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Magic Garden (The Venetian Collection)
Concert Band Music Marching/Pep Band Music    Classical & Orchestral    Jazz    Marches    Movie, TV & Broadway    Novelty    Overtures    Patriotic    Pop & Rock    Sacred    Concert and Contest By Difficulty    1, 2, 3, 4, 5, 6 Jazz Band Music Small Ensemble Music Method Books Theory Books, Staff Paper, Reference Books Band Director Accessories Instructional Videotapes and DVD's Solo Instrumental Recordings Small Ensemble Recordings Large Ensemble Recordings	Magic Garden (The Venetian Collection) Item number JBQ63341CC, $158.95 Inspired by a painting by German artist Paul Klee [1879 - 1940], this work forms the third movement of The Venetian Collection. Completely different than the other parts of the cycle, this movement illustrates Klee's colorful, naive dream world by means of a fragile, transparent texture, bringing the woodwinds into the limelight. The rather abrupt conclusion is preceded by a breathtakingly fast unison passage for the complete woodwind group. (Duration 8:00)   Publisher: Amstel Music Category: Band/Orchestra/Ensemble Series: Amstel Music Format: Score & Parts Composer: Johan de Meij Band Difficulty: 5 How to purchase this item: To purchase "Magic Garden (The Venetian Collection)", just click on the "Click to Buy!" button above. You will then have the option of placing your order online or ordering by mail or fax. Return Policy: This product may be returned, unopened, within 30 days of purchase for a full refund, excluding shipping charges.	Quick Search Manage My Account Log In (Optional) Track An Order Free Downloads Make An Account

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Sketches On A Tudor Psalm - Concert Band Item number 8897255CC Regular Price: $137.95, Our Price: $82.77 You will save $55.18 This piece is dedicated to the Sam Houston State University Symphonic Band in Huntsville, Texas with Ralph L. Mills, conductor. "Sketches On A Tudor Psalm," composed in 1971, is based on the sixteenth century setting of the Second Psalm by Thomas Tallis. The original version was in the Phrygian mode with the melody in the tenor voice. A modern adaptation is still used today in Anglican services. Its popularity is evidenced by its employment by Ralph Vaughan Williams for the basis for his Fantasia for String Orchestra in 1910. The introduction sets the harmonic character by emphasizing the juxtaposition of major and minor triads. The theme is first presented by solo alto saxophone, continued in horns, and followed by a fully harmonized version from the brass. The variations begin to unfold in an Allegro section with a melody in the clarinets which was constructed from the retrograde of the theme. Subsequently, fragments of the theme are selected for rhythmic and melodic transformation. Finally, the opening harmonic sequence returns in highly punctuated rhythms to herald the recapitulation of the theme beginning in the low woodwinds and culminationg in a fully scored setting of the climactic measures. A coda continues the development as the music builds to a triumphal close on a major chord.

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