Instrumental Duet Instrumental Duet,Piano - Level 5 - Digital Download SKU: A0.534483 Composed by Germaine Tailleferre. 20th Century,Concert,Standards. Score and parts. 65 pages. Musik Fabrik Music Publishing #3534799. Published by Musik Fabrik Music Publishing (A0.534483). This work was written in the first months of 1942 while Tailleferre was living in Grasse, in the socolled« Free Zone » of occupied France during the Second World War and was completed just asTailleferre was forced to flee France with her daughter. As the wife of Jean Lageat, who had been thesecretary of the French socialist Léon Blum during the « Front Populaire » period just before the Warand who was at that time in the US working against the Vichy Government, and as someone who wasnot unvocal about her political views, this could not have been a comfortable situation. Tailleferre left arecord of what she experienced during this period in an article written for the American music journal «Modern Music » which she wrote shortly after arriving in America in the Spring of 1942 :« Notwithstanding their staunch spirit of resistence, the people under German rule today areincreasingly bowed down under their burdens. By achieving the physical decline of the French, theNazis hope that spiritual collapse will ensue. However, after two years of quasi-famine, France remainspround and great, although the necessity of liberation grows daily more urgent.....For an artist to workunder these conditions is almost impossible. The mere effort of subsisting wastes time and absorbsenergy ; The means to work are also lacking.....Musical composition is made practically impossiblethrough lack of music paper. For more than a year, I sought in vain to find paper in Lyon, Marseillesand Nice on which to copy an orchestral score...Two years of experience under German rule havetaught me that all expressions of pride, dignity, spirit , aspiration of the human will can be made onlyclaudestinely. It is a historical truth that the human mind makes its greatest progress under freedom ».Under such circumstances, it is a miracle that this work exists at all. The three movement work wasdedicated to the famous Marguerite Long, for whom Tailleferre had already written several short worksfor piano solo, and François Lang, a pianist who was closely linked with the Group des Six and whohad performed in the première of the 1934 Concerto Grosso for Two Pianos, 8 Solo Voices, SaxophoneQuartet and Orchestra and for whom Tailleferre wrote two cadenzas for concerti by Mozart and Haydn.The work opens with sunny, optimistism in a mood similar to the opening movement of the ConcertoGrosso, but quickly the mood changes to more dramatic themes. The second movement seems tosubjectively express a rupture with the past and a tragic melancholy. The final third movement isextremely dramatic and almost frightening with it’s force.When Tailleferre left France in the Spring of 1942, having been warned by a neighbor that she wasgoing to be arrested if she didn’t leave immediately, she left the score in a two-piano version, probablydue to the fact that there was no music paper to be had to copy the score. When she returned to Francein 1946, she learned that François Lang had been deported to Auschwitz where he died. Musical life inFrance had been completely changed by the War years. Tailleferre put the work aside and forgot aboutit, perhaps wanting to forget the hardships that she had lived through and the loss of many of her friendsassociated with these years.Tailleferre's version for two pianos is published by Musik Fabrik and the work may be performed inthat version. It is clear however, that the work was intended to be orchestrated and the editors hope thatthe present orchestration will allow the work to finally be presented as Tailleferre conceived duringsome of the darkest years of the Twentieth century.

Large Ensemble - Level 3 - Digital Download SKU: A0.569829 Composed by Austin Ralphson. Instructional. Score and parts. 52 pages. Austin Ralphson #4600767. Published by Austin Ralphson (A0.569829). Melody: Conjunct and Disjunct - Perform, Compose, Understand Series. This pack comprises a piece called Mind The Gap, worksheets and questions which relate to the piece. It is all about understanding melodic movement and direction.Welcome to the PCU Series for classroom-based groups. This series focuses on learning by doing; there are many accomplished performers within our school classrooms throughout the world, but my years of experience has taught me that many of these students learn to play by rote – literally be learning one note followed by another – without gaining full understanding of how the pieces work musically and theoretically. Indeed, some of them can perform to a high standard using this method, but then really struggle with composition and general musical understanding later in their educational careers.I equate this to learning to speak sentences in a foreign language without fully understanding what those sentences actually mean. So who is this book for?It is for music teachers to use with their students who are learning to create exam-level compositions within a school environment. It is ideal for courses such as the American High School Diploma, GCSE, IGCSE, SCS, HKCEE, IB(MYP), SPM, GCEO, CCEF, HKCEE, VSSD, GES or ICSE.It is designed to cater for almost any instrument due to the parts being provided in many different keys and clefs (including tab and bass tab). Drum parts are intentionally not provided as drummers still need to have a good understanding of non-percussive elements such as melody and harmony; I would suggest that they play a keyboard part for the purposes of learning about composition.You can also download backing tracks of all pieces in this series by searching:Classroom Performance educational pack: MELODY backing tracksThese contain parts 2-5, allowing part 1 to be played live over the top.  How to use this resourceThis pack comprises three stages, the third of which should be gained from success with the first two:1. PerformingAn original performance piece is provided for mixed classroom ensemble. This piece features a musical device of some kind as its focus. There will obviously be other musical components included within the piece as well, but the main element will be very apparent.2. ComposingWorksheets are provided to enable students to develop their own compositions based on the same focus as the performance piece. Elements of the performance piece are highlighted and short, developmental activities will lead to the students developing their own musical ideas.3. Understanding          Summary worksheets are provided to enable students to demonstrate their understanding of the topic.There are two musical elements which appear in all pieces within this PCU series. They are dynamics and articulation. All performance pieces contain them and opportunity is provided to include them within the composing exercises as well.Printing and CopyingThe purchaser may print or copy all pages of this resource as required, but must not distribute to others. It is advised to produce resources for students as follows: * Print which ever parts are needed to facilitate a performance* Produce a booklet containing the title page, score and worksheets.The performance piece could also be used for the performing component of your examined course as well if appropriate.** Also look out for the other packs in the PCU Series which cover melody, rhythm, structure, texture and harmony. Multi-pack deals are also available. **

Large Ensemble - Level 3 - Digital Download SKU: A0.569830 Composed by Austin Ralphson. Instructional. Score and parts. 87 pages. Austin Ralphson #4603377. Published by Austin Ralphson (A0.569830). Melody: Question & Answer - Perform, Compose, Understand Series. This pack comprises a piece called In Conversation, worksheets and questions which relate to the piece. It is all about understanding melodic movement and direction.Welcome to the PCU Series for classroom-based groups. This series focuses on learning by doing; there are many accomplished performers within our school classrooms throughout the world, but my years of experience has taught me that many of these students learn to play by rote – literally be learning one note followed by another – without gaining full understanding of how the pieces work musically and theoretically. Indeed, some of them can perform to a high standard using this method, but then really struggle with composition and general musical understanding later in their educational careers.I equate this to learning to speak sentences in a foreign language without fully understanding what those sentences actually mean.So who is this book for?It is for music teachers to use with their students who are learning to create exam-level compositions within a school environment. It is ideal for courses such as the American High School Diploma, GCSE, IGCSE, SCS, HKCEE, IB(MYP), SPM, GCEO, CCEF, HKCEE, VSSD, GES or ICSE.It is designed to cater for almost any instrument due to the parts being provided in many different keys and clefs (including tab and bass tab). Drum parts are intentionally not provided as drummers still need to have a good understanding of non-percussive elements such as melody and harmony; I would suggest that they play a keyboard part for the purposes of learning about composition.You can also download backing tracks of all pieces in this series by searching:Classroom Performance educational pack: MELODY backing tracksThese contain parts 2-5, allowing part 1 to be played live over the top.  How to use this resourceThis pack comprises three stages, the third of which should be gained from success with the first two:1. PerformingAn original performance piece is provided for mixed classroom ensemble. This piece features a musical device of some kind as its focus. There will obviously be other musical components included within the piece as well, but the main element will be very apparent.2. ComposingWorksheets are provided to enable students to develop their own compositions based on the same focus as the performance piece. Elements of the performance piece are highlighted and short, developmental activities will lead to the students developing their own musical ideas.3. Understanding          Summary worksheets are provided to enable students to demonstrate their understanding of the topic.There are two musical elements which appear in all pieces within this PCU series. They are dynamics and articulation. All performance pieces contain them and opportunity is provided to include them within the composing exercises as well.Printing and CopyingThe purchaser may print or copy all pages of this resource as required, but must not distribute to others. It is advised to produce resources for students as follows:* Print which ever parts are needed to facilitate a performance* Produce a booklet containing the title page, score and worksheets.The performance piece could also be used for the performing component of your examined course as well if appropriate.** Also look out for the other packs in the PCU Series which cover melody, rhythm, structure, texture and harmony. Multi-pack deals are also available. **

Large Ensemble - Level 3 - Digital Download SKU: A0.569828 Composed by Austin Ralphson. Instructional. Score and parts. 50 pages. Austin Ralphson #4596427. Published by Austin Ralphson (A0.569828). Melody: Sequences - Perform, Compose, Understand Series. This pack comprises a piece called Thanks, Ludwig, worksheets and questions which relate to the piece. It is all about understanding melodic sequences.Welcome to the PCU Series for classroom-based groups. This series focuses on learning by doing; there are many accomplished performers within our school classrooms throughout the world, but my years of experience has taught me that many of these students learn to play by rote – literally be learning one note followed by another – without gaining full understanding of how the pieces work musically and theoretically. Indeed, some of them can perform to a high standard using this method, but then really struggle with composition and general musical understanding later in their educational careers.I equate this to learning to speak sentences in a foreign language without fully understanding what those sentences actually mean.So who is this book for?It is for music teachers to use with their students who are learning to create exam-level compositions within a school environment. It is ideal for courses such as the American High School Diploma, GCSE, IGCSE, SCS, HKCEE, IB(MYP), SPM, GCEO, CCEF, HKCEE, VSSD, GES or ICSE.It is designed to cater for almost any instrument due to the parts being provided in many different keys and clefs (including tab and bass tab). Drum parts are intentionally not provided as drummers still need to have a good understanding of non-percussive elements such as melody and harmony; I would suggest that they play a keyboard part for the purposes of learning about composition.You can also download backing tracks of all pieces in this series by searching:Classroom Performance educational pack: MELODY backing tracksThese contain parts 2-5, allowing part 1 to be played live over the top.  How to use this resourceThis pack comprises three stages, the third of which should be gained from success with the first two:1. PerformingAn original performance piece is provided for mixed classroom ensemble. This piece features a musical device of some kind as its focus. There will obviously be other musical components included within the piece as well, but the main element will be very apparent.2. ComposingWorksheets are provided to enable students to develop their own compositions based on the same focus as the performance piece. Elements of the performance piece are highlighted and short, developmental activities will lead to the students developing their own musical ideas.3. Understanding          Summary worksheets are provided to enable students to demonstrate their understanding of the topic.There are two musical elements which appear in all pieces within this PCU series. They are dynamics and articulation. All performance pieces contain them and opportunity is provided to include them within the composing exercises as well.Printing and CopyingThe purchaser may print or copy all pages of this resource as required, but must not distribute to others. It is advised to produce resources for students as follows:* Print which ever parts are needed to facilitate a performance* Produce a booklet containing the title page, score and worksheets.The performance piece could also be used for the performing component of your examined course as well if appropriate.** Also look out for the other packs in the PCU Series which cover melody, rhythm, structure, texture and harmony. Multi-pack deals are also available. **

Large Ensemble - Level 3 - Digital Download SKU: A0.569833 Composed by Austin Ralphson. Instructional. Score and parts. 52 pages. Austin Ralphson #4628387. Published by Austin Ralphson (A0.569833). Melody: Ornaments - Perform, Compose, Understand Series. This pack comprises a piece called Take It In Turns, worksheets and questions which relate to the piece. It is all about understanding ornamentation.Welcome to the PCU Series for classroom-based groups. This series focuses on learning by doing; there are many accomplished performers within our school classrooms throughout the world, but my years of experience has taught me that many of these students learn to play by rote – literally be learning one note followed by another – without gaining full understanding of how the pieces work musically and theoretically. Indeed, some of them can perform to a high standard using this method, but then really struggle with composition and general musical understanding later in their educational careers.I equate this to learning to speak sentences in a foreign language without fully understanding what those sentences actually mean.So who is this book for?It is for music teachers to use with their students who are learning to create exam-level compositions within a school environment. It is ideal for courses such as the American High School Diploma, GCSE, IGCSE, SCS, HKCEE, IB(MYP), SPM, GCEO, CCEF, HKCEE, VSSD, GES or ICSE.It is designed to cater for almost any instrument due to the parts being provided in many different keys and clefs (including tab and bass tab). Drum parts are intentionally not provided as drummers still need to have a good understanding of non-percussive elements such as melody and harmony; I would suggest that they play a keyboard part for the purposes of learning about composition.You can also download backing tracks of all pieces in this series by searching:Classroom Performance educational pack: MELODY backing tracksThese contain parts 2-5, allowing part 1 to be played live over the top.How to use this resourceThis pack comprises three stages, the third of which should be gained from success with the first two:1. PerformingAn original performance piece is provided for mixed classroom ensemble. This piece features a musical device of some kind as its focus. There will obviously be other musical components included within the piece as well, but the main element will be very apparent.2. ComposingWorksheets are provided to enable students to develop their own compositions based on the same focus as the performance piece. Elements of the performance piece are highlighted and short, developmental activities will lead to the students developing their own musical ideas.3. Understanding          Summary worksheets are provided to enable students to demonstrate their understanding of the topic.There are two musical elements which appear in all pieces within this PCU series. They are dynamics and articulation. All performance pieces contain them and opportunity is provided to include them within the composing exercises as well.Printing and CopyingThe purchaser may print or copy all pages of this resource as required, but must not distribute to others. It is advised to produce resources for students as follows:* Print which ever parts are needed to facilitate a performance* Produce a booklet containing the title page, score and worksheets.The performance piece could also be used for the performing component of your examined course as well if appropriate.** Also look out for the other packs in the PCU Series which cover melody, rhythm, structure, texture and harmony. Multi-pack deals are also available. **

Large Ensemble - Level 3 - Digital Download SKU: A0.569831 Composed by Austin Ralphson. Instructional. Score and parts. 57 pages. Austin Ralphson #4626517. Published by Austin Ralphson (A0.569831). Melody: Passing Notes - Perform, Compose, Understand Series. This pack comprises a piece called Missing Links, worksheets and questions which relate to the piece. It is all about understanding melodic movement and direction.Welcome to the PCU Series for classroom-based groups. This series focuses on learning by doing; there are many accomplished performers within our school classrooms throughout the world, but my years of experience has taught me that many of these students learn to play by rote – literally be learning one note followed by another – without gaining full understanding of how the pieces work musically and theoretically. Indeed, some of them can perform to a high standard using this method, but then really struggle with composition and general musical understanding later in their educational careers.I equate this to learning to speak sentences in a foreign language without fully understanding what those sentences actually mean.So who is this book for?It is for music teachers to use with their students who are learning to create exam-level compositions within a school environment. It is ideal for courses such as the American High School Diploma, GCSE, IGCSE, SCS, HKCEE, IB(MYP), SPM, GCEO, CCEF, HKCEE, VSSD, GES or ICSE.It is designed to cater for almost any instrument due to the parts being provided in many different keys and clefs (including tab and bass tab). Drum parts are intentionally not provided as drummers still need to have a good understanding of non-percussive elements such as melody and harmony; I would suggest that they play a keyboard part for the purposes of learning about composition.You can also download backing tracks of all pieces in this series by searching:Classroom Performance educational pack: MELODY backing tracksThese contain parts 2-5, allowing part 1 to be played live over the top.  How to use this resourceThis pack comprises three stages, the third of which should be gained from success with the first two:1. PerformingAn original performance piece is provided for mixed classroom ensemble. This piece features a musical device of some kind as its focus. There will obviously be other musical components included within the piece as well, but the main element will be very apparent.2. ComposingWorksheets are provided to enable students to develop their own compositions based on the same focus as the performance piece. Elements of the performance piece are highlighted and short, developmental activities will lead to the students developing their own musical ideas.3. Understanding          Summary worksheets are provided to enable students to demonstrate their understanding of the topic.There are two musical elements which appear in all pieces within this PCU series. They are dynamics and articulation. All performance pieces contain them and opportunity is provided to include them within the composing exercises as well.Printing and CopyingThe purchaser may print or copy all pages of this resource as required, but must not distribute to others. It is advised to produce resources for students as follows:* Print which ever parts are needed to facilitate a performance* Produce a booklet containing the title page, score and worksheets.The performance piece could also be used for the performing component of your examined course as well if appropriate.** Also look out for the other packs in the PCU Series which cover melody, rhythm, structure, texture and harmony. Multi-pack deals are also available. **

Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital

Full Orchestra Flute, Oboe, Clarinet in Bb, Bassoon, French Horns in F I and II, Trumpet in Bb, Trombone, Percussion, (Timpani, Glockenspiel), Violin I, Violin II, Viola, Violoncello, Double bass - Advanced - Digital Download SKU: 2S.4251133750706 Composed by Silvano A. Pagliuca-Mena. Jazz. Score and Parts. 46 pages. Soundnotation #4251133750706. Published by Soundnotation (2S.4251133750706). La Cabra Mocha (Full Score) is a Gaita de Furro. Because it belongs to the folklore of Zulia, its origin remains unclear and a dispute over the authorship of the composition currently revolves around Pradelio Hernandez and Jesus Lozano. Although its date of origin is considered equally indefinable for the same reason, its official appearance can be narrowed down to the middle of the 20th century. Probably it's much older, but due to the technological improvements of music recording, the piece became popular only later. La Cabra Mocha is a musical jewel that tells the story of a nation who has a wisdom and finds in music the way to express itself. The history of its transculturation is remarkable, although it also carries contradictions, depending on the way of representing. Sometimes its imposed stereotypes are accepted by society due to a lack of self-knowledge, which ultimately leads to a change of identity, where some elements are transfigured and others are replaced. Arranging a Gaita de Furro for youth orchestra makes sense for the following reasons: First and foremost, the self-knowledge of a society should start from the childhood and should be cultivated and carried on from generation to generation, thereby conserved. Moreover, a lack of a pedagogical act, thus a pedagogical repertoire, is one of the main causes for the ignorance of Venezuelan music. Another important aspect is the transformation or adaptation as a process of maintaining Venezuelan musical culture. Many children already present the intention of the composition by drawing their attention to the formation of the orchestra, which represents a globally unified language as a network of distribution and which is locally independent. Wherever the composition is played - each orchestra will be able to maintain the quality and expressiveness of the piece without hiding its identity. The piece opens with a fanfare introduction of the Cabra Mocha, followed by a drum roll, which reminds of the drummer's traditional reputation and introduces the theme whose chorus is represented by the tutti and its verses by the soli. The first variation consists of a two-bar rhythm and major tonality, full of wit and cunning. The following variation is an Adagio with a three-part rhythm in minor. Then the timpani return to initiate the theme, this time shortened by its Reprise, which finally leads to a polyphonic Codetta. On an interpretative level, the return of variation can be compared with the return of education and thus, to a certain extent, improvisation. This is a very striking factor of traditional music, which is represented as a fitting metaphor in the form of harmonic and rhythmic reference within the composition. Introduccion, Tema y Variaciones sobre la Cabra Mocha was composed in the last weeks of 2012 and won the first prize in the composition competition for the Youth Orchestra of Zulia, which was awarded by the Venezuelan Orchestra in its first edition in 2013. At the beginning of 2014 Silvano Pagliuca-Mena made a small revision of the piece. Silvano Antonio Pagliuca Mena was born on 10 May 1991 in Maracaibo, Venezuela. Despite his Italian and Spanish roots, he has always remained true to his love for the music of his homeland, which is why his compositions always carry Venezuelan impressions, but also influences like academic western music, jazz and popular music.

Full Orchestra Flute, Oboe, Clarinet in Bb, Bassoon, French Horns in F I and II, Trumpet in Bb, Trombone, Percussion, (Timpani, Glockenspiel), Violin I, Violin II, Viola, Violoncello, Double bass - Advanced - Digital Download SKU: 2S.4251133750690 Composed by Silvano A. Pagliuca-Mena. Jazz. Score. 29 pages. Soundnotation #4251133750690. Published by Soundnotation (2S.4251133750690). La Cabra Mocha (Full Score) is a Gaita de Furro. Because it belongs to the folklore of Zulia, its origin remains unclear and a dispute over the authorship of the composition currently revolves around Pradelio Hernandez and Jesus Lozano. Although its date of origin is considered equally indefinable for the same reason, its official appearance can be narrowed down to the middle of the 20th century. Probably it's much older, but due to the technological improvements of music recording, the piece became popular only later. La Cabra Mocha is a musical jewel that tells the story of a nation who has a wisdom and finds in music the way to express itself. The history of its transculturation is remarkable, although it also carries contradictions, depending on the way of representing. Sometimes its imposed stereotypes are accepted by society due to a lack of self-knowledge, which ultimately leads to a change of identity, where some elements are transfigured and others are replaced. Arranging a Gaita de Furro for youth orchestra makes sense for the following reasons: First and foremost, the self-knowledge of a society should start from the childhood and should be cultivated and carried on from generation to generation, thereby conserved. Moreover, a lack of a pedagogical act, thus a pedagogical repertoire, is one of the main causes for the ignorance of Venezuelan music. Another important aspect is the transformation or adaptation as a process of maintaining Venezuelan musical culture. Many children already present the intention of the composition by drawing their attention to the formation of the orchestra, which represents a globally unified language as a network of distribution and which is locally independent. Wherever the composition is played - each orchestra will be able to maintain the quality and expressiveness of the piece without hiding its identity. The piece opens with a fanfare introduction of the Cabra Mocha, followed by a drum roll, which reminds of the drummer's traditional reputation and introduces the theme whose chorus is represented by the tutti and its verses by the soli. The first variation consists of a two-bar rhythm and major tonality, full of wit and cunning. The following variation is an Adagio with a three-part rhythm in minor. Then the timpani return to initiate the theme, this time shortened by its Reprise, which finally leads to a polyphonic Codetta. On an interpretative level, the return of variation can be compared with the return of education and thus, to a certain extent, improvisation. This is a very striking factor of traditional music, which is represented as a fitting metaphor in the form of harmonic and rhythmic reference within the composition. Introduccion, Tema y Variaciones sobre la Cabra Mocha was composed in the last weeks of 2012 and won the first prize in the composition competition for the Youth Orchestra of Zulia, which was awarded by the Venezuelan Orchestra in its first edition in 2013. At the beginning of 2014 Silvano Pagliuca-Mena made a small revision of the piece. Silvano Antonio Pagliuca Mena was born on 10 May 1991 in Maracaibo, Venezuela. Despite his Italian and Spanish roots, he has always remained true to his love for the music of his homeland, which is why his compositions always carry Venezuelan impressions, but also influences like academic western music, jazz and popular music.

Two Violins, Piano - Digital Download SKU: IZ.PDP300 Composed by Rebecca Clarke. Score and Parts. 52 pages. Imagine Music - Digital #PDP300. Published by Imagine Music - Digital (IZ.PDP300). 9 x 12 inches.Clarke worked on the Pieces for Two Violins and Piano during 1909, her last year at the Royal College, when Danse Bizarre gained her a scholarship. Clarke mentioned Danse Bizarre in her typescript memoir composed in the 1970s, and also discussed it with me in 1977 while helping me catalogue her compositions, but she said then that it was long lost, and made no mention of any related material. In the year 2000, however, Clarke's great-nephew Daniel Braden found.a box that Clarke had put in the back of a closet decades before and evidently forgotten, which turned out to contain a chaotic assortment of letters, papers, medical records, and music-manuscript sheets. When put in order, the latter yielded the missing inner leaf of an important viola piece and a number of previously unknown or presumed-lost arrangements and compositions, including ''Danse Bizarre and a Prelude, a Nocturne, and the beginning of a Finale for the same instruments, on the same paper, and bearing similar markings in Clarke's hand and in at least one other hand, which may well be Stanford's. The four movements were plainly developed as a suite, although there is nothing to suggest a sequence for the inner movements, and no compelling reason to believe that the Finale ever got beyond the extant eight pages. The manuscript of the Finale is noticeably rougher than those of the other movements, and several pencil-markings, apparently in another hand, suggest that some of its motivic material had not yet jelled. It seems entirely possible that Clarke had only begun this movement when a family crisis forced her to leave the College, and that she never returned to it. In any case, there is not enough of the Finale to make performance feasible, but the other movements stand quite magnificently on their own. They were recorded by Lorraine McAslan, David Juritz, and Ian Jones on Dutton CDLX 7132, released in 2003. The first public performance, by students at the Royal College under Jones's supervision, took place in May 2005 in the College's Concert Hall, where Clarke had last performed nearly a century before.

Brass Quintet - Level 4 - Digital Download SKU: A0.1489490 Composed by Dr. Daniel N. Thrower. Chamber,Classical,Historic,Patriotic. 38 pages. Https://gildedmusicpress.com/ #1066354. Published by https://gildedmusicpress.com/ (A0.1489490). Three of these seven short pieces are worthy to open any brass quintet concert or recital.  Two fanfares are too short for a concert feature but work extremely well in a ceremony or celebratory setting.  The last two short pieces aptly serve contrasting special purposes, as explained below.“Fort Pierre Fanfare” is about 40 seconds in duration, and was composed to open the feature concert at the South Dakota Bandmasters Association convention in 2022.  Offutt Brass, from the US Air Force Heartland of America Band, was invited to perform that concert.  Before the final piece of the concert, when gifts were exchanged between the sponsor and performers, beautiful presentation copies of the sheet music were presented to the sponsor.  In performance, staging directions on the music can be extremely effective or cringy, depending on how they are conveyed.  If there is any inkling that there may be a cringe factor, ignore them, and play the fanfare already on stage.“Enduring Freedom Fanfare” is nearly a minute of music.  It was composed as a gift for the outgoing Commander of the US Air Force Heritage of America Band, Major Rafael Toro-Quiñones.  His leadership was strong and inspiring, and he held a place of high esteem among many of the fine military musicians that he led.  The Change of Command ceremony was toward the end of the Covid-19 shut-downs, so the work was not performed at the ceremony.  Chief Remley, from the command’s satellite location in Nebraska, hand-delivered some finely printed presentation copies to Major Toro-Quiñones.“Noble Eagle Fanfare” is slightly over a minute in length, and, like “Enduring Freedom Fanfare,” was composed as a gift for another outgoing Commander of the US Air Force Heritage of America Band, Captain David Neil Regner.“Pilgrims’ Fanfare” was composed on what many Americans acknowledge as “Pioneer Day,” 24 July 2023.  Not only honoring the thousands of pioneers that settled the western United States, but also the pilgrims that voyaged across the ocean to settle in the new continent.  It is about 15 seconds in duration and is effective for any occasion in need of a magnificent fanfare.“Flightline Fanfare,” as its title implies, was composed for the ribbon cutting ceremony of the dedication of the newly renovated flightline at Offutt Air Force Base in Nebraska.  Unfortunately, the ceremony itself was altered last-minute, and the 15-second fanfare was not used.  However, like “Pilgrims’ Fanfare,” it is very handy for any event demanding a splash of pomp.“American Interlude” is a soft 75-second underscore for an MC’s moving speech or dedication.  It was originally composed as a smooth segue between two moving patriotic pieces of different keys in a concert setting, but can be used in any similar appropriate situation.“Troop 184” is dedicated to my childhood BSA Scoutmaster, Gerry Nielson, who molded me in significant ways into the man I am decades later.  It is functional music, akin to a fight song, and can be easily marched to.  Words may be crafted as a customized hiking ditty, or it can be featured before or after ceremonies as prelude or processional music.  The duration can also be customized, as there is a written optional repeat, lengthening the tune from 45 seconds to a minute and a half.

Digital Download SKU: S9.Q25917 Vocal Score based on the Richard Wagner Complete Edition edited by Wolfgang M. Wagner. Composed by Richard Wagner. This edition: vocal/piano score. Erstveröffentlichung - Oper - Theater. Wagner Urtext Piano/Vocal Scores. Downloadable, Piano reduction. Schott Music - Digital #Q25917. Published by Schott Music - Digital (S9.Q25917). German • French.An important addition to Schott's newly published orchestral material is the first publication of piano scores for the ten major operas by Richard Wagner in all major versions. For the first time, we offer the stages and interested opera lovers piano scores as urtext editions that were designed according to uniform editorial criteria.•The score is aligned with the performance material of the Complete Edition. •All piano scores have study numbers and continuous measure numbers for rehearsal and study practice. •The editors are renowned musicologists from the circles of those working on the Richard Wagner Complete Edition who contribute detailed information on the respective editions to the critical prefaces.•The prefaces are printed in three languages (German, English, French). •The uniform appealing cover design with reproductions of paintings from the Wagner era emphasizes the serial character of the edition.TANNHÄUSERFor the Richard Wagner Complete Edition, the editors Egon Voss, Peter Jost and Reinhard Strohm as well as Cristina Urchueguía have researched and presented Tannhäuser's genesis and history of more than thirty years, which also took about thirty years of scientific work, on 2,959 pages in eight volumes. With the present piano score, the findings gathered therein shall now also to be made accessible for the musical practice. (Wolfgang M. Wagner, quoted from the foreword to the new Tannhäuser piano score)The piano score unites for the first time all four stages of the work (the score as of 1845, the score as of 1860, the Paris version as of 1861/62 with the complete French text of this version, and the Vienna version as of 1875) in a single excerpt for rehearsal and study practice, thus allowing the comparison of the versions, without sacrificing practicability.All variants are printed one after the other in the chronological sequence of the action on the stage, so that each of them can be explored in their context of action by simply turning over the pages. Only two variants rejected before the Paris premiere were printed separately in the appendix. A fascinating insight into Richard Wagner's thinking in terms of stage practice and into his very precise ideas of tonal balance, scenic details and role-conception are made possible by the quotations printed in key passages from his work On the Performance of Tannhäuser, published in 1852.For example, soon after the world premiere, Wagner suggested the deletion of bars in the orchestral part in the 4th scene of Act I, reasoning that […] due to the tremendous woodenness and self-consciousness of our usual supernumeraries, the impression of overwhelming liveliness, which was intended by me and which was to imply a heightening of the mood led up to by the liveliest manifestations of life, was not achieved. (piano reduction, p. 221)In the big ensemble scene at the end of Act II, Wagner puts in a comment at a certain passage, referring to the conductor and his great responsibility for tonal balance:The exclamations 'Ach, erbarm' dich mein!' require such a piercing emphasis that he [the performer of Tannhauser] as a mere, well-trained singer is not enough; it is but the highest dramatic art that has to provide him the energy of pain and desperation for an expression that must seem to break forth from the most gruesome depths of an awfully woeful heart, like a cry for salvation. The conductor has to ensure that the implied success is made possible for the principal singer by the most discrete accompaniment of the other singers as well as of the orchestra. (piano reduction, p. 367)3 (3. auch Picc.) · 2 · 2 · Bassklar. [nicht in Pariser F.] · 2 - 2 Ventilhr. · 2 Waldhr. · 3 Ventiltrp. · 3 · 1 [Pariser F.: Ophicléïde] - P. S. (Trgl. · Beck. · Tamb. · gr. Tr. · Tamt. [Pariser F.] · Kast. [Pariser/Wiener F.) (2-3 Spieler) - Str. Auf dem Theater: 2 Picc. [P/W: 1] · 4 Fl. [P/W: 2] · 4 Ob. [P/W: 2] · Engl. Hr. · 6 Klar. [P/W: 3] · 4 Fg. [P: 2, W: 0] - 12 Wald-Hr. · 12 Trp. [P: 9] · 4 Pos. [P/W: 4 Hr.] - Trgl. · Beck. · Tamb. · Kast. [nur in P] - Hfe. [in P/W].

Bass Flute,Instrumental Solo,Piano - Level 2 - Digital Download SKU: A0.550921 Composed by J. S. Bach - Gounod. Arranged by James M. Guthrie, ASCAP. Christian,Christmas,Concert,Easter,Standards. Score and individual part. 12 pages. Jmsgu3 #4888307. Published by jmsgu3 (A0.550921). This arrangement features the controversial Schwencke measure (ms. 27) that was originally introduced in 1783 by Christian Friedrich Gottlieb Schwencke. The convenient 1st & 2nd endings provide an option for extended performance. Duration with repeat - 4:50. Score: 7 pages. Solo part: 1 page, piano part: 4 pages. Based on Prelude #1 in C Major from the Well-Tempered Clavier, Book 1. Well suited for church meditations or school programs or recital encores. Register for free lifetime updates and revisions at www.jamesguthrie.comAve MariaAve Maria is a Catholic prayer that consequently asks for the mother of Jesus (Mary) to intercede. Charles Gounod composed a famous version of the Ave Maria. He was a French Romantic composer who overlaid a new melody on an existing Bach chord progression. The progression is from Bach’s Prelude No. 1 from Well-Tempered Clavier I. This version, as well as Schubert’s version, have become essential items at weddings, masses, and funerals.Bach OverviewFirst of all, Johann Sebastian Bach is maybe the greatest composer in music history. Certainly, he was prolific. As a result, everyone has heard of his works. Furthermore, these works number well over a thousand. It seems like people are probably most familiar with the instrumental works such as the Brandenburg Concertos, and the Goldberg Variations. But, similarly famous are such noteworthy works as the Well-Tempered Clavier, the Musical Offering, and certainly the Art of Fugue. Seems like his most famous vocal works include the most noteworthy Mass in B Minor. Also, most noteworthy, though, are the St. John Passion, and certainly the Christmas Oratorio. HistoryBach came from a long line of musicians and above all, composers. Consequently, he, first of all, pursued a career as a church organist. So as a result, he gained employment in various Protestant churches in Germany. For a while, he worked as a court musician in Weimar and Köthen. Here he probably developed his organ style and likewise his chamber music style. Eventually, he, therefore, gained an appointment as Cantor of St. Thomas in Leipzig. Here he worked until difficulties with his employer ultimately drove him away. The King of Poland finally appointed him as a court composer. StyleIt seems like Bach created a fascinating new international style. He synthesized elements of the most noteworthy European music ideas into his new style. Even more, this new style was probably his synthesis of European musical rhythm and form. Furthermore, he demonstrated a complete mastery of counterpoint and motivic development. His sense of harmonic organization probably propelled him to the top.Revival              Mendelssohn conducted a Bach revival in the nineteenth century. His effort probably helped to re-familiarize the public with the magnitude of Bach’s works. During this period, scholars published many noteworthy Bach biographies. Moreover, Wolfgang Schmieder published the BWV (Bach Werke Verzeichnis). As a result, this is now the official catalog of his entire artistic output. The BWV number allows us to locate a work in the catalog. Sometimes scholars will simply use an S (Schmieder) as an abbreviation for BWV. VoyagerNASA launched two Voyager spacecraft in 1977. Onboard are phonograph records with sounds, music, and images of life on Earth. The purpose of the launch was to inform intelligent extraterrestrial life forms about conditions on Earth. The music on the disc is varied. There is Bach, Mozart, Beethoven and Stravinsky among others. However, because Bach is so important in our music history, it contains three times more Bach that all the others combined.

Piano,Tenor Saxophone - Level 2 - Digital Download SKU: A0.550935 Composed by J. S. Bach - Gounod. Arranged by James M. Guthrie, ASCAP. Christmas,Concert,Contemporary,Easter,Wedding. Score and part. 12 pages. Jmsgu3 #4888767. Published by jmsgu3 (A0.550935). This arrangement features the controversial Schwencke measure (ms. 27) that was originally introduced in 1783 by Christian Friedrich Gottlieb Schwencke. The convenient 1st & 2nd endings provide an option for extended performance. Duration with repeat - 4:50. Score: 7 pages. Solo part: 1 page, piano part: 4 pages. Based on Prelude #1 in C Major from the Well-Tempered Clavier, Book 1. Well suited for church meditations or school programs or recital encores. Register for free lifetime updates and revisions at www.jamesguthrie.comAve MariaAve Maria is a Catholic prayer that consequently asks for the mother of Jesus (Mary) to intercede. Charles Gounod composed a famous version of the Ave Maria. He was a French Romantic composer who overlaid a new melody on an existing Bach chord progression. The progression is from Bach’s Prelude No. 1 from Well-Tempered Clavier I. This version, as well as Schubert’s version, have become essential items at weddings, masses, and funerals.Bach OverviewFirst of all, Johann Sebastian Bach is maybe the greatest composer in music history. Certainly, he was prolific. As a result, everyone has heard of his works. Furthermore, these works number well over a thousand. It seems like people are probably most familiar with the instrumental works such as the Brandenburg Concertos, and the Goldberg Variations. But, similarly famous are such noteworthy works as the Well-Tempered Clavier, the Musical Offering, and certainly the Art of Fugue. Seems like his most famous vocal works include the most noteworthy Mass in B Minor. Also, most noteworthy, though, are the St. John Passion, and certainly the Christmas Oratorio. HistoryBach came from a long line of musicians and above all, composers. Consequently, he, first of all, pursued a career as a church organist. So as a result, he gained employment in various Protestant churches in Germany. For a while, he worked as a court musician in Weimar and Köthen. Here he probably developed his organ style and likewise his chamber music style. Eventually, he, therefore, gained an appointment as Cantor of St. Thomas in Leipzig. Here he worked until difficulties with his employer ultimately drove him away. The King of Poland finally appointed him as a court composer. StyleIt seems like Bach created a fascinating new international style. He synthesized elements of the most noteworthy European music ideas into his new style. Even more, this new style was probably his synthesis of European musical rhythm and form. Furthermore, he demonstrated a complete mastery of counterpoint and motivic development. His sense of harmonic organization probably propelled him to the top.Revival              Mendelssohn conducted a Bach revival in the nineteenth century. His effort probably helped to re-familiarize the public with the magnitude of Bach’s works. During this period, scholars published many noteworthy Bach biographies. Moreover, Wolfgang Schmieder published the BWV (Bach Werke Verzeichnis). As a result, this is now the official catalog of his entire artistic output. The BWV number allows us to locate a work in the catalog. Sometimes scholars will simply use an S (Schmieder) as an abbreviation for BWV. VoyagerNASA launched two Voyager spacecraft in 1977. Onboard are phonograph records with sounds, music, and images of life on Earth. The purpose of the launch was to inform intelligent extraterrestrial life forms about conditions on Earth. The music on the disc is varied. There is Bach, Mozart, Beethoven and Stravinsky among others. However, because Bach is so important in our music history, it contains three times more Bach that all the others combined.

Trumpet - Level 3 - Digital Download SKU: A0.978843 By Keith Terrett. By Anon. Arranged by Keith Terrett. Baroque,Classical,Instructional,Traditional,Wedding. 6 pages. Keith Terrett #584509. Published by Keith Terrett (A0.978843). A Fanfare for three Bb Trumpets & Timpani. This was arranged from an old melody of unknown origin, for Eb Cavalry Trumpets and Kettledrums of the Queen’s Royal Irish Hussars Band, a former Northern Irish Regiment within the British Army; whose Colonel in Chief was HRH The Duke of Edinburgh. Winston Churchill was a young officer in the regiment, before the amalgamation of the 4th & 8th Hussars, to form the ’Queen’s Royal Irish Hussars’’. All cavalry regiments of the line, have a team of Cavalry Trumpets, who under the ’Trumpet Major’, play at 11am each day outside regimental headquarters, for the Regiment. Traditionally the fanfare ’stables’ would be played first; followed by another fanfare of the ’’Trumpet Major’s’’ choice. In cavalry regiments there is often a drum horse, on which the two timpani are positioned and played. An example would be the Queen’s Own Hussars, who for many years had a fine old drum horse, trained not to panic when the kettledrums were being played fortissimo! During the day, one trumpeter is on duty, and plays various trumpet calls throughout the day to signal important happenings in the regiment’s daily schedule of events. For example, Reveille is at 0630, Mess call at 0700, Mess call 1230, Guard mount 1800, Officers dress for dinner 2000, finishing with last post at 2200! There are also trumpet calls for fire, war and mucking out the horses! One morning when I was on trumpet duty in Germany at the tender age of 18, I woke up late, and just managed to play the ’’Reveille’’ trumpet call out of my bedroom window, in an effort not to be ’charged’ for missing a call! The equivalent in the Infantry would be the bugle, which is also used as a method of signaling to the regiment. This fanfare works well for three Bb trumpets and timpani. Eb cavalry trumpets are often written in the key of C, and harmonically there is no third on chord V due to the harmonics of the instrument, and the fact that they have no valves; giving a bare sounding chord. The trills in the first part are lip trills, on Bb trumpet, simply play a lip trill using the valves 1 & 3. The most famous Eb cavalry trumpeters in the British Army, are undoubtedly the trumpeters of the household cavalry, who perform in spectacular golden uniforms, complete with riding hats, at the state opening of parliament. Don’t forget Eb cavalry trumpeters are musicians from the band,(they could be clarinettists),assigned to trumpet for two to three years, not so good for your embouchure!! So when you hear a mis-pitched note in future, you know that the trumpeter could be a bassoonist, doing his or her very best.