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Yesterday for Saxophone Sextet Sheet Music
Yesterday For Saxophone Sextet Sheet Music Download yesterday for saxophone sextet sheet music pdf now available in our library. We give you 6 pages partial preview of yesterday for saxophone sextet sheet music that you can try for free. This music notes has been read 2740 times and last read at 2021-09-27 05:41:01. In order to continue read the entire sheet music of yesterday for saxophone sextet you need to signup, download music sheet notes in pdf format also available for offline reading. Instrument: Alto Saxophone, Baritone Saxophone, Soprano Saxophone, Tenor Saxophone Ensemble: Mixed Level: Intermediate [ READ SHEET MUSIC ] Other Sheet Music Yesterday For String Sextet Yesterday For String Sextet sheet music has been read 3103 times. Yesterday for string sextet arrangement is for Intermediate level. The music notes has 6 preview and last read at 2021-09-28 08:51:49. [ Read More ] Jrme Savari Sextet For Ssaatb Saxophone Sextet Jrme Savari Sextet For Ssaatb Saxophone Sextet sheet music has been read 3917 times. Jrme savari sextet for ssaatb saxophone sextet arrangement is for Intermediate level. The music notes has 6 preview and last read at 2021-09-27 13:06:51. [ Read More ] Yesterday Beatles Classic Saxophone Quartet Yesterday Beatles Classic Saxophone Quartet sheet music has been read 3763 times. Yesterday beatles classic saxophone quartet arrangement is for Intermediate level. The music notes has 6 preview and last read at 2021-09-27 22:41:31. [ Read More ] Yesterday For Saxophone Quartet Yesterday For Saxophone Quartet sheet music has been read 2597 times. Yesterday for saxophone quartet arrangement is for Beginning level. -
Wind, String, & Mixed Chamber Groups
WIND, STRING, & MIXED CHAMBER GROUPS - SPRING 2019 (v 2.1) - including piano, harp, and percussion - PLEASE read the “Rules of the Road” for chamber music on the “performance” section of INSIDE MUSIC on the School of Music website: https://www.cmu.edu/cfa/music/current-students/ensembles/chamber-music.html Each group should select/elect/draft a “contact person” and submit that person’s name to the chamber music Graduate Assistant, Yalyen Savignon: [email protected] Please note that this is the second draft of the roster. All registered students have been placed, and all requests have been fulfilled. We hope that few if any further changes will need to be made. Remember, other students’ education depends on your being a reliable member of your group! IF YOU SPOT MISTAKES ON THIS LIST, PLEASE CONTACT PROF. WHIPPLE. RJW and CW, February 6, 2019 57-228 OR 57-928 SEXTETS sec A - WIND & PIANO SEXTET Alisa Smith, flute Elizabeth Mountz, oboe Elizabeth Carney, clarinet Ji Won Song, horn Andrew Hahn, bassoon Winfred Wang, piano coaches: R. James Whipple QUINTETS sec B - GRADUATE WIND QUINTET Theresa Abalos, flute Evan Tegley, oboe Alex Athitakas, clarinet Diana McLaughlin, horn Nicholas Evans, bassoon coach: Thomas Thompson sec C - “VENTUS FERRO” TBA, flute Alicia Smith, oboe Zack Neville, clarinet Ziming Zhu, horn Dreya Cherry, bassoon coach: James Gorton sec D - PROKOFIEV: Quintet in g minor Christian Bernard, oboe Bryce Kyle, clarinet TBA, violin Angela-Maureen Zollman, viola Mark Stroud, bass coach: James Gorton STRING QUARTETS 57-226 OR 57-926 1. Jasper Rogal, violin Noah Steinbaum, violin Angela Rubin,viola Kyle Johnson, cello coach: Cyrus Forough 2. -
New and Lesser Known Works for Saxophone Quartet: a Recording
New and Lesser Known Works for Saxophone Quartet: A Recording, Performance Guide, and Composer Interviews by Woodrow Chenoweth A Research Paper Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts Approved April 2019 by the Graduate Supervisory Committee: Christopher Creviston, Chair Joshua Gardner Michael Kocour Ted Solis ARIZONA STATE UNIVERSITY May 2019 ABSTRACT This project includes composer biographies, program notes, performance guides, composer questionnaires, and recordings of five new and lesser known works for saxophone quartet. Three of the compositions are new pieces commissioned by Woody Chenoweth for the Midwest-based saxophone quartet, The Shredtet. The other two pieces include a newer work for saxophone quartet never recorded in its final version, as well as an unpublished arrangement of a progressive rock masterpiece. The members of The Shredtet include saxophonists Woody Chenoweth, Jonathan Brink, Samuel Lana, and Austin Atkinson. The principal component of this project is a recording of each work, featuring the author and The Shredtet. The first piece, Sax Quartet No. 2 (2018), was commissioned for The Shredtet and written by Frank Nawrot (b. 1989). The second piece, also commissioned for The Shredtet, was written by Dan Puccio (b. 1980) and titled, Scherzos for Saxophone Quartet (2018). The third original work for The Shredtet, Rhythm and Tone Study No. 3 (2018), was composed by Josh Bennett (b. 1982). The fourth piece, Fragments of a Narrative , was written by Ben Stevenson (b. 1979) in 2014 and revised in 2016, and was selected as runner-up in the Donald Sinta Quartet’s 2016 National Composition Competition. -
FRIDAY the 13TH: the MICROS PLAY MONK (Cuneiform Rune 310)
Bio information: THE MICROSCOPIC SEPTET Title: FRIDAY THE 13TH: THE MICROS PLAY MONK (Cuneiform Rune 310) Cuneiform promotion dept: (301) 589-8894 / fax (301) 589-1819 email: joyce [-at-] cuneiformrecords.com (Press & world radio); radio [-at-] cuneiformrecords.com (North American radio) http://www.cuneiformrecords.com FILE UNDER: JAZZ / THELONIOUS MONK / THE MICROSCOPIC SEPTET “If the Micros have a spiritual beacon, it’s Thelonious Monk. Like the maverick bebop pianist, they persevere... Their expanding core audience thrives on the group’s impeccable arrangements, terse, angular solos, and devil-may-care attitude. But Monk and the Micros have something else in common as well. Johnston tells a story: “Someone once walked up to Monk and said, “You know, Monk, people are laughing at your music.’ Monk replied, ‘Let ‘em laugh. People need to laugh a little more.” – Richard Gehr, Newsday, New York 1989 “There is immense power and careful logic in the music of Thelonious Sphere Monk. But you might have such a good time listening to it that you might not even notice. …His tunes… warmed the heart with their odd angles and bright colors. …he knew exactly how to make you feel good… The groove was paramount: When you’re swinging, swing some more,” he’d say...” – Vijay Iyer, “Ode to a Sphere,” JazzTimes, 2010 “When I replace Letterman… The band I'm considering…is the Microscopic Septet, a New York saxophone-quartet-plus-rhythm whose riffs do what riffs are supposed to do: set your pulse racing and lodge in your skull for days on end. … their humor is difficult to resist. -
Jrme Savari Septet for Ssaattb Saxophone Septet Sheet Music
Jrme Savari Septet For Ssaattb Saxophone Septet Sheet Music Download jrme savari septet for ssaattb saxophone septet sheet music pdf now available in our library. We give you 6 pages partial preview of jrme savari septet for ssaattb saxophone septet sheet music that you can try for free. This music notes has been read 3455 times and last read at 2021-10-01 01:57:43. In order to continue read the entire sheet music of jrme savari septet for ssaattb saxophone septet you need to signup, download music sheet notes in pdf format also available for offline reading. Instrument: Choir, Saxophone Ensemble: Chamber Music, Choir Level: Intermediate [ READ SHEET MUSIC ] Other Sheet Music Jrme Savari Deuxime Fantaisie Sur Un Thme Original Pour Saxophone Alto Et Piano Jrme Savari Deuxime Fantaisie Sur Un Thme Original Pour Saxophone Alto Et Piano sheet music has been read 3026 times. Jrme savari deuxime fantaisie sur un thme original pour saxophone alto et piano arrangement is for Advanced level. The music notes has 6 preview and last read at 2021-10-01 09:15:47. [ Read More ] Jrme Savari Troisime Fantaisie Sur Un Thme Original Pour Saxophone Soprano Et Piano Jrme Savari Troisime Fantaisie Sur Un Thme Original Pour Saxophone Soprano Et Piano sheet music has been read 3004 times. Jrme savari troisime fantaisie sur un thme original pour saxophone soprano et piano arrangement is for Intermediate level. The music notes has 6 preview and last read at 2021-09-29 02:18:25. [ Read More ] Jrme Savari Sextet For Ssaatb Saxophone Sextet Jrme Savari Sextet For Ssaatb Saxophone Sextet sheet music has been read 3950 times. -
Pieter-Jan Belder the Fitzwilliam Virginal Book
95308 Fitzwilliam VB vol5 2CD_BL1_. 30/09/2016 11:06 Page 1 95308 The Fitzwilliam Virginal Book Volume 5 Munday · Richardson · Tallis Morley · Tomkins · Hooper Pieter-Jan Belder The Fitzwilliam Virginal Book Volume 5 Compact Disc 1 65’42 Compact Disc 2 58’02 John Munday 1555–1630 Anonymous Thomas Morley 1557 –1602 Anonymous & 1 Munday’s Joy 1’26 18 Alman XX 1’58 1 Alman CLII 1’33 Edmund Hooper 1553 –1621 2 Fantasia III, ( fair weather… ) 3’34 19 Praeludium XXII 0’54 2 Pavan CLXIX 5’48 12 Pakington’s Pownde CLXXVIII 2’14 3 Fantasia II 3’36 3 Galliard CLXX 3’00 13 The Irishe Dumpe CLXXIX 1’24 4 Goe from my window (Morley) 4’46 Thomas Tallis c.1505 –1585 4 Nancie XII 4’41 14 The King’s Morisco CCXLVII 1’07 5 Robin 2’08 20 Felix namque I, CIX 9’08 5 Pavan CLIII 5’47 15 A Toye CCLXIII 0’59 6 Galiard CLIV 2’28 16 Dalling Alman CCLXXXVIII 1’16 Ferdinando Richardson 1558 –1618 Anonymous 7 Morley Fantasia CXXIV 5’37 17 Watkins Ale CLXXX 0’57 6 Pavana IV 2’44 21 Praeludium ‘El. Kiderminster’ XXIII 1’09 8 La Volta (set by Byrd) CLIX 1’23 18 Coranto CCXXI 1’18 7 Variatio V 2’47 19 Alman (Hooper) CCXXII 1’13 8 Galiarda VI 1’43 Thomas Tallis Thomas Tomkins 1572 –1656 20 Corrãto CCXXIII 0’55 9 Variatio VII 1’58 22 Felix Namque II, CX 10’16 9 Worster Braules CCVII 1’25 21 Corranto CCXXIV 0’36 10 Pavana CXXIII 6’53 22 Corrãto CCXXV 1’15 Anonymous Anonymous 11 The Hunting Galliard CXXXII 1’59 23 Corrãto CCXXVI 1’08 10 Muscadin XIX 0’41 23 Can shee (excuse) CLXXXVIII 1’48 24 Alman CCXXVII 1’41 11 Pavana M.S. -
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Surround Sound SACDCD 9 Thomas Tallis CORO Sing and glorify According to the 17th-century witness who recounts the origins in the early 1570s of Spem in alium (track 1), Tallis’s 40-part motet was later revived ‘at the prince’s coronation’. By that, he must mean the investiture of Henry, James I’s eldest son, as Prince of Wales on 4 June 1610. By a happy coincidence, another source adds independent confirmation. It states that, following the investiture ceremony itself, the newly crowned prince dined in state at Whitehall to the sound of ‘music of forty several parts’. Clearly the new words that have been applied to Tallis’s music were written specially for the investiture, for they celebrate the ‘holy day’ in which Henry, ‘princely and mighty’, has been elevated by his new ‘creation’. At an event such as this, instruments would have joined voices to produce as rich and spectacular a sound as possible. In this recorded performance, we attempt to simulate that grandly sonorous noise. Thomas Tallis Sing and glorify heaven’s high majesty, for ever give it greeting, love and joy, Author of this blessed harmony. heart and voice meeting. Spem Sound divine praises with melodious graces. Live Henry, princely and mighty! This is the day, holy day, happy day; Henry live in thy creation happy! G IBBONS John Milsom ©2003 in alium B YRD Producer: Mark Brown The Sixteen Ltd., General Manager, Alison Stillman Music for Monarchs Engineer: Mike Hatch The Sixteen Productions Ltd., General Manager, Claire Long T OMKINS Digital mastering: Floating Earth www.thesixteen.com Organ Tuning: Keith McGowan For further information about The Sixteen and Magnates Recorded in May 2003 in All Saints Church, recordings on CORO or live performances Tooting, London and tours, call +44 (0) 1869 331 711, Design: Richard Boxall Design Associates or email [email protected]. -
The English Anthem Project the Past Century and a Half, St
Special thanks to St. John’s staff for their help with promotions and program printing: Mair Alsgaard, Organist; Charlotte Jacqmain, Parish Secretary; and Ministry Coordinator, Carol The Rev. Ken Hitch, Rector Sullivan. Thanks also to Tim and Gloria Stark for their help in preparing the performance and reception spaces. To commemorate the first Episcopal worship service in Midland, MI 150 years ago, and in appreciation for community support over The English Anthem Project the past century and a half, St. John's and Holy Family Episcopal Churches are "Celebrating In Community" with 16th and 17th Centuries events like today’s concert. We hope you are able to share in future sesquicentennial celebration events we have planned for later this summer: www.sjec-midland.org/150 Exultate Deo Chamber Choir Weekly Worship Schedule SUNDAYS Saturday, June 24, 2017 8:00 AM - Holy Eucharist Traditional Worship, Spoken Service 4:00 p.m. 10:00 AM - Holy Eucharist Traditional Worship with Music, St. John’s Episcopal Church Nursery, Children's Ministry 405 N. Saginaw Road WEDNESDAYS Midland, MI 48640 12:00 PM - Holy Eucharist Quiet, Contemplative Worship 405 N. Saginaw Rd / Midland, MI 48640 This concert is offered as one of (989) 631-2260 / [email protected] several ‘Celebrating in Community’ www.sjec-midland.org events marking 150 years of All 8 Are Welcome. The Episcopal Church in Midland, MI The English Anthem Project William Byrd (c1540-1623) worked first in Lincoln Cathedral then became a member of the Chapel Royal, where for a time he and Tallis 16th and 17th Centuries were joint organists. -
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559616 bk Stories US 7/5/09 22:27 Page 5 ‘Jelly Roll’ Morton (1890-1941), Ancia Saxophone Quartet arr. Fred Sturm: Black Bottom Stomp AMERICAN CLASSICS Photo: Mark Eliason The Ancia Saxophone Quartet has This arrangement was inspired by a wonderful big band Ferdinand LaMenthe “Jelly Roll” Morton and his Red delighted audiences throughout North arrangement that Jaxon Stock did for the National Jazz Hot Peppers recorded Black Bottom Stomp in 1926 with America, Europe, and Asia for more than Ensemble about a quarter century ago. My biggest an instrumentation of trumpet, clarinet, trombone, two decades. The group’s innovative and challenge in creating the quartet arrangement was piano, banjo, bass, and drums. Revered by many jazz diverse repertoire stretches traditional generating the constant pulse and groove that Morton’s historians as one of Morton’s finest works, the boundaries of genre and style, SHORT septet so wonderfully created in their 1926 recording – composition is abundant with rapid orchestrational juxtaposing traditional classical repertoire without a rhythm section. I also wanted each quartet shifts, heavy technical demands, structural logic, and with contemporary works by modern member to stand out and have the spotlight spread Jelly Roll’s inimitable sense of humor. This composers. Since its founding in 1990, among the players, with little hot spots of primary focus arrangement for saxophone quartet was commissioned Ancia has been devoted to broadening the STORIES moving from instrument to instrument. by the Tower Saxophone Quartet in 1995. saxophone quartet repertoire. Through collaborations with such notable Fred Sturm composers as Carleton Macy, Jennifer American Music for Higdon, Homer Lambrecht, Ramon From left to right: David Milne, Joan Hutton, Angela Wyatt, Matthew Sintchak Ricker, Gregory Vajda, Jeffrey Brooks, Peter Blauvelt, Gary Haynes, Paul Swenson, Kevin Holm-Hudson, Richard Lawn, Udo Agnesens, Doug Little, and Saxophone Quartet David Milne, the quartet has premiered a prolific number of exclusive commissions. -
Prism Quartet Dedication
PRISM QUARTET DEDICATION WITH GUEST ARTIST GREG OSBY PRISM Quartet Dedication 1 Roshanne Etezady Inkling 1:09 2 Zack Browning Howler Back 1:09 3 Tim Ries Lu 2:36 4 Gregory Wanamaker speed metal organum blues 1:14 5 Renée Favand-See isolation 1:07 6 Libby Larsen Wait a Minute... 1:09 7 Nick Didkovksy Talea (hoping to somehow “know”) 1:06 8 Nick Didkovksy Stink Up! (PolyPrism 1) 1:06 9 Nick Didkovksy Stink Up! (PolyPrism 2) 1:01 10 Greg Osby Prism #1 (Refraction) 6:49 Greg Osby, alto sax solo 11 Donnacha Dennehy Mild, Medium-Lasting, Artificial Happiness 1:49 12 Ken Ueno July 23, from sunrise to sunset, the summer of the S.E.P.S.A. bus rides destra e sinistra around Ischia just to get tomorrow’s scatolame 1:20 13 Adam B. Silverman Just a Minute, Chopin 2:21 14 William Bolcom Scherzino 1:16 Matthew Levy Three Miniatures 15 Diary 2:05 16 Meditation 1:49 17 Song without Words 2:33 PRISM Quartet/Music From China 3 18 Jennifer Higdon Bop 1:09 19 Dennis DeSantis Hive Mind 1:06 20 Robert Capanna Moment of Refraction 1:04 21 Keith Moore OneTwenty 1:31 22 Jason Eckardt A Fractured Silence 1:18 Frank J. Oteri Fair and Balanced? 23 Remaining Neutral 1:00 24 Seeming Partial 3:09 25 Uncommon Ground 1:00 26 Incremental Change 1:49 27 Perry Goldstein Out of Bounds 1:24 28 Tim Berne Brokelyn 0:57 29 Chen Yi Happy Birthday to PRISM 1:24 30 James Primosch Straight Up 1:24 31 Greg Osby Prism #1 (Refraction) (alternate take) 6:49 Greg Osby, alto sax solo TOTAL PLAYING TIME 57:53 All works composed and premiered in 2004 except Three Miniatures, composed/premiered in 2006. -
Partbooks and the Music Collection Will Be Open from 12 May to 13 August 2016 in the Upper Library at Christ Church
Tudor Partbooks and the Music Collection will be open from 12 May to 13 August 2016 in the Upper Library at Christ Church. The exhibition showcases the music-books used by singers in the age of Queen Elizabeth I, with special emphasis on partbooks. This is the result of a successful collaboration with the Tudor Partbooks Project (Oxford University, Faculty of Music) and the Oxford Early Music Festival. The exhibition is curated by Dr John Milsom and Dr Cristina Neagu. Visiting hours: Monday - Friday 10.00 am - 1.00 pm 2:00 pm - 4.30 pm (provided there is a member of staff available in the Upper Library). The new exhibition opened with a concert by Magnificat, featuring pieces from the Christ Church Music Collection. This is one of the world’s premier vocal ensembles, internationally acclaimed for its performance of Renaissance choral masterpieces. Concert programme Robert White Christe qui lux Lamentations William Byrd Come to me grief O that most rare breast Thomas Tallis Salvator mundi (II) Salvator mundi (I) The concert was followed by a talk by Dr John Milsom, leading Tudor music scholar, and a drinks reception in the Cathedral. Tudor partbooks and the music collection Detail from Mus 864b choirbooks 1. CHOIRBOOK LAYOUT: A CLASSIC FOUR-VOICE MOTET In the fifteenth and sixteenth centuries, church choirs typically sang from large choirbooks, in which different areas of the double-page spread displayed the various voice-parts of a composition. This example shows the famous Ave Maria … virgo serena by Josquin Desprez. Each of the motet’s four voices is headed with a large capital A. -
Tallis's Spem in Alium
Spem in Alium – a comparatively review of fourteen recordings by Ralph Moore Background We know less about Thomas Tallis than Shakespeare or any other major cultural figure of the Tudor age; definite facts are few and reasonable inferences and conjectures are many, starting even with the dates of his birth – presumed to be around 1505 - and death - either 20th or 23rd November, 1585. The exact site of his grave in the chancel of the parish of St Alfege Church, Greenwich, is lost. We have no authenticated portrait. What we do know is that despite being a recusant Catholic, he not only survived those perilous times but prospered under a succession of Protestant monarchs, the sole Catholic being Edward VII’s sister Mary, who reigned for only five years, from 1553-1558. He was so valued and respected that Elizabeth gave him the lease on a manor house and a handsome income, and in 1575 he and his pupil William Byrd were granted an exclusive royal patent to print and publish polyphonic music. The key to his survival must lie in his discretion, flexibility and, above all, prodigious talent: he is indubitably one of the greatest English composers of his or any age and a towering figure in Renaissance choral music. His masterpiece is certainly the forty-voice motet Spem in alium but here again, verified facts regarding its origin and first performance are few. The original manuscript is lost and our knowledge of the work is derived from another score prepared for the investiture in 1610 of James I’s elder son, Henry, as Prince of Wales, and used again for the coronation in 1625 of his younger brother, Charles I, next in line to the throne after Harry’s death in 1612 from typhoid fever at eighteen years old.