Relentless

SKU: TA.TSPB-29

It takes two to tap off in this collection of medium-advanced duets for marching snare and tenor. These four pieces were smartly written by Brian Blume to function as audition pieces for a college-level program (or advanced high school level) or any time a snare player and tenor player want to get together to showcase their skills!

The pieces are short enough to remain attainable but will demand skill from each performer. Inside you'll find:

Take Two -- One phrase is followed by a second, similar phrase (a second take) through a variety of compositional devices. (1'40)

Catchphrase -- Phrases over the barline, phrases with space, and like phrases with different rhythmic values serve to challenge conventional wisdom. (1'20)

Relentless -- Mostly in 7/8 time, this one is relentless in its tempo and musical challenges. (1'15)

Then Again -- A throwback to more traditional rudimental works, you'll find ratamacues, swiss army triplets, and even the double drag tap! (1'45)

Take Two comes with individual PDF parts for printing or tablet view and audio reference recordings. You supply the talent!

SKU: CF.PPS53F

ISBN 9781491152652. UPC: 680160910151.

Illyria is a region in southern Europe, and the name has been used in books and music throughout history, including Shakespearean plays. Composer Sean O'Loughlin takes beginning students on a musical journey, starting with broad melodic statements by the brass, bold full ensemble statements, a contrasting lyrical section, and concluding with a relentless finish. Journey to Illyria is a sophisticated musical presentation that is still playable by the youngest of students.
The title Journey to Illyria comes out of a recent internet search that came up with a similarly titled book by an author named Sean O'Loughlin (no relation). I'm always fascinated by how connected and small this world can seem. After some further research, I found that Illyria is also a name that appears in some fantasy fiction books and even on the TV show Angel. All of this gets wrapped into the music for this piece.It begins with a broad melodic statement by the brass. It develops further at m. 9 and then transitions to a full statement at m. 25 with plenty of imitation between upper and lower voices. A contrasting slower section follows at m. 39, which should bring out the haunting, rich sound of the ensemble. The fast section returns at m. 46 with progressively building imitation to bring back the opening gesture at m. 58. The music then is relentless to the rousing end.

SKU: PR.41641515L

UPC: 680160621750.

The melancholic tone of the Ney (the Persian bamboo flute) is known for its alluring sound, emulating the human voice. In Persian literature, the Ney is considered a mystic instrument capable of expressing deep human emotions. In writing my flute concerto, I aimed not only to highlight the modern flautist's ability to play agile and brilliant passages but also to emulate the delicate sound of the Ney, particularly in extended solo flute passages. Two prominent characters permeate the first movement of my concerto. They are marked in the score as lamentoso, and con spirito, expressing grief and loss, and joy of living respectively. The lament is mostly expressed in several extended cadenzas for solo flute while the con spirito consists of robust and energetic fast sections played by all forces of the orchestra. Apart from these two characters there are moments of mystery, comedy and the grotesque, among others. In the second movement, the lyrical and poetic character of the flute is prominently presented in dream-like passages surrounded by shimmering and tender orchestral colors. The solo flute is left out in an agitated middle section that references the first movement. In the third section of the movement the solo flute returns in meditative fashion culminating in a duet with the harp. The third movement is written as one continuous quasi scherzo, challenging the limits of agility and brilliance of the flute. Some of the materials from the earlier movements are presented again with joyous character. The coda elevates the concerto into its brightest and most festive character, driving to the end with relentless energy.
The melancholic tone of the Ney (the Persian bamboo flute) is known for its alluring sound, emulating the human voice.  In Persian literature, the Ney is considered a mystic instrument capable of expressing deep human emotions.In writing my flute concerto, I aimed not only to highlight the modern flautist’s ability to play agile and brilliant passages but also to emulate the delicate sound of the Ney, particularly in extended solo flute passages.Two prominent characters permeate the first movement of my concerto.  They are marked in the score as lamentoso, and con spirito, expressing grief and loss, and joy of living respectively.  The lament is mostly expressed in several extended cadenzas for solo flute while the con spirito consists of robust and energetic fast sections played by all forces of the orchestra.  Apart from these two characters there are moments of mystery, comedy and the grotesque, among others.In the second movement, the lyrical and poetic character of the flute is prominently presented in dream-like passages surrounded by shimmering and tender orchestral colors.  The solo flute is left out in an agitated middle section that references the first movement.  In the third section of the movement the solo flute returns in meditative fashion culminating in a duet with the harp.The third movement is written as one continuous quasi scherzo, challenging the limits of agility and brilliance of the flute.  Some of the materials from the earlier movements are presented again with joyous character.  The coda elevates the concerto into its brightest and most festive character, driving to the end with relentless energy.

SKU: FG.55011-456-2

ISBN 9790550114562.

Three Strides of Light is inspired by the light and its behaviour in different circumstances, appearances and surroundings. The work is in three movements, but they are played together attacca.

The first movement starts off with a headstrong theme on the left hand. This motif has persistent momentum, like a train, and one could think of it as the rays of a setting sun. The beams are straight and relentlessly penetrate our eyes. The seven-bar repetition on the left hand supports this mental image, until the repetition ends and a new thematically central motive starts to emerge, bringing new kind of texture for the last rays and dance of the setting sun. At the end, the light vanishes into the night.

Second movemement, slow rubato, depicts the first rays of the rising sun, they drop behind a morning cloud into the day, growing, developing and becoming yet faster. Eventually the day opens up in all of it sunny glory. The music leads us towards the third movement, in which one bathes in the rays of the sun. The repetative motive of the first movement returns, but by now it has been transformed into something else. A pensive quintuplet-passage emerges, paving ground for the final themes of the work. The ending of the work is thick in sound, depicting the relentless glare of the sun and the heat sun creates. Within the entire work, one can imagine to have gone through a whole 24-hour period on the sea, in which the three strides of light are apparent in different parts of the day.

SKU: KN.61165

UPC: 822795611655.

This chart conjures up mental images of driving on a curvy mountain road overlooking a picturesque desert valley. This exciting chart for advancing groups has a driving 12/8 funk feel that is sure to engage your band and audiences with its relentless intensity - but without excessive brass range demands (trumpet: D6 and trombone: G4). The harmonies are sturdy and the melodies are memorable. All instrumental sections have interesting, well-articulated parts and solo space is provide for guitar and piano. A guitar chord chard by Jim Greeson is included in each set. Duration 5:55.

SKU: CF.CM9765

ISBN 9781491162538. UPC: 680160921287. Key: A major. Original.

I composed Sing with Me during the summer of 2020 as my own personal response to the relentless series of heartaches that we faced: the uncertainty of the COVID-19 pandemic, the anguish of not being able to sing together and the rise of social justice crises across the country. It is the first piece for which I have also written the text. At the time, I was unsure of what the fall semester would look like for my own choir. Would we be in person? If so, for how long?  Therefore, I designed the piece to be accessible and adaptable to whatever situation we faced. It is my wish that the message of hope and unity will resonate with all who sing or hear it.Sing with me, as I sing with you,Let the music revive us anew;Yearning for beautiful harmony,Come and sing with me. All the world is longing for peace,For all meaningless hatred to cease;Joining together, your hand in mine,Let our voices shine! Dream with us, together as one,For the day when the battle is done;Fervently striving for unity,Come and dream with me.Come and sing with me. .

SKU: PR.144407530

ISBN 9781491136614. UPC: 680160687992.

A violinist herself, Lauren Bernofsky has described SONATA FOR SOLO VIOLIN as drawn from autobiographical inspiration, including gestures from Bachâ??s beloved Partita in E Major. Bernofsky opens with a Preludio movement whose references to Bach may be disguised, but they are surely lurking. The second movement is lusciously contrapuntal with the idiomatic finesse of a violinist composing for her own instrument, while musically journaling the emotional pain of living through 2020. The third and final movement is aptly marked â??white-hot,â? and the music certainly is.
My SONATA FOR SOLO VIOLIN was commissioned by violinist Megan Healy as part of The Maud Powell Project, which celebrated the 100th anniversary of the ratification of the 19th Amendment. The project included the creation of five new works for solo violin inspired by and dedicated to the memory of pioneering American violinist Maud Powell (1867-1920). Healy premiered the sonata on May 8, 2021 at PianoForte Studios in Chicago.Among the works Powell most frequently performed in her recitals was the â??Preludioâ? movement from Bachâ??s E major Partita, and I decided to refer to that music in my own first movement, also titled â??Preludio.â? The beginning subtly reflects Bachâ??s opening three-note motive, wherein the music dips down a semitone and then comes back up. This melodic material returns throughout the movement in various forms. I also refer to Bachâ??s sixteenth-note dominated texture, and the gesture in the third measure, which outlines a perfect fifth and then fills it in with notes that alternate between a scale and a pedal tone. The corresponding passage in my piece occurs in the same place, measure 3. Apart from these references to Bach, my sonata is much more modern sounding, especially in its chromatic character.I was still thinking of Bachâ??s solo violin writing while composing the second movement, particularly the polyphonic nature of the slow movements, where the melodic interest moves around between the voices. Emotionally, I wanted my movement to reflect the acute sadness I had been experiencing over the political and social situation in the United States as I wrote the piece. I realized that this is a historically noteworthy time in U.S. history, marked not only by political unrest, but also by a challenge to the very values that I consider essential to what makes a person fundamentally human. I wanted to create a record of that pain in my music.The final movement is marked â??White-hot.â? It is imbued with a relentless, passionate intensity. Wanting again to reflect aspects of our own time, I included glissandi that refer to rock music, specifically the â??fall-offsâ? I frequently hear played by electric guitarists. I borrowed from another (completely different) musical tradition as well, one that is near-and-dear to my heart: Klezmer. Klezmer (Eastern European Jewish folk music) is characterized in part by scales colored by augmented seconds, and is often performed by solo instrumentalists who improvise embellishments like quick grace notes. The second, more lyrical theme in this movement is my nod to Klezmer style.While this piece is an homage to Maud Powell, I also think of it as my own musical autobiography, as it combines some of my favorite aspects of music, and is played on my own instrument.

SKU: HL.51481620

UPC: 196288209157. 9.0x12.0x0.164 inches.

Prokofiev's Piano Sonatas 6â??8 are often referred to as â??war sonatasâ?, since they were composed in Russia during World War II during times of great hardship. As the shortest of the three, no. 7 is entirely focused on the essentials, and is certainly Prokofiev's most famous piano sonata. Anyone who has heard it will not forget the hasty first movement, marked â??Allegro inquietoâ?, the cantabile theme of the second movement and the relentless pull of the machine-like, thudding finale. The Sonata appeared in print in 1943 and that same year received the Stalin Prize (second category), including prize-money of 50,000 rubles, which was welcomed with great joy in the Prokofiev household. You can also derive joy from Prokofiev's Seventh Sonata, here critically edited on the basis of all the sources, and produced using Henle's legendary music engraving. A preface by the world's most prominent Prokofiev researcher, Simon Morrison, rounds off the edition.

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