Format : Score and Parts
SKU: CL.013-0233-00
Note: This is a reprint from a vintage publication of 1900. No conductor score is published for this work. The Solo Cornet part serves as a conductor guide. Due to the era of this work, double-reed parts are not published. Parts for Eb Horns are included; no F Horn parts are published for this work. C Piccolo/C Flute and saxophone parts were not published originally, but have been subsequently added by our editorial staff.
SKU: WD.080689560170
UPC: 080689560170.
Word Music & Church Resources, in collaboration with Integrity Music, proudly presents the latest release from the new Integrity Church Choir Series, The Arrival, a compelling Christmas musical of praise, celebrating the joy of His birth! From the song catalog of one of the most well-known and respected Christian music publishers–Integrity Music–comes this fresh, new Christmas musical, designed to provide church choirs of all sizes and styles with the perfect vehicle for ministering to your congregation with songs and arrangements proclaiming the arrival of our promised Savior. Arranged by Marty Hamby, you’ll discover a wide range of song styles…offering everything from a celebratory opening medley of carols (both familiar and re-imagined), to inspiring ballads expressing the anticipation and expectancy of a people who had long awaited the coming Messiah, to intimate and powerful worship moments that will bring your choir and congregation together in praise of our Lord and King. The music in The Arrival will touch hearts, the arrangements will encourage and inspire both the singer and the listener, and the message will fill everyone who hears itwith hope, joy, and the blessing of Christmas!Featuring songs by renowned songwriter and worship leader, Paul Baloche, the title song from Jared Anderson, and the wonderful new song, “God Made Low,†from Sovereign Grace ministries, The Arrival is sure to encourage your congregation to enter into worship this Christmas and prepare their hearts to make room for the Savior.
SKU: CY.CC2397
Ralph Sauer has arranged a marvelous song by Wagner called the Arrival of the Black Swans or Ankunft be den schwarzen Schwanen for Trombone and Piano.
SKU: CF.BPS39
ISBN 9780825858611. UPC: 798408058616. 9 X 12 inches. Key: G minor.
Arrival at Normandy depicts the entry into Normandy by our forces on D-Day. The tune uses only the first 6 notes learned in most band method and the most difficult rhythm is quarter note based in the winds. Perfect contest/festival showcase piece for a beginning band. .
SKU: HL.14036955
8.5x11.75x0.215 inches.
A superb collection of classic showpieces for flute ensemble. Paganini's 'Moto Perpetuo', Handel's 'Arrival Of The Queen Of Sheba' and Widor's famous 'Toccata' are arranged to give all the players interesting parts and display their technical prowess. A score is available on sale separately.
SKU: HL.49003259
ISBN 9790220118883. UPC: 073999173741. 9.0x12.0x0.185 inches.
Contents: Arrival Platform Humlet * Gay But Wistful * Pastoral * The Gum-Suckers March.
SKU: CF.CM9606
ISBN 9781491154281. UPC: 680160912780. 6.875 x 10.5 inches. Key: C major. English. Charles A. Coffin (1844-1926).
Bethlehem Carol was the result of a commission in 2000 from the Cathedral Church of the Nativity in Bethlehem, Pennsylvania. The request came from the Cathedrals music director, Russell Jackson; he had very much liked the Italian Fable cum Violin Concerto (The Big Sword and the Little Broom) I had written in 1997 for the Lehigh Valley Chamber Orchestra. Russell chose the text by Charles Coffin, a French poet and educator whose hymn verses were often translated into English. My approach toward setting the poem was my usual one; that is, to translate literally the words into music (note the dips into the minor mode for the cave of Bethlehem and the child of poverty.) But most of all, I wanted to capture the sense of joy and peace brought by the arrival of the Christ Child.Bethlehem Carol was the result of a commission in 2000 from the Cathedral Church of the Nativity in Bethlehem, Pennsylvania. The request came from the Cathedralas music director, Russell Jackson; he had very much liked the Italian Fable cum Violin Concerto (The Big Sword and the Little Broom) I had written in 1997 for the Lehigh Valley Chamber Orchestra. Russell chose the text by Charles Coffin, a French poet and educator whose hymn verses were often translated into English. My approach toward setting the poem was my usual one; that is, to translate literally the words into music (note the dips into the minor mode for athe cave of Bethlehema and athe child of poverty.a)A But most of all, I wanted to capture the sense of joy and peace brought by the arrival of the Christ Child.Bethlehem Carol was the result of a commission in 2000 from the Cathedral Church of the Nativity in Bethlehem, Pennsylvania. The request came from the Cathedral's music director, Russell Jackson; he had very much liked the Italian Fable cum Violin Concerto (The Big Sword and the Little Broom) I had written in 1997 for the Lehigh Valley Chamber Orchestra. Russell chose the text by Charles Coffin, a French poet and educator whose hymn verses were often translated into English. My approach toward setting the poem was my usual one; that is, to translate literally the words into music (note the dips into the minor mode for the cave of Bethlehem and the child of poverty.) But most of all, I wanted to capture the sense of joy and peace brought by the arrival of the Christ Child.Bethlehem Carol was the result of a commission in 2000 from the Cathedral Church of the Nativity in Bethlehem, Pennsylvania. The request came from the Cathedral's music director, Russell Jackson; he had very much liked the Italian Fable cum Violin Concerto (The Big Sword and the Little Broom) I had written in 1997 for the Lehigh Valley Chamber Orchestra. Russell chose the text by Charles Coffin, a French poet and educator whose hymn verses were often translated into English. My approach toward setting the poem was my usual one; that is, to translate literally the words into music (note the dips into the minor mode for the cave of Bethlehem and the child of poverty.) But most of all, I wanted to capture the sense of joy and peace brought by the arrival of the Christ Child.Bethlehem Carol was the result of a commission in 2000 from the Cathedral Church of the Nativity in Bethlehem, Pennsylvania. The request came from the Cathedral’s music director, Russell Jackson; he had very much liked the Italian Fable cum Violin Concerto (The Big Sword and the Little Broom) I had written in 1997 for the Lehigh Valley Chamber Orchestra. Russell chose the text by Charles Coffin, a French poet and educator whose hymn verses were often translated into English. My approach toward setting the poem was my usual one; that is, to translate literally the words into music (note the dips into the minor mode for “the cave of Bethlehem†and “the child of poverty.â€) But most of all, I wanted to capture the sense of joy and peace brought by the arrival of the Christ Child.
SKU: CF.CM9602
ISBN 9781491154243. UPC: 680160912742. 6.875 x 10.5 inches. Key: Gb major. Portuguese. Brazilian Folk Song.
According to Ermelinda Paz , Marujo do Rosario (literally translated from the Portuguese as Sailor of the Rosary) comes from the hydrographic region of the Sao Francisco River, a basin that includes the states of Minas Gerais, Bahia, Pernambuco, Sergipe, and Alagoas. This song most likely belongs to a style of dramatic dance called cheganca-de-marujo (arrival of sailor). In this tragicomic street drama, the community of actors enact a story in which they demonstrate their experiences as if they were in a vessel lost at sea. In this dance, several characters dressed as sailors and carrying small sail boats on their shoulders, parade through the streets singing and dancing to a march. When they arrive at a determined house, they place their little sail boats on the floor and start the dramatic play. This song seems to be performed when the sailors arrive at the chosen location. The Portuguese lyrics E com licenca e, olele, e com licenca do dono da casa, o e com licenca e means please excuse me, I have permission from the houses owner to come in. This arrangement is scored for three-part mixed with optional baritone, piano, and pandeiro. The pandeiro is a Brazilian frame drum with jingles played with the hands, similar to the orchestral tambourine. It is used in various music styles but particularly in samba and bossa nova. In fact, feel free to substitute the pandeiro with the orchestral tambourine. The text is very short and simple. To make your singers Portuguese pronunciation more accurate, do not close final m or n. Just nasalize them. IPA Transcription E com licenca olele e [? k? li'sensa olele e] E com licenca do dono da casa [? k? li'sensa du d?nu da kaza].According to Ermelinda Paz , Marujo do RosA!rio (literally translated from the Portuguese as aSailor of the Rosarya) comes from the hydrographic region of the SAPSo Francisco River, a basin that includes the states of Minas Gerais, Bahia, Pernambuco, Sergipe, and Alagoas. This song most likely belongs to a style of dramatic dance called acheganASSa-de-marujoa (arrival of sailor). In this tragicomic street drama, the community of actors enact a story in which they demonstrate their experiences as if they were in a vessel lost at sea. In this dance, several characters dressed as sailors and carrying small sail boats on their shoulders, parade through the streets singing and dancing to a march. When they arrive at a determined house, they place their little sail boats on the floor and start the dramatic play. This song seems to be performed when the sailors arrive at the chosen location. The Portuguese lyrics aA com licenASSa Aa, A'lelAa, A(c) com licenASSa do dono da casa, A' Aa com licenASSa Aaa means aplease excuse me, I have permission from the houseas owner to come in.a This arrangement is scored for three-part mixed with optional baritone, piano, and pandeiro. The pandeiro is a Brazilian frame drum with jingles played with the hands, similar to the orchestral tambourine. It is used in various music styles but particularly in samba and bossa nova. In fact, feel free to substitute the pandeiro with the orchestral tambourine. The text is very short and simple. To make your singers Portuguese pronunciation more accurate, do not close final ama or an.a Just nasalize them. IPA Transcription A com licenASSa olelAa Aa [E kE li'sensa oleale e] A com licenASSa do dono da casa [E kE li'sensa du adEnu da akaza].According to Ermelinda Paz , Marujo do Rosario (literally translated from the Portuguese as Sailor of the Rosary) comes from the hydrographic region of the Sao Francisco River, a basin that includes the states of Minas Gerais, Bahia, Pernambuco, Sergipe, and Alagoas. This song most likely belongs to a style of dramatic dance called cheganca-de-marujo (arrival of sailor). In this tragicomic street drama, the community of actors enact a story in which they demonstrate their experiences as if they were in a vessel lost at sea. In this dance, several characters dressed as sailors and carrying small sail boats on their shoulders, parade through the streets singing and dancing to a march. When they arrive at a determined house, they place their little sail boats on the floor and start the dramatic play. This song seems to be performed when the sailors arrive at the chosen location. The Portuguese lyrics E com licenca e, olele, e com licenca do dono da casa, o e com licenca e means please excuse me, I have permission from the house's owner to come in. This arrangement is scored for three-part mixed with optional baritone, piano, and pandeiro. The pandeiro is a Brazilian frame drum with jingles played with the hands, similar to the orchestral tambourine. It is used in various music styles but particularly in samba and bossa nova. In fact, feel free to substitute the pandeiro with the orchestral tambourine. The text is very short and simple. To make your singers Portuguese pronunciation more accurate, do not close final m or n. Just nasalize them. IPA Transcription E com licenca olele e [e k^ li'sensa ole'le e] E com licenca do dono da casa [e k^ li'sensa du 'd^nu da 'kaza].According to Ermelinda Paz, Marujo do Rosario (literally translated from the Portuguese as Sailor of the Rosary) comes from the hydrographic region of the Sao Francisco River, a basin that includes the states of Minas Gerais, Bahia, Pernambuco, Sergipe, and Alagoas. This song most likely belongs to a style of dramatic dance called cheganca-de-marujo (arrival of sailor). In this tragicomic street drama, the community of actors enact a story in which they demonstrate their experiences as if they were in a vessel lost at sea. In this dance, several characters dressed as sailors and carrying small sail boats on their shoulders, parade through the streets singing and dancing to a march. When they arrive at a determined house, they place their little sail boats on the floor and start the dramatic play. This song seems to be performed when the sailors arrive at the chosen location. The Portuguese lyrics E com licenca e, olele, e com licenca do dono da casa, o e com licenca e means please excuse me, I have permission from the house's owner to come in. This arrangement is scored for three-part mixed with optional baritone, piano, and pandeiro. The pandeiro is a Brazilian frame drum with jingles played with the hands, similar to the orchestral tambourine. It is used in various music styles but particularly in samba and bossa nova. In fact, feel free to substitute the pandeiro with the orchestral tambourine. The text is very short and simple. To make your singers Portuguese pronunciation more accurate, do not close final m or n. Just nasalize them. IPA Transcription E com licenca olele e [e k^ li'sensa ole'le e] E com licenca do dono da casa [e k^ li'sensa du 'd^nu da 'kaza].According to Ermelinda Paz, Marujo do Rosário (literally translated from the Portuguese as “Sailor of the Rosaryâ€) comes from the hydrographic region of the São Francisco River, a basin that includes the states of Minas Gerais, Bahia, Pernambuco, Sergipe, and Alagoas. This song most likely belongs to a style of dramatic dance called “chegança-de-marujo†(arrival of sailor). In this tragicomic street drama, the community of actors enact a story in which they demonstrate their experiences as if they were in a vessel lost at sea. In this dance, several characters dressed as sailors and carrying small sail boats on their shoulders, parade through the streets singing and dancing to a march. When they arrive at a determined house, they place their little sail boats on the floor and start the dramatic play. This song seems to be performed when the sailors arrive at the chosen location. The Portuguese lyrics “É com licença ê, ôlelê, é com licença do dono da casa, ô ê com licença ê†means “please excuse me, I have permission from the house’s owner to come in.â€This arrangement is scored for three-part mixed with optional baritone, piano, and pandeiro. The pandeiro is a Brazilian frame drum with jingles played with the hands, similar to the orchestral tambourine. It is used in various music styles but particularly in samba and bossa nova. In fact, feel free to substitute the pandeiro with the orchestral tambourine. The text is very short and simple. To make your singers Portuguese pronunciation more accurate, do not close final “m†or “n.†Just nasalize them.IPA TranscriptionÉ com licença olelê ê[É› kÊŒ li'sensa ole‘le e]É com licença do dono da casa[É› kÊŒ li'sensa du ‘dÊŒnu da ‘kaza].
SKU: BT.DHP-1185885-215
English-German-French-Dutch.
Let your musicians experience a day at the farm with the animals with this great new piece by Jacob de Haan. The Beasty Band is a collection of nine short, catchy pieces, each featuring animal sounds made by the players! The pieces are: 1. Arrival, 2. Cows, 3. Horses, 4. Cats, 5. Dogs, 6. Pigs, 7. Chickens, 8. Sheep and Goats and 9. Departure. On this CD you will hear a selection. The Beasty Band klinkt bij Jacob de Haan als een dag vol plezier voor muzikanten en publiek! Deze verzameling van negen korte, tot de verbeelding sprekende stukken met dierengeluiden bestaat uit: 1. Arrival, 2. Cows, 3. Horses, 4. Cats, 5. Dogs, 6. Pigs, 7. Chickens, 8. Sheep and Goats en 9. Departure. The Beasty Band klingt bei Jacob de Haan in einer vierstimmig variablen Besetzung nach viel Spaß fu r Musiker und Zuhörer! Dies ist eine Sammlung von neun kurzen, eingängigen Stücken mit Tierlauten, die von den Spielern erzeugt werden können: 1. Arrival, 2. Cows, 3. Horses, 4. Cats, 5. Dogs, 6. Pigs, 7. Chickens, 8. Sheep and Goats und 9. Departure. Auf dieser CD können Sie eine Auswahl daraus hören. The Beasty Band est une composition 4 voix de Jacob de Haan qui mènera votre auditoire dans un voyage la ferme. Ceci est une collection de 9 courtes pièces entraînantes, avec des sons d'animaux qui peuvent être réalisés par les musiciens : 1. Arrival, 2. Cows, 3. Horses, 4. Cats, 5. Dogs, 6. Pigs, 7. Chickens, 8. Sheep and Goats et 9. Departure. Lasciate che i vostri musicisti vivano una giornata scatenata in fattoria con questo fantastico nuovo brano firmato Jacob de Haan.
SKU: CF.BE10F
ISBN 9780825891175. UPC: 798408091170. 8.5 x 11 inches. Key: G major.
Commissioned by the Princeton-Columbia Electronic Music Center for Speculum Musicae in 1981. The first movement, In Preparation, is a study in tuning and intonation and is based on the open strings in perfectly tuned fifths, with the violins D string tuned 294 hertz. The first moments of the piece provide opportunity to tune to the tape part. (This tuning probably differs imperceptibly from a tempered tuning since the E string of the violin is only 1/33 of a semitone sharper then in a tempered system and the C strings of the viola and cello 1/33 of a semitone flatter.) Most subsequent pitches in the movement are either the open strings or major and minor thirds above and below the open strings. The minor thirds will be slightly sharp with respect to equal tempered tuning about 15 cents or 1/6 of a semitone and the major thirds will be slightly flat about 14 cents, or one seventh of a semitone. Listen to the tape part as a guide. All harmonics in this movement are to be played as natural harmonics and open strings are to be used whenever possible. In the second movement, At a Distance, the tape part largely doubles selected pitches in the string parts and should be thought of as a backdrop rather then counterpart. In this and the remaining movements equal tempered tuning is used though it will probably not be necessary to retune the instruments for this reason alone. The third movement, In Practice, is a study in modes of performance particularly with respect to rhythmic rigidity and flexibility. While the tape part may seem to bend and sway a great deal, the string parts are to be played with as much rhythmic precision as possible. At many points it may be necessary to delay or anticipate beats in order to coincide with the arrival of beats in the tape part, though in general the quarter equals 120 is accurate. In the fourth movement, In Distinction, different kinds of musical conceptions are counter-pointed and counter-posed. Here the beat is quite accurate although the notation of the synthetic saxophone part is only approximate. All the tape parts are based on computer reprocessed violin except for parts of the fourth movement in which synthetic saxophone is used. The tape part was synthesized on the IBM 3033 and 3081 computers at Princeton University and converted at the Winham Laboratory. The violin source was performed by Cyrus Stevens.Commissioned by the Princeton-Columbia Electronic Music Center for Speculum Musicae in 1981. The first movement, In Preparation, is a study in tuning and intonation and is based on the open strings in perfectly tuned fifths, with the violinas D string tuned 294 hertz. The first moments of the piece provide opportunity to tune to the tape part. (This tuning probably differs imperceptibly from a tempered tuning since the E string of the violin is only 1/33 of a semitone sharper then in a tempered system and the C strings of the viola and acello 1/33 of a semitone flatter.) Most subsequent pitches in the movement are either the open strings or major and minor thirds above and below the open strings. The minor thirds will be slightly sharp with respect to equal tempered tuning about 15 cents or 1/6 of a semitone and the major thirds will be slightly flat about 14 cents, or one seventh of a semitone. Listen to the tape part as a guide. All harmonics in this movement are to be played as natural harmonics and open strings are to be used whenever possible. In the second movement, At a Distance, the tape part largely doubles selected pitches in the string parts and should be thought of as a backdrop rather then counterpart. In this and the remaining movements equal tempered tuning is used though it will probably not be necessary to retune the instruments for this reason alone. The third movement, In Practice, is a study in modes of performance particularly with respect to rhythmic rigidity and flexibility. While the tape part may seem to bend and sway a great deal, the string parts are to be played with as much rhythmic precision as possible. At many points it may be necessary to delay or anticipate beats in order to coincide with the arrival of beats in the tape part, though in general the quarter equals 120 is accurate. In the fourth movement, In Distinction, different kinds of musical conceptions are counter-pointed and counter-posed. Here the beat is quite accurate although the notation of the synthetic saxophone part is only approximate. All the tape parts are based on computer reprocessed violin except for parts of the fourth movement in which synthetic saxophone is used. The tape part was synthesized on the IBM 3033 and 3081 computers at Princeton University and converted at the Winham Laboratory. The violin source was performed by Cyrus Stevens.Commissioned by the Princeton-Columbia Electronic Music Center for Speculum Musicae in 1981. The first movement, In Preparation, is a study in tuning and intonation and is based on the open strings in perfectly tuned fifths, with the violin's D string tuned 294 hertz. The first moments of the piece provide opportunity to tune to the tape part. (This tuning probably differs imperceptibly from a tempered tuning since the E string of the violin is only 1/33 of a semitone sharper then in a tempered system and the C strings of the viola and 'cello 1/33 of a semitone flatter.) Most subsequent pitches in the movement are either the open strings or major and minor thirds above and below the open strings. The minor thirds will be slightly sharp with respect to equal tempered tuning about 15 cents or 1/6 of a semitone and the major thirds will be slightly flat about 14 cents, or one seventh of a semitone. Listen to the tape part as a guide. All harmonics in this movement are to be played as natural harmonics and open strings are to be used whenever possible. In the second movement, At a Distance, the tape part largely doubles selected pitches in the string parts and should be thought of as a backdrop rather then counterpart. In this and the remaining movements equal tempered tuning is used though it will probably not be necessary to retune the instruments for this reason alone. The third movement, In Practice, is a study in modes of performance particularly with respect to rhythmic rigidity and flexibility. While the tape part may seem to bend and sway a great deal, the string parts are to be played with as much rhythmic precision as possible. At many points it may be necessary to delay or anticipate beats in order to coincide with the arrival of beats in the tape part, though in general the quarter equals 120 is accurate. In the fourth movement, In Distinction, different kinds of musical conceptions are counter-pointed and counter-posed. Here the beat is quite accurate although the notation of the synthetic saxophone part is only approximate. All the tape parts are based on computer reprocessed violin except for parts of the fourth movement in which synthetic saxophone is used. The tape part was synthesized on the IBM 3033 and 3081 computers at Princeton University and converted at the Winham Laboratory. The violin source was performed by Cyrus Stevens.Commissioned by the Princeton-Columbia Electronic Music Center for SpeculumMusicae in 1981.The first movement, In Preparation, is a study in tuning and intonation and isbased on the open strings in perfectly tuned fifths, with the violin’s D stringtuned 294 hertz. The first moments of the piece provide opportunity to tuneto the tape part. (This tuning probably differs imperceptibly from a temperedtuning since the E string of the violin is only 1/33 of a semitone sharper then ina tempered system and the C strings of the viola and ‘cello 1/33 of a semitoneflatter.) Most subsequent pitches in the movement are either the open stringsor major and minor thirds above and below the open strings. The minor thirdswill be slightly sharp with respect to equal tempered tuning about 15 cents or1/6 of a semitone and the major thirds will be slightly flat about 14 cents, or oneseventh of a semitone. Listen to the tape part as a guide. All harmonics in thismovement are to be played as natural harmonics and open strings are to be usedwhenever possible.In the second movement, At a Distance, the tape part largely doubles selectedpitches in the string parts and should be thought of as a backdrop rather thencounterpart. In this and the remaining movements equal tempered tuning is usedthough it will probably not be necessary to retune the instruments for this reasonalone.The third movement, In Practice, is a study in modes of performance particularlywith respect to rhythmic rigidity and flexibility. While the tape part may seemto bend and sway a great deal, the string parts are to be played with as muchrhythmic precision as possible. At many points it may be necessary to delay oranticipate beats in order to coincide with the arrival of beats in the tape part,though in general the quarter equals 120 is accurate.In the fourth movement, In Distinction, different kinds of musical conceptions arecounter-pointed and counter-posed. Here the beat is quite accurate although thenotation of the synthetic saxophone part is only approximate.All the tape parts are based on computer reprocessed violin except for parts ofthe fourth movement in which synthetic saxophone is used. The tape part wassynthesized on the IBM 3033 and 3081 computers at Princeton University andconverted at the Winham Laboratory. The violin source was performed by CyrusStevens.
SKU: ML.013759100
In this suite for symphonic band the arranger did not use the existing orchestral suites, but composed another suite of his own with those parts of the ballet music that suited well for a transcription. Romeo & Juliet - Part II. Introduction – The Duke’s CommandII. The Street AwakensIII. Morning DanceIV. Romeo at Friar Laurence’sV. Departure of the Guests (Gavotte)VI. Montagues & Capulets – Dance of the Nights Romeo & Juliet - Part III. Arrival of the GuestsII. The QuarrelIII. The FightIV. InterludeV. Tybalt recognizes RomeoVI. Mercutio Romeo & Juliet - Part IIII. Public MerrymakingII. Further public festivitiesIII. Meeting of Tybalt and MercutioIV. The DuelV. The Death of MercutioVI. Romeo decides to avenge MercutioVII. Finale: Cortège with Tybalt’s BodyEuropean parts free downloadIn deze suite voor harmonieorkest is Johan de Meij niet uitgegaan van de bestaande orkestsuites maar heeft hij een eigen suite samengesteld uit delen van het ballet die zich goed lenen voor een bewerking.Romeo & Juliet - Part II. Introduction – The Duke’s CommandII. The Street AwakensIII. Morning DanceIV. Romeo at Friar Laurence’sV. Departure of the Guests (Gavotte)VI. Montagues & Capulets – Dance of the Nights Romeo & Juliet - Part III. Arrival of the GuestsII. The QuarrelIII. The FightIV. InterludeV. Tybalt recognizes RomeoVI. Mercutio Romeo & Juliet - Part IIII. Public MerrymakingII. Further public festivitiesIII. Meeting of Tybalt and MercutioIV. The DuelV. The Death of MercutioVI. Romeo decides to avenge MercutioVII. Finale: Cortège with Tybalt’s BodyEuropean parts free downloadPour cette suite pour orchestre d'harmonie, l'arrangeur Johan de Meij ne s'est pas basé sur les suites d'orchestres existantes, mais il a composé une nouvelle suite en choisissant ces morceaux du ballet qui se prêtent bien à la transcription.Romeo & Juliet - Part II. Introduction – The Duke’s CommandII. The Street AwakensIII. Morning DanceIV. Romeo at Friar Laurence’sV. Departure of the Guests (Gavotte)VI. Montagues & Capulets – Dance of the Nights Romeo & Juliet - Part III. Arrival of the GuestsII. The QuarrelIII. The FightIV. InterludeV. Tybalt recognizes RomeoVI. Mercutio Romeo & Juliet - Part IIII. Public MerrymakingII. Further public festivitiesIII. Meeting of Tybalt and MercutioIV. The DuelV. The Death of MercutioVI. Romeo decides to avenge MercutioVII. Finale: Cortège with Tybalt’s BodyEuropean parts free downloadIn dieser Suite für Blasorchester ist Johan de Meij nicht von den bestehenden Orchestersuiten ausgegangen, sondern hat er mit welchen Teilen des Balletts, die für ein Arrangement gut geeignet sind, eine eigene Suite zusammengestellt.Romeo & Juliet - Part II. Introduction – The Duke’s CommandII. The Street AwakensIII. Morning DanceIV. Romeo at Friar Laurence’sV. Departure of the Guests (Gavotte)VI. Montagues & Capulets – Dance of the Nights Romeo & Juliet - Part III. Arrival of the GuestsII. The QuarrelIII. The FightIV. InterludeV. Tybalt recognizes RomeoVI. Mercutio Romeo & Juliet - Part IIII. Public MerrymakingII. Further public festivitiesIII. Meeting of Tybalt and MercutioIV. The DuelV. The Death of MercutioVI. Romeo decides to avenge MercutioVII. Finale: Cortège with Tybalt’s BodyEuropean parts free download
SKU: BT.DHP-1185885-015
SKU: CF.CM9717
ISBN 9781491160961. UPC: 680160919567. Psalm 91:4-5.
The Lord will overshadow you with his pinions, and you will find refuge under his wings. His faithfulness will encompass you with a shield. Psalm 91:4-5 To feel safe and to feel cared for, these are two of the great yearnings of the human heart. What a blessing it is, especially during times of distress or uncertainty, to know that we aren't alone, that someone is reaching out to help us and even hold us. It could be a family member or a friend. It could be a still small voice whispering, It's okay. I've got you. It could even be a loving community, like a choir, assuring us that we are known, that we are loved, that we belong. The first word - scapulis - is translated as pinions. On a bird, a pinion is the outer part of the wing, including the flight feathers. The opening measures, with a one-measure phrase followed be a three-measure phrase, are meant to evoke the image of wings unfurling to welcome in. All through this section - mm. 1-20 - encourage phrasing that is never hurried but moves with intention to the last stressed syllable of each phrase, before ebbing slightly. This section is all about reassurance and comfort. In mm. 21-30 we have a new section where uncertainty grows. At this point the text - and you will find refuge under his wings - is more aspirational than definitive. Leaning into non-chord tones will help make this feeling of uncertainty more palpable. Places where this occurs: Alto I - Measure 22 the Ab in pennis, m. 26 the Bb in sperabis Soprano II - Measure 23 the A natural in pennis, m. 29 the C in sperabis Soprano I - Measure 24 the C in pennis, m. 28 the D in sperabis The apex of the piece is at m. 30 where the yearning for comfort and assurance reaches its height, finding that comfort in the arrival back at Eb major in m. 39. The phrase veritas ejus (his faithfulness), with its triplet figure should flow gently, like a musical carress. The final reassurance occurs at m. 51 as we return to the melody, and the homophonic texture, of the opening. Even as the piece gets softer and softer, encourage the singers to keep energy moving through each phrase. The structure and feel of this piece was inspired by one of the all-time great settings of yet another Psalm of assurance - Felix Mendelssohn's Lift Thine Eyes.The Lord will overshadow you with his pinions,and you will find refuge under his wings.His faithfulness will encompass you with a shield. Psalm 91:4-5 To feel safe and to feel cared for, these are two of the great yearnings of the human heart.What a blessing it is, especially during times of distress or uncertainty, to know that we aren’t alone, that someone is reaching out to help us and even hold us. It could be a family member or a friend. It could be a still small voice whispering, “It’s okay. I’ve got you.†It could even be a loving community, like a choir, assuring us that we are known, that we are loved, that we belong.The first word – scapulis – is translated as “pinions.†On a bird, a pinion is the outer part of the wing, including the flight feathers. The opening measures, with a one-measure phrase followed be a three-measure phrase, are meant to evoke the image of wings unfurling to welcome in. All through this section – mm. 1-20 – encourage phrasing that is never hurried but moves with intention to the last stressed syllable of each phrase, before ebbing slightly. This section is all about reassurance and comfort.In mm. 21-30 we have a new section where uncertainty grows. At this point the text – and you will find refuge under his wings – is more aspirational than definitive. Leaning into non-chord tones will help make this feeling of uncertainty more palpable. Places where this occurs:Alto I – Measure 22 the Ab in pennis, m. 26 the Bb in sperabisSoprano II – Measure 23 the A natural in pennis, m. 29 the C in sperabisSoprano I – Measure 24 the C in pennis, m. 28 the D in sperabis The apex of the piece is at m. 30 where the yearning for comfort and assurance reaches its height, finding that comfort in the arrival back at Eb major in m. 39. The phrase veritas ejus (his faithfulness), with its triplet figure should flow gently, like a musical carress.The final reassurance occurs at m. 51 as we return to the melody, and the homophonic texture, of the opening. Even as the piece gets softer and softer, encourage the singers to keep energy moving through each phrase.The structure and feel of this piece was inspired by one of the all-time great settings of yet another Psalm of assurance – Felix Mendelssohn’s Lift Thine Eyes.
SKU: FG.55011-824-9
ISBN 9790550118249.
Mikko Heiniö's Alla madre (2007) abandons the traditional virtuoso concerto concept: here a large orchestra engages in dialogue with a solo violin. The first movement is called Arrivo, “Arrival: the soloist literally arrives later, and by degrees, playing his/her first two solos offstage. Even then the orchestra continues to take the initiative for a long time. Not until the second movement, entitled Aura, “Air or Wind, does the initiative pass to the solo violin as it sets light to notes in the orchestra harmony like individual lamps. And not until the end of the second movement and the beginning of the third does the solo violin play completely on its own. The title of the first movement, “Arrival, underlines the event, the dramaturgy, whereas that of the second movement, “Aura, alludes to the texture and the shimmering space. The third movement is the most strongly emotional, as the name Carezza, “Caress suggests.This product includes the solo part and the piano reduction (B4 sized).The orchestral material is available from the publisher. The orchestration: 3(III+picc)3(III+ca)3(III=bcl)3(III=cfg)-4331-13-hp-str.
SKU: PR.114422680
ISBN 9781491136041. UPC: 680160688197.
TACHUN (SPRING OUTING) was composed in 2021 for “The Joy Project,†to commission uplifting works for performance at free outdoor concerts in the San Francisco Bay region. The work’s title comes from the annual Chinese festival when people go outdoors and travel, to welcome the arrival of the new Spring season. This cheerful 5-minute work features energetic melodic lines in unison, contrasting with vivid rhythmic patterns, which the composer indicates as expressing our excitement upon breathing the fresh Spring air.Tachun (Spring Outing) was commissioned by and dedicated to the Del Sol String Quartet as a part of The Joy Project in 2021. Tachun is also the name of a Chinese traditional festival when people go outdoors and travel, to welcome the arrival of the new spring season each year. Here is a statement from the Del Sol String Quartet about this project:“Del Sol has commissioned a body of short musical works written to give joy. As our gift to our community during these times, we are performing these pieces in numerous free concerts at public settings around the Bay Area — parks, schoolyards, open spaces — where people can soak up some musical “joy†while safely practicing social distancing in the open air.â€My string quartet has active melodic lines in unison, contrasting with vivid rhythmic patterns, to express our excitement when we breathe the fresh air.
SKU: HL.35002167
UPC: 747510053781. 8.5x14 inches. Pepper Choplin/orch. Brant Adams.
Excitement and anticipation build throughout this triumphant Palm Sunday anthem as the crowd waits in charged expectation for Jesus's arrival in Jerusalem. “Look in the distance!...What do you see?...I heard Messiah is coming!...Could it be he?” Questions and speculations mount as the long-awaited Christ approaches. “I see it clear...He is here!” Harmony bursts out of the unison “wonderings” to announce the arrival of Messiah. Blessed Is He is majestic, yet dance-like, inviting all to join the celebration. From Pepper Choplin's best-selling cantata, Once Upon a Tree, this electrifying processional is a must for Palm Sunday.
SKU: CF.YAS177
ISBN 9781491146576. UPC: 680160904075. 9 x 12 inches. Key: G major.
The term Doppler effect describes the aural phenomenon of pitch produced by a moving source changing relative to position, like a siren passing you on the street. Sean O'Loughlin uses this fascinating concept to construct an original composition that uses instances of this effect. A broad melody acts as a connective element in the piece, with a multitude of teaching opportunities for dynamics and musicality.The term Doppler effect is defined as the shift in frequency of acoustic or electromagnetic radiation emitted by a source moving relative to an observer as perceived by the observer. Yes, it is when the siren comes at you at one pitch and leaves you at another pitch. I found this a fascinating concept to construct an original musical composition with. There are plenty of instances of this effect, but I also created a broad melody to act as a connective element to thework. There are also a multitude of teaching opportunities for dynamics and musicality.The opening material should be played very mysteriously and by exaggerating the dynamics. Make the change from p to f as big as you can. The whole opening section builds up to a big arrival at m. 15. From there, we're off to the races with a rhythmic version of the effect. Again, bring out the range of the dynamics for maximum effect. The main melody appears at m. 30 and should be played with much lyricism as a contrast to the pulsing rhythmic activity underneath. The rhythmic pulse evaporates at m. 38 to leave a warm chorale-like section. A big presentation follows at m. 46. The chorale-like section returns at m. 54. Keep that same warmth of sound as before. The next big event happens at m. 67, where the Doppler effect is in full force. Exaggerate those dynamics and bring out the ascending lines in the celli. This leads to a climactic arrival at m. 92 where the main melody is augmented with lush power chords supporting the sound. The rhythmic energy returns at m. 98 to drive the music to a heroic ending.
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
