Format : Score
SKU: AP.BDM05032
UPC: 654979093077. English. Traditional.
A medley of cherished folk songs including Eriskay Love Lilt, Skye Boat Song, and Westerning Home. A number of soloistic passages give lime light to your first-chair performers, however, all solos are generously cued throughout the winds. Scottish Folk Fantasy features three diverse folk medleys scored into a contemporary setting. (2:39).
SKU: IG.PMW121
9 x 12 in inches.
For Piano Solo. By Jianjun He. Synthesizing Western compositional techniques with Chinese musical elements, Fantasy for Piano shows the fusion of different cultures and the diversity of today's music. There are two main melodic ideas: one uses a whole-tone scale, somewhat related to the folk music of Ningxia, my home province in northwest China; the other, with its shifting major and minor thirds, shows a connection toWestern tonal music. The piece is roughly in three-part form: fast-slow-fast. Although the last part is derived from the first, each of the three has its own characteristics, while the entire piece is unified by the two melodic ideas described above. Fantasy for Piano is available on the VMM (Vienna Modern Masters) label recorded by Jeffrey Jacob.
SKU: CL.015-2853-01
Terrific composition! Built on the classic folk song melody The Streets of Laredo, you’ll feel as if you’ve just stepped of the stagecoach with this lively western styled number by Mike Hannickel. Very Unique!
SKU: BT.DHP-0890139-030
This fantasy tells the story of Oregon, one of Americas north-western states. Traveling by train on the Northern Pacific Railroad, the listener is taken through the fascinating Oregon landscape. Indians, cowboys, golddiggers and hooded wagons willfile past on this adventurous journey. The piece has some similarities with a soundtrack of a movie. Various melodies, which could be the main themes of a movie, pass the review.The piece begins in a slow movement, introducing the first theme inminor. Then we hear in the following fast movement the trombones imitate the train, whistling the steam-flute. We hear the characteristic minor theme again, but now in different variants(also in major). The rythmic structure of western stile androck succeed each other. This is leading to the slow movement, where the signals of horns and trumpets introduce a wonderful vocal melody. After this characteristic melody, the fast movement appears shortly again, the trombones whistling thesteam-flute again (now in major). We hear also some musical elements, that plays a part in the following Presto. Barchanges, jazzy chords, interesting rhytmic patterns (with bongo) and an original theme are the characteristics of this Presto. Afterthis, the horns announce the last section of the piece. Interesting is the fact that we hear in this Allegro section a variant of the vocal melody in the slow movement. Also the Presto theme returns shortly, followed by the Allargando, which is agrand characteristic end of a soundtrack. The movie of our travelling fantasy has come to an end.Deze fantasie vertelt het verhaal van Oregon, een van de noordwestelijke staten van Amerika. Een treinreis over de Northern Pacific Railroad voert de luisteraar mee door het boeiende landschap van Oregon. Tijdens deze avontuurlijke reis isdromen over een ver verleden onvermijdelijk. Indianen, cowboys, goudzoekers en huifkarren met paarden ervoor passeren hierbij de revue. Het werk heeft overeenkomsten met de soundtrack van een film.In Oregon entführt Sie Jacob de Haan auf eine abenteuerliche Zugfahrt durch die faszinierende Landschaft einer der nordwestlichen Staaten Amerikas. Ein langsames Thema in Moll, gepaart mit Variationen in Western- und Rockrhythmen undmelodiösen Passagen sind nur einige der Elemente, die diese Reise so spannend und abwechslungsreich gestalten.Cette pièce est un voyage musical travers lâ??Oregon, Ã?tat du nord-ouest des Ã?tats-Unis. bord dâ??un train de la Northern Pacific Railroad, lâ??auditeur est invité découvrir les paysages somptueux de lâ??Oregon. Au fil du trajet, sur la route empruntéepar les chariots des pionniers, on rencontre des Indiens, des cowboys et des chercheurs dâ??or. Et la musique prend la forme dâ??une aventure digne dâ??un western.
SKU: PR.44641192L
UPC: 680160610860. 11 x 14 inches.
One of my greatest pleasures in writing a concerto is exploring the new world that opens for me each time I enter the sometimes alien, but always fascinating, world of a solo instrument or instruments. For me, the challenge is to discover the deepest nature of the solo instrument (its karma, if you will) and to allow that essential character to guide the shape and form of the work and the nature of the interaction between soloists and orchestra. In recent years, many of us have become more aware of the musical world outside the Western tradition of musics that follow different procedures and spring from other aesthetics. And contemporary percussionists have opened many of these worlds to us, as they have ventured around the globe, participating in Brazilian Samba schools, studying Gamelan and African drumming with local experts, collecting instruments from Asia and Africa and South America and the South Pacific, widening our horizons in the process. I will never forget our first meeting in Toronto when Nexus invited me into their world of hundreds of exciting percussion instruments. The vast array of instruments in the collection of the Nexus ensemble is truly global in scope as well as offering a thrilling sound-universe. I was inspired by the incredible range of sound and moved by the fact that so many of these instruments were musical reflections of a spiritual dimension. After long consideration, I decided that it would not only be impossible, but even undesirable for this Western-tradition-steeped composer to attempt to use these instruments in a culturally authentic way. My goal was an existential kind of authenticity: searching instead for universal ideas that would be true to both myself and the performers while acknowledging the traditional uses of the instruments. Since many percussion instruments are associated with various kinds of ritual, I decided that I would allow that concept to shape my piece. Rituals is in four movements, each issuing from a ritual associated with percussion, but with the orchestral interaction providing an essential element in the musical form. I. Invocation alludes to the traditions of invoking the spirit of the instruments, or the gods, or the ancestors before performing. II. Ambulation moves from a processional, through march and dance to fantasy based on all three. III. Remembrances alludes to traditions of memorializing. IV. Contests progresses from friendly competition games, contests to a suggestion of a battle of big band drummers, to warlike exchanges. In the 2nd and 4th movements, another percussion tradition, improvisation, is employed. Written into these movements are a number of seeds for improvisation. Indications in the score call for the soloists to improvise in three different ways, marked A for percussion alone; marked B for percussion with and in response to the orchestra; and C where the percussionists are free to add and embellish the written parts. These improvisations should grow out of and embellish previous motives and gestures in the movement.
SKU: CF.YPS233
ISBN 9781491158449. UPC: 680160917044. 9 x 12 inches.
From the beginning of Unicorn Ranch, and revisited at times, there is a metric subdivision of the sixteen quarter notes in a four-measure phrase into seven, seven, and two. This pattern will soon feel quite natural after a few repetitions. There are several possible ways to conduct this, but a straight two-beat pattern is probably best at first. The accent patterns will drive the phrase. Major-seventh chord harmonies are used in several passages, so some half-step dissonances do occur. Balancing these harmonies will let these blend prettily. In keeping with the Fantasy Western style marking, many of the rhythmic patterns are meant to evoke a horse-like galloping feel.
SKU: PR.11441359S
UPC: 680160582341. 8.5 x 11 inches.
Commissioned by Music From China ensemble and Prism Saxophone Quartet, with a grant provided by the New York State Council on the Arts in 2008. Premiered in New York City, February 2009.Commissioned by Music From China ensemble and PRISM Saxophone Quartet, with a commissioning grant provided by the New York State Council on the Arts in 2008.The imagination of this music came from the figures in the murals carved in the Mogao Caves in the ancient city Dunhuang more than a thousand years ago. The name Dunhuang originally meant “prospering, flourishing.â€Â Lying at the western end of the Gansu Corridor in China, Dunhuang was very important in the Silk Road that carried new thoughts, ideas, arts and sciences to the East and West in the ancient time. The Mogao Grottoes were built and developed over 11 dynasties over more than 1,000 years (from the 4th to 14th centuries), with murals, sculptures, wooden cave buildings and books. It was really the heyday of the art of Dunhuang in the brilliant Tang Dynasty (618-907).  The murals depict rolling dance gestures, the flapping streamer lines, the flying melodies around the clouds, and the fiery rhythms in the sky! They show the high spirit and the strong power of the people and their society. All these impressions are translated into the textures of the two Chinese traditional instrumental parts with support from a set of percussion instruments, and the sound of a saxophone quartet. It’s mysterious, vivid, colorful and energetic, it brings us to dream of the ancient glory and yearn for the future...—Chen Yi.
SKU: CF.YPS233F
ISBN 9781491158456. UPC: 680160917051. 9 x 12 inches.
