SKU: HL.14034050
Danish.
The title 'Trees' should be regarded as a metaphor, even though the electronic sounds in the piece are actually derived from trees. The piece is a metaphor of the multifaceted nature of the leaves on the trees the 'united difference' as the trees of the forest, the 'life-giving', as trees, transform CO2 into Oxygen). It is a metaphor of the ever returning and optimistic foliation each spring), and in a broader sense a metaphor of organic nature. The violin concerto is a sounding organism, which in more or less gradual transition appears in different shapes and states of condition. At some points the music is round and flexible, and at others it is edged and hard. Sometimes it might remind us of something well known, and from time to time it changes into something intangible - an indefinite state of nature. In contrast to the sonorous extreme, the solo violin is portrayed as a manifestation of maximum (human) presence.
SKU: FG.55011-698-6
The Trees suite arranged for wind quintet includes some of the best-loved piano pieces by Jean Sibelius; the trees really did speak to the maestro. The shadowy harmonies, melancholy waltz tune and torrent of broken chords have made The Spruce (the last of the miniatures in the set) one of the most frequently performed works by Sibelius.
SKU: CF.CM9576
ISBN 9781491153987. UPC: 680160912483. 6.875 x 10.5 inches. Key: G minor. English. Emily Dickinson (1830-1886) , Walt Whitman (1819-1892).
The two pieces, Who Robbed the Woods? and O Cool is the Valley Now, combine to create a set that both explores the subtle beauty, serenity, fragility, and resiliency of nature and examines our relationship to the natural world around us. The first song combines a short poem by Emily Dickinson with a journal entry excerpt by Walt Whitman entitled The Lesson of the Tree. Only two stanzas in length, Dickinsons poem considers the ways in which people use and exploit trees for their own purposes and asks, on the trees behalf, who would do such a thing? Whitman ponders a trees silent majesty and power and its ability to be yet say nothing at all. The musical setting begins and ends in the mode of G-Dorian while moving briefly in the middle section to Bb major. The Dorian mode, similar to the natural minor but with a raised sixth scale degree, possesses a mysterious and whimsical sound, fitting for a poem that considers the possibility of talking trees. The accents and syncopation of the piano accompaniment should be carefully observed, with particular attention paid to the syncopation found in gestures occurring in mm. 712. The beginning a cappella section should be hushed yet intense; a richer, fuller sound may be brought out in the middle section where the key shifts to Bb major and the choir sings of the many noble qualities of trees (mm. 3953). O Cool is the Valley Now also makes use of a modal scale. Set primarily in D Mixolydian, similar to D major but with a lowered seventh scale degree, this modes lack of a leading tone gives the melody a folk-tune quality. The piano should at all times remain legato and flowing, its ascending and descending gestures, found in mm. 910, imitating the rolling hills and valleys evoked in the text. The phrases of the vocal lines should also be flowing and carefully shaped. Additional rubato and dynamic subtleties may be added to accentuate any number of the suspensions and dissonances that occur, especially on p. 14.The two pieces, aWho Robbed the Woods?a and aO Cool is the Valley Now,a combine to create a set that both explores the subtle beauty, serenity, fragility, and resiliency of nature and examines our relationship to the natural world around us. The first song combines a short poem by Emily Dickinson with a journal entry excerpt by Walt Whitman entitled The Lesson of the Tree. Only two stanzas in length, Dickinsonas poem considers the ways in which people use and exploit trees for their own purposes and asks, on the treesa behalf, who would do such a thing? Whitman ponders a treeas silent majesty and power and its ability to be ayet say nothing at all.a The musical setting begins and ends in the mode of G-Dorian while moving briefly in the middle section to Bb major. The Dorian mode, similar to the natural minor but with a raised sixth scale degree, possesses a mysterious and whimsical sound, fitting for a poem that considers the possibility of talking trees. The accents and syncopation of the piano accompaniment should be carefully observed, with particular attention paid to the syncopation found in gestures occurring in mm. 7a12. The beginning a cappella section should be hushed yet intense; a richer, fuller sound may be brought out in the middle section where the key shifts to Bb major and the choir sings of the many noble qualities of trees (mm. 39a53). O Cool is the Valley NowA also makes use of a modal scale. Set primarily in D Mixolydian, similar to D major but with a lowered seventh scale degree, this modeas lack of a leading tone gives the melody a folk-tune quality. The piano should at all times remain legato and flowing, its ascending and descending gestures, found in mm. 9a10, imitating the rolling hills and valleys evoked in the text. The phrases of the vocal lines should also be flowing and carefully shaped. Additional rubato and dynamic subtleties may be added to accentuate any number of the suspensions and dissonances that occur, especially on p. 14.The two pieces, aWho Robbed the Woods?a and aO Cool is the Valley Now,a combine to create a set that both explores the subtle beauty, serenity, fragility, and resiliency of nature and examines our relationship to the natural world around us. The first song combines a short poem by Emily Dickinson with a journal entry excerpt by Walt Whitman entitled The Lesson of the Tree. Only two stanzas in length, Dickinsonas poem considers the ways in which people use and exploit trees for their own purposes and asks, on the treesa behalf, who would do such a thing? Whitman ponders a treeas silent majesty and power and its ability to be ayet say nothing at all.a The musical setting begins and ends in the mode of G-Dorian while moving briefly in the middle section to Bb major. The Dorian mode, similar to the natural minor but with a raised sixth scale degree, possesses a mysterious and whimsical sound, fitting for a poem that considers the possibility of talking trees. The accents and syncopation of the piano accompaniment should be carefully observed, with particular attention paid to the syncopation found in gestures occurring in mm. 7a12. The beginning a cappella section should be hushed yet intense; a richer, fuller sound may be brought out in the middle section where the key shifts to Bb major and the choir sings of the many noble qualities of trees (mm. 39a53). O Cool is the Valley NowA also makes use of a modal scale. Set primarily in D Mixolydian, similar to D major but with a lowered seventh scale degree, this modeas lack of a leading tone gives the melody a folk-tune quality. The piano should at all times remain legato and flowing, its ascending and descending gestures, found in mm. 9a10, imitating the rolling hills and valleys evoked in the text. The phrases of the vocal lines should also be flowing and carefully shaped. Additional rubato and dynamic subtleties may be added to accentuate any number of the suspensions and dissonances that occur, especially on p. 14.The two pieces, Who Robbed the Woods? and O Cool is the Valley Now, combine to create a set that both explores the subtle beauty, serenity, fragility, and resiliency of nature and examines our relationship to the natural world around us. The first song combines a short poem by Emily Dickinson with a journal entry excerpt by Walt Whitman entitled The Lesson of the Tree. Only two stanzas in length, Dickinson's poem considers the ways in which people use and exploit trees for their own purposes and asks, on the trees' behalf, who would do such a thing? Whitman ponders a tree's silent majesty and power and its ability to be yet say nothing at all. The musical setting begins and ends in the mode of G-Dorian while moving briefly in the middle section to Bb major. The Dorian mode, similar to the natural minor but with a raised sixth scale degree, possesses a mysterious and whimsical sound, fitting for a poem that considers the possibility of talking trees. The accents and syncopation of the piano accompaniment should be carefully observed, with particular attention paid to the syncopation found in gestures occurring in mm. 7-12. The beginning a cappella section should be hushed yet intense; a richer, fuller sound may be brought out in the middle section where the key shifts to Bb major and the choir sings of the many noble qualities of trees (mm. 39-53). O Cool is the Valley Now also makes use of a modal scale. Set primarily in D Mixolydian, similar to D major but with a lowered seventh scale degree, this mode's lack of a leading tone gives the melody a folk-tune quality. The piano should at all times remain legato and flowing, its ascending and descending gestures, found in mm. 9-10, imitating the rolling hills and valleys evoked in the text. The phrases of the vocal lines should also be flowing and carefully shaped. Additional rubato and dynamic subtleties may be added to accentuate any number of the suspensions and dissonances that occur, especially on p. 14.The two pieces, Who Robbed the Woods? and O Cool is the Valley Now, combine to create a set that both explores the subtle beauty, serenity, fragility, and resiliency of nature and examines our relationship to the natural world around us. The first song combines a short poem by Emily Dickinson with a journal entry excerpt by Walt Whitman entitled The Lesson of the Tree. Only two stanzas in length, Dickinson's poem considers the ways in which people use and exploit trees for their own purposes and asks, on the trees' behalf, who would do such a thing? Whitman ponders a tree's silent majesty and power and its ability to be yet say nothing at all. The musical setting begins and ends in the mode of G-Dorian while moving briefly in the middle section to Bb major. The Dorian mode, similar to the natural minor but with a raised sixth scale degree, possesses a mysterious and whimsical sound, fitting for a poem that considers the possibility of talking trees. The accents and syncopation of the piano accompaniment should be carefully observed, with particular attention paid to the syncopation found in gestures occurring in mm. 7-12. The beginning a cappella section should be hushed yet intense; a richer, fuller sound may be brought out in the middle section where the key shifts to Bb major and the choir sings of the many noble qualities of trees (mm. 39-53). O Cool is the Valley Now also makes use of a modal scale. Set primarily in D Mixolydian, similar to D major but with a lowered seventh scale degree, this mode's lack of a leading tone gives the melody a folk-tune quality. The piano should at all times remain legato and flowing, its ascending and descending gestures, found in mm. 9-10, imitating the rolling hills and valleys evoked in the text. The phrases of the vocal lines should also be flowing and carefully shaped. Additional rubato and dynamic subtleties may be added to accentuate any number of the suspensions and dissonances that occur, especially on p. 14.The two pieces, “Who Robbed the Woods?†and “O Cool is the Valley Now,†combine to create a set that both explores the subtle beauty, serenity, fragility, and resiliency of nature and examines our relationship to the natural world around us.The first song combines a short poem by Emily Dickinson with a journal entry excerpt by Walt Whitman entitled The Lesson of the Tree. Only two stanzas in length, Dickinson’s poem considers the ways in which people use and exploit trees for their own purposes and asks, on the trees’ behalf, who would do such a thing? Whitman ponders a tree’s silent majesty and power and its ability to be “yet say nothing at all.â€The musical setting begins and ends in the mode of G-Dorian while moving briefly in the middle section to Bb major. The Dorian mode, similar to the natural minor but with a raised sixth scale degree, possesses a mysterious and whimsical sound, fitting for a poem that considers the possibility of talking trees. The accents and syncopation of the piano accompaniment should be carefully observed, with particular attention paid to the syncopation found in gestures occurring in mm. 7–12. The beginning a cappella section should be hushed yet intense; a richer, fuller sound may be brought out in the middle section where the key shifts to Bb major and the choir sings of the many noble qualities of trees (mm. 39–53).O Cool is the Valley Now also makes use of a modal scale. Set primarily in D Mixolydian, similar to D major but with a lowered seventh scale degree, this mode’s lack of a leading tone gives the melody a folk-tune quality. The piano should at all times remain legato and flowing, its ascending and descending gestures, found in mm. 9–10, imitating the rolling hills and valleys evoked in the text. The phrases of the vocal lines should also be flowing and carefully shaped. Additional rubato and dynamic subtleties may be added to accentuate any number of the suspensions and dissonances that occur, especially on p. 14.
SKU: HL.841055
ISBN 9780793557943. UPC: 073999773705. 9x12 inches.
For bassoon and orchestra (piano reduction).
SKU: HL.279259
ISBN 9781787600065. 0.309 inches.
25 popular works for baritone or bass voice with piano accompaniment featuring selected works from the major exam board syllabuses, spanning grades 5 to 8 and beyond. Includes a preface and performance notes by Donald Maxwell and Angela Livingstone, and a digital version of the book to view on any device. Contents: JOLIVET: Nous Baignons * PARRY: Love is a Bable * DEBUSSY: Beau Soir * PALADILHE: Psyche * CHAUSSON: Le charme * POULENC: Chanson a boire * Mazurka * FAURE: Aurore * Clair de lune * Munro: My Lovely Celia * BIZET: Chonson d'avril * DUTILLEUX: La Faute en est a toi * PUIG-ROGET: Le Diable dans la Nuit * VENABLE: Flying Crooked * ABOULKER: Le Lion devenu vieux * IBERT: Chanson de Fortunio * Chanson du Rien * DUKE: Loveliest of Trees * Weir: Blackbirds and Thrushes * Dring: It was a lover and his Lass * WARLOCK: Chopcherry * VAUGHAN WILLIAMS: Silent Noon * HAHN: A Chloris * HAGEMAN: Do Not o, My Love * BARBER: Sure on this Shining Night.
SKU: SU.80101479
The Forest for the Trees (2018) was written for Forest Eimold. It is a dramatic, single-movement fantasia with a focus on complex sonoroties and textures.Organ Duration: 9’ Composed: 2018 Published by: Zimbel Press.
SKU: CL.RWS-1803-01
Prepare your audiences to travel around the globe with Christmas Trees Around the World. This arrangement of the classic O Christmas Tree features creative variations from cultures around the world. This will be a cultural hit at your next holiday concert!
SKU: HL.275905
ISBN 9781540026613. UPC: 888680745066. 9x12 inches. Lynda Lybeck-Robinson Late Elementary Level.
Nine piano solos with optional teacher duets by Lynda Lybeck-Robinson are presented in this Composer Showcase series volume. Includes: Cabin Dance • Cool, Shade! • Feels like Spring • Gold Creek • Little Bear Tango • Loon Song • Moongaze • Whispering Woods • The Wishing Trees.
SKU: HL.1466779
UPC: 196288212768.
Commissioned by the American Guild of Organists for the 2024 AGO/Marilyn Mason Award in Organ Composition, this organ solo really does take you “into the trees.” Inspired by a text by Ruth Gilbert, and utilizing pre-recorded sounds, the organ plays complementary music that is creative and moving.