SKU: CF.CM9714
ISBN 9781491160329. UPC: 680160918904. Key: F major. English. Robert Frost.
About the work ... Few American poems are as well known as The Road Not Taken. Robert Frost, the author, is an international icon, not unlike Pablo Picasso, Winston Churchill or Mark Twain in their own disciplines.The poem is full of contradictions and quirks of form and structure. Perhaps that illusiveness is part of the poem's intrigue. But beyond all of the literary devices that only a few scholars may fully appreciate, this poem has taken on a sort of fanfare for the common person credo - a challenge to individualism, stepping out on one's own, and breaking the mold out of sheer determination if nothing else. Frost connects to the core of the human spirit in just a few stanzas using the analogy of a fork in a road. The message super cedes geography, culture, race or creed. Rather, it is part of the DNA of most every person on the planet - the inner desire to feel empowered to create one's own destiny, to forge a road not taken, and ultimately in doing so, to make a difference. Rehearsal notes ... Research strongly suggests that there is a direct connection between the first rehearsal and the performance. First impressions last. I find it helpful to immediately lock three concepts into place - mechanics (notes/rhythms), text/phrasing (intent and motivation) and color (timbre). Performers need to think musically from the first reading forward (first impression). The cello is very much a collaborative instrument in this work, and should be located in front of the ensemble (not to side). Lastly, let the text speak. The simplest melodic lines are often the most exposed. Keep the voices clear and transparent, floating over the top in softer passages, and singing with vibrancy and forward focus throughout. Z. Randall Stroope A definitive recording was made by the New American Voices, with Randall conducting. This can be found on Spotify, YouTube, his website (www.zrstroope), and other social media. About the composer ... Z. Randall Stroope is an American composer and conductor. His composition teachers were Normand Lockwood and Cecil Effinger, both students of the Nadia Boulanger, the famous French teacher (and student of Gabriel Faure). He is the artistic director of two international summer music festivals, is an Honorary Member of the National Association of Italian Choral Directors, and has conducted in 25 countries. He has directed over 40 times at Carnegie Hall, and is a frequent conductor at other prestigious concert venues. Randall has 190 published works, and his music can be heard on Spotify, YouTube and other platforms, including his website (www.zrstroope.com).About the work ...Few American poems are as well known as The Road Not Taken. Robert Frost, the author, is an international icon, not unlike Pablo Picasso, Winston Churchill or Mark Twain in their own disciplines.The poem is full of contradictions and quirks of form and structure. Perhaps that illusiveness is part of the poem's intrigue. But beyond all of the literary devices that only a few scholars may fully appreciate, this poem has taken on a sort of fanfare for the common person credo - a challenge to individualism, stepping out on one's own, and breaking the mold out of sheer determination if nothing else. Frost connects to the core of the human spirit in just a few stanzas using the analogy of a fork in a road. The message super cedes geography, culture, race or creed. Rather, it is part of the DNA of most every person on the planet - the inner desire to feel empowered to create one's own destiny, to forge a road not taken, and ultimately in doing so, to make a difference.Rehearsal notes ...Research strongly suggests that there is a direct connection between the first rehearsal and the performance. First impressions last. I find it helpful to immediately lock three concepts into place - mechanics (notes/rhythms), text/phrasing (intent and motivation) and color (timbre). Performers need to think musically from the first reading forward (first impression). The cello is very much a collaborative instrument in this work, and should be located in front of the ensemble (not to side). Lastly, let the text speak. The simplest melodic lines are often the most exposed. Keep the voices clear and transparent, floating over the top in softer passages, and singing with vibrancy and forward focus throughout.Z. Randall StroopeA definitive recording was made by the New American Voices, with Randall conducting. This can be found on Spotify, YouTube, his website (www.zrstroope), and other social media.About the composer ...Z. Randall Stroope is an American composer and conductor. His composition teachers were Normand Lockwood and Cecil Effinger, both students of the Nadia Boulanger, the famous French teacher (and student of Gabriel FaureÌ). He is the artistic director of two international summer music festivals, is an Honorary Member of the National Association of Italian Choral Directors, and has conducted in 25 countries. He has directed over 40 times at Carnegie Hall, and is a frequent conductor at other prestigious concert venues. Randall has 190 published works, and his music can be heard on Spotify, YouTube and other platforms, including his website (www.zrstroope.com).
SKU: CF.CM9750
ISBN 9781491162385. UPC: 680160921133. Key: F major. English. Robert Frost.
About the workFew American poems are as well known as The Road Not Taken. Robert Frost, the author, is an international icon, not unlike Pablo Picasso, Winston Churchill or Mark Twain in their own disciplines. The poem is full of contradictions and quirks of form and structure. Perhaps that illusiveness is part of the poem's intrigue. But beyond all of the literary devices that only a few scholars may fully appreciate, this poem has taken on a sort of fanfare for the common person credo - a challenge to individualism, stepping out on one's own, and breaking the mold out of sheer determination if nothing else. Frost connects to the core of the human spirit in just a few stanzas using the analogy of a fork in a road. The message super cedes geography, culture, race or creed. Rather, it is part of the DNA of most every person on the planet - the inner desire to feel empowered to create one's own destiny, to forge a road not taken, and ultimately in doing so, to make a difference.Rehearsal notesResearch strongly suggests that there is a direct connection between the first rehearsal and the performance. First impressions last. I find it helpful to immediately lock three concepts into place - mechanics (notes/rhythms), text/phrasing (intent and motivation) and color (timbre). Performers need to think musically from the first reading forward (first impression). The cello is very much a collaborative instrument in this work, and should be located in front of the ensemble (not to side). Lastly, let the text speak. The simplest melodic lines are often the most exposed. Keep the voices clear and transparent, floating over the top in softer passages, and singing with vibrancy and forward focus throughout.Z. Randall Stroope.
SKU: OU.9780193433489
ISBN 9780193433489. 10 x 7 inches.
For SABar and piano, with optional violin duet Reginal Wright's emotional and uplifting Crossroad sets Robert Frost's well-known poem 'The road not taken'. A twinkling piano accompaniment supports the voices, and the optional violin duet floats above, expanding on figures from the vocal parts.
SKU: OU.9780193433502
ISBN 9780193433502. 10 x 7 inches.
For SSA and piano, with optional violin duet Reginal Wright's emotional and uplifting Crossroad sets Robert Frost's well-known poem 'The road not taken'. A twinkling piano accompaniment supports the voices, and the optional violin duet floats above, expanding on figures from the vocal parts.
SKU: CF.CM9332
ISBN 9780825893780. UPC: 798408093785. 6.875 x 10.5 inches.
BJ Brooks' setting of this well-known Robert Frost text for SA voices and piano, examines the meaning of the text and its implications through text painting and within the contour of the melodic phrases. Two roads of tonal and neo-tonal concepts are at play between the vocal melody and the undulating accompaniment. New to the Carl Fischer choral catalog, Brooks' thought-provoking and musically interesting piece is a must-sing for any women's choir.
SKU: M7.DOHR-68461541
ISBN 9783868461541. English.
Franco Ambrosetti (born 1941 in Lugano, Switzerland) successfully managed two lives for a long time: on the one hand as a world class jazz trumpeter, on the other hand as manager of an international company with two offices in Switzerland and Italy and 600 employees having taken over from his father. His musical career is related to celebrities like Kenny Clarke, Cannonball Adderley, Dexter Gordon, Phil Woods, Michael Brecker, Steve Coleman, John Scofield, Greg Osby, Geri Allen, Kenny Barron and many others. Ambrosetti has played in many venues around the world. In his autobiography, he takes the reader to these places, plus his encounters with many colourful figures of the jazz world. At the same time, he recounts how he managed to master the balancing act of his life in a charming and modest tone. The result is a fascinating walk through jazz history - with some serious side views to the world of business and its changing ethics. The autobiography is introduced by Jess Levenson and Roland Spiegel and contains a discography (2019). Translated from the Italian by Flavia Ambrosetti and Paul Kilbey. The table of contents is available as PDF.
SKU: HL.403259
ISBN 9781705160626. UPC: 196288058496. 9.0x12.0 inches.
Bert Transcribed - The Bert Jansch Songbook, Volume 2 presents 30 more songs by the legendary guitarist and singer-songwriter, Bert Jansch. Each song has been meticulously transcribed and annotated by an international team of leading Jansch experts to detail every aspect of Bert's ground-breaking style and technique. For this volume, they have also been fortunate to reference some of Bert's own newly discovered tentative work in this field, experimenting with software in the 1980s. This book therefore presents the most accurate and definitive transcriptions of Bert's music that have ever been published. Song highlights include: Come Back Baby â?¢ Courting Blues â?¢ Go Your Way My Love â?¢ I Am Lonely â?¢ It Don't Bother Me â?¢ One for Jo â?¢ Tell Me What Is True Love â?¢ A Woman Like You â?¢ and more!
About Hal Leonard Guitar Recorded Versions
Guitar Recorded Versions are note-for-note transcriptions of guitar music taken directly off recordings. This series, one of the most popular in print today, features some of the greatest guitar players and groups from blues, rock, and heavy metal. Guitar Recorded Versions are transcribed by the best transcribers in the business. Every book contains notes and tablature.
SKU: OU.9780193432512
ISBN 9780193432512. 12 x 8 inches.
For SATB unaccompanied The text is taken from Shelley's epic poem Prometheus Unbound. Skempton sets passages in which a Chorus of Hours and a Chorus of Spirits celebrate in ecstatic language the unshackling of the human spirit through the enlightenment of science. Written in his customary style of great simplicity, Skempton's hypnotic score beautifully captures the visionary lyricism of the poetry: long lyrical sections in two different keys distinguish the hopes and fears of the Hours and the Spirits, before they are united in song at the end of the piece.
About Oxford New Horizons
New Horizons showcases the wealth of exciting, innovative, and occasionally challenging choral music being written today. It encompasses the whole gamut of small-scale choral genres, both secular and sacred, and includes pieces for upper-voice and mixed choirs. With titles by some of the most accomplished choral composers active in Great Britain and abroad, the series introduces new repertoire and fresh talent to a broad spectrum of choirs. New Horizons features composers with growing reputations for quality composition reflecting a strong individual voice. The series is continually expanding and should be the first place to look for attractive and performable contemporary choral music.
SKU: BT.DHP-0981118-010
This piece was commissioned by the ‘Concert Band Vlamertinge’ and is a plea for peace: the title translates as ‘Peace on Earth’. This is expressed by means of the vocal contribution expected from the performers. In various places of the piece you can recognize, the words ‘Et In Terra Pax’ - an appeal for peace - at first jumbled together but later more rhythmically structured, developing into synchronized massed voices.The work starts with a pentatonic theme based on the notes D, E, G, A and C (taken from ‘ConCErtbAnD VlAmErtinGE’ and the name of the conductor, NiCk VAnDEnDriessChe). A somewhat sad melody is developed during an orchestral climax which leads to the firstexplosion of sound (measure 62 onwards). Suddenly the opening measures are recaptured, albeit with a differently colored sound: the words ‘Et In Terra Pax’ bring the first movement to a close. A restless Allegro follows which abruptly stops and is replaced by a calming cho-rale-like passage. A narrator reads aloud the poem ‘Sonnet’ by the young poet Charles Hamilton Sorley, who was killed during World War I. This poem fittingly puts into words the cruelty and senselessness of war. After the expanded recapitulation of the allegro, the broad, almost infinite atmosphere of the beginning returns. Clarinet and English horn play the pentatonic opening theme once more, this time broadly, while the words ‘Et In Terra... Pax’ are repeated again and again by the rest of the orchestra.The composer has purposely avoided all forms of aggression and bombastic sounds regularly used in works about war. Fear of violence and destruction can be heard and felt during the allegro passages. The charged opening makes way in the end for hope: May peacefulness replace cruelty in everyday life, too. Dieses Werk wurde im Auftrag der Concert Band Vlamertinge geschrieben und ist ein Plädoyer an den Frieden: Der Titel bedeutet dann auch ‘Frieden auf Erden’. Dies kommt unter anderem im vokalen Anteil der Ausführenden zum Ausdruck. An verschiedenenStellen des Werkes erklingen, anfangs durcheinander dann zu einem rhythmischen und strukturierten Synchrongesang vereint, die Worte ‘Et In Terra Pax’ wie ein flehendes Gebet für den Frieden.
Ein pentatonisches Thema formt den Anfang dieses Werkes, basierend auf den Noten D, E, G, A, und C, die dem Namen: ‘ConCErtbAnD VlAmErtingE’ und dem Namen des Dirigenten NiCk VAnDEnDriessChe entstammen. Während der orchestralen Klimax, die zu einemersten Klangausbruch führt (ab Takt 62), entsteht eine etwas traurige Melodie. Plötzlich werden dann die Eingangstakte wiederaufgenommen, wenn auch mit einer veränderten Klangfarbe; die Worte ‘Et In Terra Pax’ runden den ersten Teil daraufhin ab. Esfolgt ein unruhiges Allegro, das überraschend durch eine Choralartigen Passage voller Ruhe unterbrochen wird. Eine Sprechstimme liest währenddessen das Gedicht Sonnet des jungen Dichters Charles Hamilton Sorley vor, der im ersten Weltkriegfiel. Es findet für die Grausamkeit und Sinnlosigkeit des Krieges die passenden Worte. Nachdem das Allegro, diesmal mit einigen Ausbreitungen, wiederholt wird, kehrt die weite, beinahe unendliche Atmosphäre des Beginns wieder zurück. Klarinettenspielen zusammen mit einem Englischhorn das pentatonische Eingangsthema ein letztes Mal in ausgebreiteter Fassung, wobei das “Et In Terra Pax’ durch den Rest des Orchesters stets wiederholt wird.Der Komponist hat bewusst auf jegliche Form der Aggression oder bombastischen Vertonung, die in so vielen Werken über den Krieg zu finden ist, vermieden. Dennoch ist die Angst vor Gewalt und Zerstörung vor allem in den Allegro-Passagen deutlich zuhören und zu fühlen. Am Ende macht die anfängliche Spannung jedoch der Hoffnung Platz: Möge die Friedlichkeit auch im täglichen Leben die Grausamkeit verbannen….
SKU: OU.9780193407176
ISBN 9780193407176. 12 x 8 inches.
For SATB and organ Setting a text taken from the Books of Sirach and Ezra, Build this House uses tonal shifts and alternating homophonic and polyphonic sections to create a piece that is both contemplative and joyous.
SKU: HL.44002765
UPC: 073999027655. 9.5x13.5x0.97 inches.
This piece was commissioned by the 'Concert Band Vlamertinge' and is a plea for peace: the title translates as 'Peace on Earth'. This is expressed by means of the vocal contribution expected from the performers. In various places of the piece you can recognize, the words 'Et In Terra Pax' - an appeal for peace - at first jumbled together but later more rhythmically structured, developing into synchronized massed voices.The work starts with a pentatonic theme based on the notes D, E, G, A and C (taken from 'ConCErtbAnD VlAmErtinGE' and the name of the conductor, NiCk VAnDEnDriessChe). A somewhat sad melody is developed during an orchestral climax which leads to the firstexplosion of sound (measure 62 onwards). Suddenly the opening measures are recaptured, albeit with a differently colored sound: the words 'Et In Terra Pax' bring the first movement to a close. A restless Allegro follows which abruptly stops and is replaced by a calming cho-rale-like passage. A narrator reads aloud the poem 'Sonnet' by the young poet Charles Hamilton Sorley, who was killed during World War I. This poem fittingly puts into words the cruelty and senselessness of war. After the expanded recapitulation of the allegro, the broad, almost infinite atmosphere of the beginning returns. Clarinet and English horn play the pentatonic opening theme once more, this time broadly, while the words 'Et In Terra... Pax' are repeated again and again by the rest of the orchestra.The composer has purposely avoided all forms of aggression and bombastic sounds regularly used in works about war. Fear of violence and destruction can be heard and felt during the allegro passages. The charged opening makes way in the end for hope: May peacefulness replace cruelty in everyday life, too. Dieses Werk wurde im Auftrag der Concert Band Vlamertinge geschrieben und ist ein Pladoyer an den Frieden: Der Titel bedeutet dann auch 'Frieden auf Erden'. Dies kommt unter anderem im vokalen Anteil der Ausfuhrenden zum Ausdruck. An verschiedenenStellen des Werkes erklingen, anfangs durcheinander dann zu einem rhythmischen und strukturierten Synchrongesang vereint, die Worte 'Et In Terra Pax' wie ein flehendes Gebet fur den Frieden.
Ein pentatonisches Thema formt den Anfang dieses Werkes, basierend auf den Noten D, E, G, A, und C, die dem Namen: 'ConCErtbAnD VlAmErtingE' und dem Namen des Dirigenten NiCk VAnDEnDriessChe entstammen. Wahrend der orchestralen Klimax, die zu einemersten Klangausbruch fuhrt (ab Takt 62), entsteht eine etwas traurige Melodie. Plotzlich werden dann die Eingangstakte wiederaufgenommen, wenn auch mit einer veranderten Klangfarbe; die Worte 'Et In Terra Pax' runden den ersten Teil daraufhin ab. Esfolgt ein unruhiges Allegro, das uberraschend durch eine Choralartigen Passage voller Ruhe unterbrochen wird. Eine Sprechstimme liest wahrenddessen das Gedicht Sonnet des jungen Dichters Charles Hamilton Sorley vor, der im ersten Weltkriegfiel. Es findet fur die Grausamkeit und Sinnlosigkeit des Krieges die passenden Worte. Nachdem das Allegro, diesmal mit einigen Ausbreitungen, wiederholt wird, kehrt die weite, beinahe unendliche Atmosphare des Beginns wieder zuruck. Klarinettenspielen zusammen mit einem Englischhorn das pentatonische Eingangsthema ein letztes Mal in ausgebreiteter Fassung, wobei das Et In Terra Pax' durch den Rest des Orchesters stets wiederholt wird.Der Komponist hat bewusst auf jegliche Form der Aggression oder bombastischen Vertonung, die in so vielen Werken uber den Krieg zu finden ist, vermieden. Dennoch ist die Angst vor Gewalt und Zerstorung vor allem in den Allegro-Passagen deutlich zuhoren und zu fuhlen. Am Ende macht die anfangliche Spannung jedoch der Hoffnung Platz: Moge die Friedlichkeit auch im taglichen Leben die Grausamkeit verbannen...
SKU: AP.48280
UPC: 038081551036. English.
PianoTrax 12 CD contains accompaniment tracks for the following choral publications: Are You Proud of Me? * The Bicycle * Carnival of the Animals: Choral Set I * Clap Your Hands! * The Cloud * Dandelion Child * Desperta Ferro! * Dixit Dominus * Dona Nobis Pacem * Enter with Song! * Follow the Drinking Gourd * Friendship Canon * Gaudeamus Hodie * Gloria in Excelsis Deo * Grow Your Garden * Hava Nagila (Let Us Rejoice) * Hodie * I Lift My Lamp * In the Bleak Midwinter * Lovely Rainbow * Marvelous, Magical World * Music Is . . . * O Wind * One Can Hear the Falling Snow * Out of the Silence * The Road Not Taken * Ständchen * Tuba Mirum * The Turtle Dove * Twilight * Un Poquito Cantas * Vanitas Canon * Words of Wisdom.
About Alfred Choral Designs
The Alfred Choral Designs Series provides student and adult choirs with a variety of secular choral music that is useful, practical, educationally appropriate, and a pleasure to sing. To that end, the Choral Designs series features original works, folk song settings, spiritual arrangements, choral masterworks, and holiday selections suitable for use in concerts, festivals, and contests.
SKU: LM.JJ2247
ISBN 9790230822473.
SKU: AP.48473
UPC: 038081552965. English. Words by Robert Frost.
This beloved Robert Frost poem presents a memorable metaphor about life choices. Victor Johnson's contemporary setting explores subtle nuances of the text through the thoughtful use of melodic line, harmonic color, musical expression, and word stress. A perfect pathway for exploring all the tools of the choral art. This title is available in MakeMusic Cloud.
