Based on oral history of the Anishinaabeg, this piece draws its name from Ojibwe historian Basil Johnston, who offered the literal translation of the name as “Spontaneous Beings.” Based on authentic folk music and steeped in tradition, the piece relies heavily on traditional percussion instruments (with optional substitutes suggested). Very approachable, yet extremely powerful.
This arrangement embodies the full sound and spirit of the original overture, yet is orchestrated in a way that takes full advantage of the string orchestra sonic palette. A fabulous choice as an opener, closer, or celebratory work for any special occasion! (4:00)
An exciting piece that explores self-paced developing music for literally any combination of instruments. Inspired by Terry Riley's In C, the piece includes short fragments that performers move through at their own pace. Explore pacing, development and orchestration with this piece that works for literally any possible combination of instruments!
The vivid imagery of "little critters" scurrying about at night inspires the melodic lines and creative harmonies used throughout this programmatic work. Beginning soft and mischievous, the music builds as new critters join the fun in a playful dialogue. The harmonic language moves between moments of pleasant consonance and slight dissonance (because as we all know, some people love little critters and some people are terrified of them!). A highly imaginative, playable work! (Grade 1, Dur 2:15)
This fantastic and playable suite of themes from the popular opera Carmen includes the Opening Bugle Call and March of the Dragoons, the famous Habanera, the beautiful Entr'acte to Act III - Intermezzo, and the soaring, spirited music of the Final Act. A great way to showcase your students playing some of the most famous and enjoyable opera music in the repertoire! (6:00)