. 39. In the slower section after m. 41, be careful that the diminuendos on the half notes don't sag in pitch as the notes get softer. Trumpets and horns at m. 49 must not play their notes as accents. Give particular attention to the diminuendos in the melody at m. 56, so that they fade out as the volume of the other instruments grows. The accented notes at mm. 85 and 86 should each be heard through the volume of the rest of the instruments, so that the addition of each pitch is adequately heard. If you wish, you may place more emphasis on the accents in the last two measures of the piece than you did earlier throughout the piece.
On Wings of Flight is a jubilant, short overture that is meant to convey the wonder of soaring high above the ground. Programmatically, it can represent either the flight of birds or aircraft.Don’t be concerned if you don’t have some of the lower voice color instruments such as bass clarinet, baritone saxophone, and/or bassoon. Those instruments are doubled in the low brass. Bass trombone isn’t essential as it doubles tuba, but a lack or scarcity of bass trombone and/or tuba isn’t critical if you do have those other low woodwinds.The repetitive eighth-note accents should be lighter than normal so the ongoing effect is more propulsive than heavy. Keep those eighth-note patterns locked into the tempo so the band refrains from unwittingly accelerating. Think of the legato accented notes as slightly separated as opposed to being slurred.When the accented whole notes surrounded by rests are played, be sure they are held out for a full four counts. Save the crescendo for m. 19 and quickly drop back down in volume at m. 21. At m. 31, the whole notes do not crescendo to the same ff volume as the melody. Those parts are to save their crescendo for m. 35. Pay attention to the instruments that do not diminuendo at m. 39.In the slower section after m. 41, be careful that the diminuendos on the half notes don’t sag in pitch as the notes get softer. Trumpets and horns at m. 49 must not play their notes as accents. Give particular attention to the diminuendos in the melody at m. 56, so that they fade out as the volume of the other instruments grows.The accented notes at mm. 85 and 86 should each be heard through the volume of the rest of the instruments, so that the addition of each pitch is adequately heard. If you wish, you may place more emphasis on the accents in the last two measures of the piece than you did earlier throughout the piece.

SKU: CF.XPS14

ISBN 9781491152607. UPC: 680160910106.

Peter Terry's Unleashed makes for an impressive concert opener that is the musical equivalent of unleashing a caged animal. The piece is exciting from start to finish, with energetic and bold material that students will love to play. Directors will also love the instrumentation flexibility that this new version offers.
Everyone wants to be unleashed, to be set free of restraints. This piece captures the exhilaration of being set into motion with unlimited optimism and energy. The piece is a rhythmic and propulsive gallop that spins off lyrical material as it drives to a climactic finish that is both exciting and fun.The piece opens with a robust first theme, then transitions on a rhythmic figure spun off from the opening material. The opening section repeats in variation with different orchestration. The more lyrical material that emerges should be brought out to balance the opening theme and rhythmic figures from the first section. A development of the material from the opening follows, driving to a brief pause. This pause feels like it will lead to a contrasting lyrical theme, but the energy is just suspended for a second before the piece takes off again. The work finishes with a repeated-note transition back to variations on the opening material and a propulsive rush to the end.I enjoyed writing this piece and hope your students will enjoy playing these contrasting styles and that you will find the piece beneficial in teaching important musical concepts.​​​​​​​​​Peter Terry, 2018.

SKU: CF.XPS14F

ISBN 9781491153284. UPC: 680160910786.

Peter Terry's Unleashed makes for an impressive concert opener that is the musical equivalent of unleashing a caged animal. The piece is exciting from start to finish, with energetic and bold material that students will love to play. Directors will also love the instrumentation flexibility that this new version offers.
Everyone wants to be unleashed, to be set free of restraints. This piece captures the exhilaration of being set into motion with unlimited optimism and energy. The piece is a rhythmic and propulsive gallop that spins off lyrical material as it drives to a climactic finish that is both exciting and fun.The piece opens with a robust first theme, then transitions on a rhythmic figure spun off from the opening material. The opening section repeats in variation with different orchestration. The more lyrical material that emerges should be brought out to balance the opening theme and rhythmic figures from the first section. A development of the material from the opening follows, driving to a brief pause. This pause feels like it will lead to a contrasting lyrical theme, but the energy is just suspended for a second before the piece takes off again. The work finishes with a repeated-note transition back to variations on the opening material and a propulsive rush to the end.I enjoyed writing this piece and hope your students will enjoy playing these contrasting styles and that you will find the piece beneficial in teaching important musical concepts.​​​​​​​​​Peter Terry, 2018.

SKU: KJ.SO338F

UPC: 084027041710.

Join the celebration with this majestic and exhilarating selection. Featuring a fanfare in 5/4, heroic melodies, and propulsive motor rhythms, Celebration is sure to be a favorite with students and audiences alike. It's the perfect accompaniment to school festivals and an ideal opener on your next concert program. A rare treat! 3:58.

SKU: GI.G-003120

ISBN 9781622774449. Scripture: Psalm 25, Psalm 31, Psalm 85, Psalm 95, Psalm 97, Psalm 145.

The final collaboration with WLP from the distinguished composer, choral conductor, and organist Colin Mawby before his passing, this collection contains pieces reflecting Mawby’s signature styles: plaintive melodies, seventh and ninth chords, modulations, and propulsive rhythms. Several of these psalms lend themselves to the organ. As preludes, postludes, or performed together as a concert piece, the Psalms in this collection are an excellent addition to any pianist’s repertoire. Contents: Psalm 25 “To you, O Lord, I lift my soul”, Psalm 31 “I trust in you, O Lord, you are my God”, Psalm 85 “For he will speak peace to his people”, Psalm 95 “Come let us sing with joy to the Lord”, Psalm 97 “The Lord reigns, let the earth be glad”, Psalm 145 “I will extol you, my God and king”.