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Leslie Adams","offers":[{"title":"Physical","offer_id":45438389420252,"sku":"ACA-ADHL-011","price":19.5,"currency_code":"USD","in_stock":true},{"title":"Digital (PDF)","offer_id":45438389453020,"sku":"ACA-ADHL-011e","price":14.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/8198\/2428\/files\/ACA-ADHL-011e_Page_1.jpg?v=1721424407"},{"product_id":"collected-songs","title":"Collected Songs","description":"\u003cp\u003e6 songs on texts of various poets, updated edition 2019\u003c\/p\u003e\n\u003cp\u003eLove Response (Paul Laurence Dunbar) high, low\u003cbr\u003eLove Memory (Paul Laurence Dunbar) high, medium, low\u003cbr\u003eAmazing Grace (H. Leslie Adams) high, low\u003cbr\u003eAlone (Nikos Valance)\u003cbr\u003eAdvocation (Suzanne Hassler)\u003cbr\u003eDream Song (Countee Cullen) high, low\u003cbr\u003eChristmas Lullaby (H. Leslie Adams) high, low\u003cbr\u003e\u003c\/p\u003e","brand":"H. 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Approximately 30 songs of different lengths, in groupings of Spirituals, Songs of Holy Women, Memoirs, Poetry, Prodigal Tales, etc. \u003cbr\u003e\u003cbr\u003eGIOVANNI SONGS are nine songs that use poems from the book SELECTED POEMS OF NIKKI GIOVANNI: renowned poet and professor of English at Virginia Polytechnic. \u003cbr\u003e\u003cbr\u003eThe poetry in SPIRITUALS comes from the folklore of Black America. With the intricate writing for both the voice and piano, these settings go beyond \"arrangements\" in the traditional sense. \u003cbr\u003e\u003cbr\u003eThe poetry in THREE SONGS, EBENEZER, and FROM THE MEMOIRS OF A VISIONARY was penned by the composer. FROM THE MEMOIRS OF A VISIONARY was composed with the tenor voice in mind but it could be effectively be done by counter tenor, contralto, or mezzo soprano as well.\u003c\/p\u003e","brand":"Wallace McClain Cheatham","offers":[{"title":"Physical","offer_id":45501637820636,"sku":"ACA-CHEA-012","price":80.0,"currency_code":"USD","in_stock":true},{"title":"Digital (PDF)","offer_id":45501637853404,"sku":"ACA-CHEA-012e","price":56.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/8198\/2428\/files\/ACA-CHEA-012e_Page_01_ae22209f-0205-4993-982e-d71775349024.jpg?v=1724176107"},{"product_id":"davidson-deux-plaisanteries","title":"Deux Plaisanteries","description":"\u003cp class=\"p1\"\u003e\u003cstrong\u003eComposer's Note:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003ci\u003eDeux Plaisanteries\u003c\/i\u003e is a student work originally written in 1989.\u003ci\u003e \"\u003c\/i\u003eRoll Jordan Roll' (movement one) is a series of genre variations on the African-American spiritual of the same name. The melody was transcribed from a 78rpm recording of the Fisk Jubilee Singers, and in turn, this appeared on the 1962 Folkways LP entitled An Introduction to Gospel Song. In my version, the listener will hear my own harmonization followed sequentially by pastiches of Karlheinz Stockhausen, Lennie Tristano, Anton Webern, and Thelonious Monk, in turn.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\"Dangdut' (movement two) is a direct transcription of an Indonesian street musician called Mas Sujud. He and the tune appeared on a 1982 Kiwi-Pacific Records Ltd.\/Hibiscus Records LP called Music for Sale (Indonesian street music recorded by Jack Body). In the original, the singer accompanies himself on a small drum, and in my version, the piano part was generated solely by the notes in the melody and rhythms played by the drum. The sax part plays the melody.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThis piece was recorded in 1991 by Taimur Sullivan (sax) and Allissa Eells (piano) with funding from the American (then Minnesota) Composers Forum.\u003c\/p\u003e","brand":"Matthew Davidson","offers":[{"title":"Physical","offer_id":45501665214684,"sku":"ACA-DAVM-023","price":27.5,"currency_code":"USD","in_stock":true},{"title":"Digital (PDF)","offer_id":45759796183260,"sku":"ACA-DAVM-023e","price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/8198\/2428\/files\/Davidson_DEUXPLAISANTERIESThumbnail_Page_1.jpg?v=1731004175"},{"product_id":"davidson-i-had-five-long-years","title":"I Had Five Long Years","description":"\u003cp\u003eThis single movement work is structured as follows: [A -- variation1(a) -- var2(a) -- B -- var1(b) -- var2(b) -- var2(c)-- var1(c) -- C]. Capital letters refer to themes, \"var\" refers to the different variations upon those themes. Although there is only one continuous movement, it is divided into three sections with the aforementioned contrasting variations. \"A\" is a transcription of a prison work song \"I had five long years' recorded at the notorious Angola State Penitentiary in Louisiana in 1959 by Harry Oster (released on Folk-Lyric Recording Co., Louisiana Folklore Society). The original singer was James Russell and some other inmates.\u003c\/p\u003e\n\u003cp\u003eTo appreciate the anguish and bitterness behind these prison songs, one must become familiar with the outrageous conditions to which inmates were subjected during its worst years. \"B\" is a transcription of the railroad song, \"John Henry' as sung by Rich Amerson, a transient from Alabama as recorded by Harold Courlander in 1956 for Folkways Records. \"I ain't proud to be poor, but I ain't too poor to be proud,\" he was recorded as saying. Its treatment is also indicative of early jug band recordings of the 1920s which I enjoy. \"C\" is a transcription of the \"Bayou Teche Waltz' as played by Columbus Fruge, a Cajun accordion player and singer recorded in the 1920s. As stated previously, each transcription is dealt with in a set of two variations. Variation 1 is a polytonal variation to be played exactly as written. Variation 2 is an optional improvised section which can either be played exactly as notated or partially as notated and\/or completely improvised thereupon.\u003c\/p\u003e","brand":"Matthew Davidson","offers":[{"title":"Physical","offer_id":45501666459868,"sku":"ACA-DAVM-048","price":28.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/8198\/2428\/files\/ACA-DAVM-048_Page_1_fa4ed0e5-0f27-434b-b52e-8b37b768f320.jpg?v=1727123300"},{"product_id":"felder-gods-a-gonna-trouble-the-water","title":"God's A-Gonna Trouble The Water","description":"\u003cp\u003eComposer's Note:\n\u003cbr\u003e  \n\u003cbr\u003e  In Antebellum America, African American slaves would sing many spirituals each day to communicate secret messages and to help keep strength to carry on. One well-known spiritual \"Wade in the Water\" literally meant that the slaves would need to get in the water to escape and find their way to freedom. One of my favorite lines from this spiritual is \"God's a-gonna trouble the water\", which meant that God would make the change and set his children free.\n\u003cbr\u003e  \n\u003cbr\u003e  I felt that change when I was looking into my ancestry to write this piece. I originally wanted to write my own version of \"Wade in the Water\", but as the music progressed, a part of me wanted to express a deeper realization \"” discovery of a newfound self.\u003c\/p\u003e","brand":"American Composers Alliance","offers":[{"title":"Physical","offer_id":45501699948764,"sku":"ACA-FELD-003","price":25.0,"currency_code":"USD","in_stock":true},{"title":"Digital (PDF)","offer_id":45501699981532,"sku":"ACA-FELD-003e","price":16.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/8198\/2428\/files\/ACA-FELD-003e_Page_1_71d66221-ed10-4e66-829c-c09d50fe69c2.jpg?v=1724177425"},{"product_id":"flaherty-cellists-variations-on-home-on-the-range","title":"Cellist's Variations On \"Home On The Range\"","description":"\u003cp\u003eThe theme of the American song \"Home on the Range\" appears throughout, with other quotes from familiar cello works from classical repertoire.\u003c\/p\u003e","brand":"Tom Flaherty","offers":[{"title":"Physical","offer_id":45501751689436,"sku":"ACA-FLAH-018","price":18.0,"currency_code":"USD","in_stock":true},{"title":"Digital (PDF)","offer_id":45501751722204,"sku":"ACA-FLAH-018e","price":12.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/8198\/2428\/files\/ACA-FLAH-018e_Page_1_35c89bd1-e346-4078-b283-dc002ddb1234.jpg?v=1724177987"},{"product_id":"froom-variations-on-an-early-american-hymn-tune","title":"Variations on an Early American Hymn Tune","description":"\u003cp\u003eVariations on the tune \"Holy Manna\" by William Moore from his \"The Columbian Harmony\" of 1825.\u003c\/p\u003e","brand":"David Froom","offers":[{"title":"Physical","offer_id":45518118355164,"sku":"ACA-FROD-042","price":15.0,"currency_code":"USD","in_stock":true},{"title":"Digital (PDF)","offer_id":45518118387932,"sku":"ACA-FROD-042e","price":12.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/8198\/2428\/files\/ACA-FROD-042e_Page_1_8735303a-486a-4df0-88f4-d2f3dd46dbc2.jpg?v=1724494466"},{"product_id":"glinsky-allegheny-quartet","title":"ALLEGHENY QUARTET","description":"\u003cdiv\u003e\u003cb\u003eComposer's Note:\u003c\/b\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003eThe \u003cem\u003eAllegheny Quartet\u003c\/em\u003e is a 4-movement time travelogue through the multicultural history of Pittsburgh from its early days as an important frontier to the west, through the struggles of its immigrant population in building the steel industry, to the pride of the shining modern metropolis of today. As I began the work, my research took me to such Pittsburgh sites as the Fort Pitt Museum (dedicated to the French and Indian War), and the Bost Museum in Homestead that houses information on Pittsburgh's steel heritage. The primary thematic materials forming the basis of the quartet are drawn from indigenous tunes and folk music associated with the history of Pittsburgh and the region. In all, eleven melodies from various ethnic groups, nationalities, and specific historical events are used. Thematically, the music folds back on itself in many places, and the tunes and their related motives sometimes reappear from movement to movement, often in counterpoint with each other. Taken as a whole, the work is designed to reflect the spirit of the city and provide the listener with a journey through its diverse evolution.\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cem\u003eMovement I: The Land at Diondega\u003cbr\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/div\u003e\n\u003cdiv\u003eThe title refers to the early Native American term for the land where the Allegheny and Monongahela Rivers meet to form the Ohio River. The movement begins with a traditional Iroquois \"Dream Song,\" intoned on the solo viola, evoking a Native American resident of the virgin forest land that would be Pittsburgh, chanting alone to the trees. During the course of the movement the French settlers begin to gather, and are represented by a traditional French song from 1755, \"La Courte Paille.\" The movement continues with the introduction of the English settlers through the period song, \"The Little Turtle Dove.\" The ensuing battle among these parties (and their associated melodies in the development section of this 'sonata form' movement), representing the French and Indian War, ends with the British melody emerging from the contrapuntal \"struggle\" of the tunes. The raising of the British flag in November 1758 over Fort Duquesne (soon after to be named Fort Pitt), was the anniversary the Allegheny Quartet was commissioned to commemorate.\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cem\u003eMovement II: Magarac's Dream\u003cbr\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/div\u003e\n\u003cdiv\u003eThe title refers to \"Joe Magarac,\" the Eastern European immigrant's equivalent of the American folk hero, John Henry. Magarac was a mythical figure about whom many stories of heroism were spun. In particular, Magarac was said to have performed feats of extraordinary strength in the Pittsburgh steel mills, and he was a symbolic hero of many steelworkers. The reality of the immigrant's dream of prosperity, however, was usually one of poverty and despair with horrific working conditions and meager salaries. The title of the movement, then, has a double-edged meaning. It is the \"dream\" of the men who came to America to become new Magaracs, but at the same time, the shattering of that dream. The principal melody of this movement, intoned first by the viola, is based on a song written by Andrew Kovaly, a Slovakian immigrant who worked in the Pittsburgh steel mills. \"I Lie in the American Land\" was penned to comfort the wife of Kovaly's steel mill friend, who, newly arrived in America with her children at the behest of her husband, learned that he had just been killed in the mills. The movement is a spiraling elegy of free variations on this tune. The Eastern European folk inflections in the music evoke some of the spirit of those whose lives were consumed by the steel mills. Following the impassioned central section which builds to a climax in the high register, the music floats downward and falls into a traditional Greek tune, \"The Immigrant's Heartbreak,\" a song akin to \"I Lie in the American Land,\" set as a little Greek dance. This tune winds down and we hear a final reprise of \"I Lie in the American Land.\" In the coda, the major key statement of a motive from the melody represents an element of hope, and the final consonant\/dissonant chord that ends the movement is an affirmation of bitter pride.\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cem\u003eMovement III: Men of Steel\u003cbr\u003e\u003c\/em\u003e(Biava Quartet plays the third movement, see youtube link)\u003cem\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/em\u003e\n\u003c\/div\u003e\n\u003cdiv\u003eThis scherzo movement grows out of motivic ideas I \"translated\" musically from a recording of actual steel mill sounds. There are whistles, rumbling effects, sirens, and the sounds of crashing metal fragments. Out of the churning machine four tunes emerge, each associated with the steel or coal industries in Pittsburgh. The 19th century African American song, \"Coal Diggin' Blues,\" heard in the unison cello and viola, represents a sort of chanting \"chain gang.\" This tune moves immediately into the Slovakian song, \"Aja Lejber Man,\" (I'm a labor man), another melody associated with the mills. The setting suggests an Eastern European folk band with a violin, an accordion, and a pizzicato double bass. The two tunes then mingle in counterpoint and are swallowed up by the sounds of the mill machines. Two other tunes emerge from the furnace as the machine noises morph first into \"Two Cent Coal,\" a song written about a coal workers' incident in Pittsburgh in 1876. The jig-like setting is followed by \"The Homestead Strike,\" a protest song about the 1892 incident in which Andrew Carnegie locked out striking steel workers resulting in a riot that killed a number of people. “The Homestead Strike” and “Two Cent Coal” then combine, and are absorbed back into the steel mill with the machine triumphant all the way to the coda. Overall, the movement depicts a relentless industrial monster which, at times, reveals the various ethnic groups slaving in its vast belly, only to swallow them up again.\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cem\u003eMovement IV: River City Mecca\u003cbr\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/div\u003e\n\u003cdiv\u003eThe movement begins with a chorale-like setting of the folksong, \"Where the Old Allegheny and Monongahela Flow,” a sentimental ballad popular with early 20th century barbershop quartets in Pittsburgh. The movement continues with upbeat variations on the song, \"Pittsburgh Town,\" a tune attributed to Woody Guthrie when he passed through the city in 1941. A short interlude is followed by a minimalist-like section that builds and builds as we emerge from the dreams of the past into the present time, driving south on Interstate 279 toward the modern city of Pittsburgh (the \"Emerald City” in the distance, growing ever closer). At a climactic moment, we break through a sonic wall, and the original Native American Dream Song of the first movement is heard, followed by an extended canon in which 8 tunes overlap in counterpoint (the Dream Song, “Coal Diggin' Blues,” “Aja Lejber Man,” and “I Lie in the American Land,” morphing gradually into a counterpoint of “The Homestead Strike,” “Two Cent Coal,” “Where the Old Allegheny and Monongahela Flow,\" and “Pittsburgh Town”). As the strains of each ethnic group bubble to the surface from their place in the foundations of Pittsburgh, a triumphant coda emerges, and the movement ends in a musical evocation of a shining modern city.\u003cbr\u003e\u003cbr\u003e\u003cspan data-sheets-root=\"1\"\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan data-sheets-root=\"1\"\u003eCommissioned by the Pittsburgh Chamber Music Society in honor of the 250th anniversary of Pittsburgh.\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan data-sheets-root=\"1\"\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan data-sheets-root=\"1\"\u003e\u003c\/span\u003e\u003cspan data-sheets-root=\"1\"\u003eNew 2025 edition from 2009 original.\u003c\/span\u003e\n\u003c\/div\u003e","brand":"Albert Glinsky","offers":[{"title":"Physical - Score + 4 Parts","offer_id":45518136869084,"sku":"ACA-GLIN-005","price":134.0,"currency_code":"USD","in_stock":true},{"title":"Physical - Score Only","offer_id":46920912371932,"sku":"ACA-GLIN-005s","price":69.0,"currency_code":"USD","in_stock":true},{"title":"Digital (PDF) - Score + 4 Parts","offer_id":46920912404700,"sku":"ACA-GLIN-005e","price":100.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/8198\/2428\/files\/ACA_250_lcover_9x12_6b8ab9c8-1532-4984-b3ff-329ecb4c70e0.jpg?v=1757796133"},{"product_id":"harbin-as-the-wind-blows-sand-upon-my-feet","title":"As the wind blows sand upon my feet","description":"\u003cp\u003eComposer's Note:\u003c\/p\u003e\n\n\u003cp\u003eAs the wind blows sand upon my feet was inspired by the talented musicians at the Banff Centre where it received its premiere in November 2008. 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