Brass Ensemble - Level 5 - Digital Download

SKU: A0.755271

Composed by Sy Brandon. 20th Century,Contemporary. Score and parts. 41 pages. Sy Brandon #4355513. Published by Sy Brandon (A0.755271).

Lexicon II is the second composition in a series that defines words through music. The first movement, Ballyhoo, means clamor or outcry. This is achieved musically through a fast tempo, wide intervals, asymetric meter, imitative sixteenth note patterns, and mild dissonance.

The second movement, Clandestine, uses pyramids to disguise the melodic line and asymetrical meter to disguise the beat in order to represent the definition of characterized by, done in, or executed with secrecy or concealment, especially for purposes of subversion or deception. The brass instruments are muted throughout this movement.

In order to represent Eerie, the word for the third movement, a slow tempo and sparse instrumentation are used along with dissonance, extreme dynamics, trills and glissandi. Eerie means uncanny, so as to inspire superstitious fear.

The fourth movement, Amok, is filled with dissonance, counterpoint, and chromaticism in order to represent its definition; to behave uncontrollably and disruptively. Sections of order seem to break down into sections of chaos and the movement ends on an unsettled chord.

Instrumental Duet Instrumental Duet,Piano,Tuba - Level 5 - Digital Download

SKU: A0.934364

Composed by Luis Cardoso. Contemporary. Score and parts. 55 pages. Luis Cardoso #6133679. Published by Luis Cardoso (A0.934364).

Entia Imaginaria II, from the Latin imaginary beings 2 is a subject that fascinates me, especially after reading Jorge Luis Borges's Book of Imaginary Beings. I decided to dedicate some of my compositions to this issue. This is the second composition with that title.

This three movements composition include:

i. Basiliscus (Basilisk) - Legendary reptile reputed to be king of serpents and said to have the power to cause death with a single glance;

ii. Unicornis (Unicorn) - Legendary animal that resembles a white horse with a spiraling horn projecting from its forehead. Commonly described as an extremely wild woodland creature, a symbol of purity and grace, which could only be captured by a virgin;

iii. Centaurus (Cenaturo)  - Member of a composite race of creatures, part human and part horse.

This work was requested to be premiered by the project XL with Telmo Marques (piano)  e Sérgio Carolino (Tuba). Was composed between January and March 2012.

Woodwind Ensemble,Woodwind Quintet Bassoon,Clarinet,Flute,Horn,Oboe - Level 4 - Digital Download

SKU: A0.1079299

Composed by Phil Rawle. Contemporary,Jazz. 19 pages. Phillip Rawle #683498. Published by Phillip Rawle (A0.1079299).

Two wind quintets in a rich jazz ballad style. For Flute, Oboe, Clarinet, Horn and Bassoon. These pieces explore the lush chord voicings that only such a close-knit group of instruments can create. Although slow, these pieces explore the whole range of all instruments and pass through some fairly extreme keys making them more of a challenge for advanced players of grade 7 upwards.

String Ensemble,String Quintet Cello,Viola,Violin - Level 4 - Digital Download

SKU: A0.1199134

Composed by Phil Rawle. Classical,Contemporary. Score and parts. 34 pages. Phillip Rawle #798201. Published by Phillip Rawle (A0.1199134).

Two string quintets in a rich jazz ballad style. For Three violins, viola and 'cello These pieces explore the lush chord voicings that only such a close-knit group of instruments can create. Although slow, these pieces explore the whole range of all instruments and pass through some fairly extreme keys making them more of a challenge for advanced players of grade 7 and upwards.

Brass Ensemble Trombone,Trumpet - Level 4 - Digital Download

SKU: A0.824731

Composed by Phil Rawle. Concert,Contemporary,Jazz. Score and parts. 31 pages. Phillip Rawle #6429747. Published by Phillip Rawle (A0.824731).

Two brass quintets in a rich jazz ballad style. Using Two Trumpets, Two Trombones and Bass Trombone. These pieces explore the lush chord voicings that only such a close-knit group of instruments can create. Although slow, these pieces explore the whole range of all instruments and pass through some fairly extreme keys making them more of a challenge for advanced players of grade 7 upwards.

Guitar - Intermediate-Advanced - Digital Download

SKU: M0.30510EB

Composed by Michael J. Anthony. Scales, Arpeggios, Technique, Style. Jazz and Contemporary. E-book. Mel Bay Publications - Digital Sheet Music #30510EB. Published by Mel Bay Publications - Digital Sheet Music (M0.30510EB).

ISBN 9781619115484. 8.75x11.75 inches.

In this comprehensive book jazz guitarist Michael Anthony addresses the need to build flexibility and technical proficiency in a way consistent with the melodic motifs of contemporary music. Though the warm-ups are numbered, there is no order that must be followed. The guitarist may approach them according to his or her interest and inspiration. They include: arpeggios, scale patterns, melodic minor forms, chord-melody groups, stretching and contrary motion, double-stops, octave displacement, walking bass with comping, two line phrases, 'out of the box' geometric shapes, overlapping rhythms, long arpeggios and diminished scale patterns. The finish line exemplifies arpeggios outlining I-VI-II-V7 progressions in major and minor. In the words of Michael Anthony, I find that isolation of the right and left hand is useful, but ultimately it is the timing and coordination of the two that is necessary. The benefits of these warm-ups are threefold: 1. Technical improvement. 2. Fingerboard knowledge. 3. Ear training. Written in notation and tablature.

Violin Solo - Level 4 - Digital Download

SKU: A0.1018956

Composed by Benjamin Harry Sajo. 20th Century,Contemporary. 2 pages. Benjamin Sajo #6078707. Published by Benjamin Sajo (A0.1018956).

Programme Notes:

 This composition was written to be considered for pairing alongside Ludwig van Beethoven’s Symphony #3, the Eroica, but can stand on its own virtues as an intense and slow meditation on heroism. The music is like a boiling pot on the stove that’s just began to overflow its bubbles.

 The first part of the title, kommos, is a Classical Greek term from Attic dramaturgy, literally meaning striking but specifically referring to beating oneself up during lamentation--ripping at the hair, gouging out the eyes--like Oedipus--slapping the forehead, and other acts amid moments of extreme emotional turmoil. For example, from Aeschylus's play Agamemnon, a character bewails: Apollo, Apollo! God of the Ways, my destroyer! For you have destroyed me-and utterly [...]What is this fresh woe [...]what monstrous, monstrous horror, beyond love's enduring, beyond all remedy? And help stands far away! We can easily imagine physical accompaniment to the script; rather than bottling up the pain, the hero lets it all explosively come out.  

 The second part of the title, When the world moved on, is an epigraph taken from American author Stephen King’s The Dark Tower epic. The primary setting of the novel, a world similar in many ways to our own, is experiencing a dark age where the glorious past is all but a distant memory and all good things are referred to wistfully as occurring, When the world moved on. Yet, the main protagonist, Roland, the last gunslinger, emphasizes that it is not just a figure of speech, but the literal distances between destinations have increased, the positions of the stars have changed, as well as the occurrence of other unnatural phenomena. The world has become a gulf of isolation from all corners.

 Taken together, this piece is a lamentation for when the world moved on. Truly completed on Yom Kippur during the Covid-19 Pandemic, being unable to fast or go to synagogue, this is my atonement.

About the Composer:

 Benjamin Sajo (b. 1988) is a Canadian composer of contemporary classical music, as well as an educator. Since developing a fiercely independent creative voice upon the completion of his studies at Western (2010) and McGill Universities (2013), he continues to find inspiration from the intersection of mythology, art, and nature upon the contemporary human experience. In 2019, he released his premiere album of original music, The Great War Sextet: Canadian War Poetry with Trombone & Strings, with support from the Ontario Arts Council. He is a member of SOCAN and the League of Canadian Composers.

Harp - difficult - Digital Download

SKU: S9.Q6154

Composed by Heinz Holliger. This edition: Sheet music. Downloadable. Duration 18' 30. Schott Music - Digital #Q6154. Published by Schott Music - Digital (S9.Q6154).

This piece combines the tradition in the harp repertoire of harking back to Baroque elements of form and style with selective use of sophisticated contemporary techniques. The most notable of these are the use of a bow to play the melody of the â?�Ariaâ?�, while the accompaniment is plucked in the usual way, and the extremely complex â?�Fughetta cromaticaâ?�, where the strings are retuned to make it possible to play unusual combinations of intervals.

Full Orchestra - Level 5 - Digital Download

SKU: A0.1105733

Composed by G.F. Skipworth. 20th Century,Classical,Film/TV,Historic,Multicultural,World. Score and Parts. 73 pages. George Skipworth #708956. Published by George Skipworth (A0.1105733).

For use in symphonic concerts, ballets, and for cinematic use. The second movement, Spring Ritual, unlike movements 1 and 2, are extremely traditional - length is slightly over 9 minutes., and difficulty is advanced.

Handbell Solo & Duet, Handbell Small Ensemble, Quartet Handbell Quartet - Digital Download

SKU: H1.2372DP

Arranged by Sondra K. Tucker. Handbell Quartets. Contemporary, General Worship. Collection. 58 pages. Hope Publishing - Digital #2372DP. Published by Hope Publishing - Digital (H1.2372DP).

Four notable praise osngs This exciting sequel to the popular first volume contains settings of four more notable praise songs arranged for handbell quartet. With no bell changes, ringers are freed from needing tables, making these arrangements extremely portable.

Guitar,Instrumental Duet,Violin - Level 4 - Digital Download

SKU: A0.532148

Composed by Mauro Giuliani. Arranged by Klas Krantz. Romantic Period. 16 pages. Amadeus Music #3114615. Published by Amadeus Music (A0.532148).

Score and parts (violin and guitar) included, guitar (with fingering).
Mauro Giuliani (1781 - 1829) was an Italian guitarist, cellist, singer, and composer. He was a leading guitar virtuoso of the early 19th century. As a guitar composer he was very fond of the theme and variations - an extremely popular form in Vienna. He had a remarkable ability to weave a melody into a passage with musical effect while remaining true to the idiom of the instrument.

Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra - Digital Download

SKU: S9.Q7038

Teil I: Schwarz vor Augen... · Teil II: ...und es ward Licht!. Composed by Harald Weiss. This edition: study score. Music Of Our Time. Downloadable, Study score. Duration 100' 0. Schott Music - Digital #Q7038. Published by Schott Music - Digital (S9.Q7038).

Latin • German.

On letting go(Concerning the selection of the texts) In the selection of the texts, I have allowed myself to be motivated and inspired by the concept of “letting go�. This appears to me to be one of the essential aspects of dying, but also of life itself. We humans cling far too strongly to successful achievements, whether they have to do with material or ideal values, or relationships of all kinds. We cannot and do not want to let go, almost as if our life depended on it. As we will have to practise the art of letting go at the latest during our hour of death, perhaps we could already make a start on this while we are still alive. Tagore describes this farewell with very simple but strikingly vivid imagery: “I will return the key of my door�. I have set this text for tenor solo. Here I imagine, and have correspondingly noted in a certain passage of the score, that the protagonist finds himself as though “in an ocean� of voices in which he is however not drowning, but immersing himself in complete relaxation. The phenomenon of letting go is described even more simply and tersely in Psalm 90, verse 12: “So teach us to number our days, that we may apply our hearts unto wisdom�. This cannot be expressed more plainly.I have begun the requiem with a solo boy’s voice singing the beginning of this psalm on a single note, the note A. This in effect says it all. The work comes full circle at the culmination with a repeat of the psalm which subsequently leads into a resplendent “lux aeterna�. The intermediate texts of the Requiem which highlight the phenomenon of letting go in the widest spectrum of colours originate on the one hand from the Latin liturgy of the Messa da Requiem (In Paradisum, Libera me, Requiem aeternam, Mors stupebit) and on the other hand from poems by Joseph von Eichendorff, Hermann Hesse, Rabindranath Tagore and Rainer Maria Rilke.All texts have a distinctive positive element in common and view death as being an organic process within the great system of the universe, for example when Hermann Hesse writes: “Entreiß dich, Seele, nun der Zeit, entreiß dich deinen Sorgen und mache dich zum Flug bereit in den ersehnten Morgen� [“Tear yourself way , o soul, from time, tear yourself away from your sorrows and prepare yourself to fly away into the long-awaited morning�] and later: “Und die Seele unbewacht will in freien Flügen schweben, um im Zauberkreis der Nacht tief und tausendfach zu leben� [“And the unfettered soul strives to soar in free flight to live in the magic sphere of the night, deep and thousandfold�]. Or Joseph von Eichendorff whose text evokes a distant song in his lines: “Und meine Seele spannte weit ihre Flügel aus. Flog durch die stillen Lande, als flöge sie nach Haus� [“And my soul spread its wings wide. Flew through the still country as if homeward bound.�]Here a strong romantically tinged occidental resonance can be detected which is however also accompanied by a universal spirit going far beyond all cultures and religions. In the beginning was the sound Long before any sort of word or meaningful phrase was uttered by vocal chords, sounds, vibrations and tones already existed. This brings us back to the music. Both during my years of study and at subsequent periods, I had been an active participant in the world of contemporary music, both as percussionist and also as conductor and composer. My early scores had a somewhat adventurous appearance, filled with an abundance of small black dots: no rhythm could be too complicated, no register too extreme and no harmony too dissonant. I devoted myself intensely to the handling of different parameters which in serial music coexist in total equality: I also studied aleatory principles and so-called minimal music.I subsequently emigrated and took up residence in Spain from where I embarked on numerous travels over the years to India, Africa and South America. I spent repeated periods during this time as a resident in non-European countries. This meant that the currents of contemporary music swept past me vaguely and at a great distance. What I instead absorbed during this period were other completely new cultures in which I attempted to immerse myself as intensively as possible.I learned foreign languages and came into contact with musicians of all classes and styles who had a different cultural heritage than my own: I was intoxicated with the diversity of artistic potential.Nevertheless, the further I distanced myself from my own Western musical heritage, the more this returned insistently in my consciousness.The scene can be imagined of sitting somewhere in the middle of the Brazilian jungle surrounded by the wailing of Indians and out of the blue being provided with the opportunity to hear Beethoven’s late string quartets: this can be a heart-wrenching experience, akin to an identity crisis. This type of experience can also be described as cathartic. Whatever the circumstances, my “renewed� occupation with the “old� country would not permit me to return to the point at which I as an audacious young student had maltreated the musical parameters of so-called contemporary music. A completely different approach would be necessary: an extremely careful approach, inching my way gradually back into the Western world: an approach which would welcome tradition back into the fold, attempt to unfurl the petals and gently infuse this tradition with a breath of contemporary life.Although I am aware that I will not unleash a revolution or scandal with this approach, I am nevertheless confident as, with the musical vocabulary of this Requiem, I am travelling in an orbit in which no ballast or complex structures will be transported or intimated: on the contrary, I have attempted to form the message of the texts in music with the naivety of a “homecomer�. Harald WeissColonia de San PedroMarch 2009

1 (auch Altfl.) · 2 (2. auch Engl. Hr.) · 1 (auch Bassklar.) · 0 - 2 · Flhr. · 0 · 0 - P. S. (Glsp. · Röhrengl. · Gongs · Trgl. · Beck. · Tamt. · 2 Holzschlitztr. (oder Woodbl.) · Woodbl. · gr. Tr.) (3 Spieler) - Org. (Positiv) - Str. (4 · 4 · 4 · 4 · 2).