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TRI ET FILTRES
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I Think You're Great
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You're A Mean One, Mr. Grinch
Woodwind Ensemble Contrabassoon,English Horn,Oboe - Level 3 - Digital Download SKU: A0.…
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Woodwind Ensemble Contrabassoon,English Horn,Oboe - Level 3 - Digital Download SKU: A0.559697 Composed by Albert Hague. Arranged by Lisa Ochoco. 20th Century,Christmas,Comedy,Film/TV,Jazz. 16 pages. Lisa L Ochoco #4110841. Published by Lisa L Ochoco (A0.559697). When one thinks of Christmas songs to sing, rarely is there a time when this song is on the program. I mean, who wants to sing about describing someone as charming as an eel or having a heart that's a dead tomato splotched? However, the music is great, and it would be a fun addition to your Christmas repertoire, especially if you let your audience sing the stink, stank, stunk lyrics!
$14.00
12.86 €
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Albert Hague
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Lisa Ochoco
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You're A Mean One, Mr. Grinch
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Lisa L Ochoco
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SheetMusicPlus
Rhythm Only - Book 1 - Eighths and Sixteenths - Assorted Meters (Sight Reading Exercise Book)
Large Ensemble Alto Recorder,Alto Saxophone,Banjo,Baritone Recorder,Baritone Saxophone,Bas…
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Large Ensemble Alto Recorder,Alto Saxophone,Banjo,Baritone Recorder,Baritone Saxophone,Bass Guitar,Bassoon,Cello,Clarinet,Double Bass,Drum Set,Drums,English Horn,Euphonium,Flute,Hand Percussion,Handbell,Harmonica,Harpsichord,Marimba,Multi-Percussion,Oboe,Orff Instrument,Organ,Piano,Soprano Recorder,Soprano Saxophone,Tenor Recorder,Tenor Saxophone,Timpani,Trombone,Trumpet,Tuba,Ukulele,Vibraphone,Viola,Violin,Voice,Xylophone - Level 1 - Digital Download SKU: A0.931835 Composed by Nathan Petitpas - Dots and Beams. Instructional. Score and parts. 137 pages. Dots and Beams #4776185. Published by Dots and Beams (A0.931835). This collection presents its user with a series of increasingly difficult rhythms on a single pitch. The rhythmic material in this series is organized into 10 difficulty levels. Each difficulty level contains four exercises in each of the following time signatures: 2/4, 3/4, 4/4, 6/8, 9/8, and 12/8. This gives exercises in 2, 3, and 4 beats per bar in both simple and compound meters. The first two exercises of each time signature have no ties while the remaining two exercises in each time signature include ties. In Book 1 of this series you’ll find difficulty levels 1 to 5, while Book 2 completes the set with levels 6 to 10. The exercises in this collection are intentionally random and difficult to internalize. They don’t follow any predictable or standard groove pattern, but instead are random successions of eighth- and sixteenth-note groupings within the prescribed difficulty level. In keeping the rhythmic material as unpredictable as possible the door is left open for the materials to be used in conjunction with any number of exercises, while forcing the user to process every rhythm as its own event without relying on pattern recognition to help in identifying the rhythms. To curate the difficulty of rhythm in as objective a way as possible I looked at all of the possible eighth-note and sixteenth-note groupings within the basic unit of one beat. Each difficulty level builds on the exercises of the previous by adding groupings that are slightly more conceptually challenging. Difficulty Level 9 contains all possible groupings, while Level 10 focuses on the more challenging groupings by omitting easy ones. Some suggestions for how to use this book include: Practice sight-reading. When doing so it is encouraged to cycle through the exercises quickly rather than dwelling on a particular exercise for a long period of time. The goal in practising sight-reading is not to learn the material but to develop the skill of reading new material. Use a metronome! The most important thing you can do with this material is learn how to read these rhythms and play them in time. Advanced metronome work: Place the metronome click on weak beats. With the metronome clicking only on the beat you run the risk of relying on the metronome to give you the time. Placing the metronome click on non-strong beats forces you to take responsibility for the time. For example, instead of putting the metronome click on each quarter-note in 4/4, play the exercise with the metronome giving the second eighth note of each beat, or the last sixteenth note, or beats 2 and 4, or only the downbeat of each bar. Be creative with this one! The possibilities are limitless. Develop independence between hands by playing a repeating pattern in one hand while reading an exercise in the other. Expand on this by adding patterns in hands and feet while reading a rhythm with a remaining limb. This is a great exercise for drummers and percussionists but any instrumentalist could benefit from coordination practice. Use these rhythms to practice scales. Instead of playing scales in straight sixteenth-notes, try playing them in the rhythms given in these exercises. Write in sticking patterns, dynamics, accents, phrase marks, or other articulations for you or your students to practice. If you’re not happy with the ties I included, feel free to add some of your own. Combine the above exercises in any way that you think will be beneficial to your practice. As with any of the Dots and Beams books, the uses for this particular collection are limited only by the imagination of the musician using it. I encourage anybody using this book to find as many uses for these exerci.
$10.00
9.18 €
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Nathan Petitpas - Dots and Beams
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Rhythm Only - Book 1 - Eighths and Sixteenths - Assorted Meters
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Dots and Beams
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SheetMusicPlus
Let It Be
Choral Alto Voice,Bass Voice,Double Bass,Piano and Keyboard,Soprano voice,Tenor Voice,Viol…
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Choral Alto Voice,Bass Voice,Double Bass,Piano and Keyboard,Soprano voice,Tenor Voice,Viola,Violin - Level 3 - Interactive Download SKU: A0.481914 By The Beatles. By John Lennon and Paul McCartney. Arranged by Jeremy Nafziger. This edition: Interactive Download. Christmas. Octavo. Duration 286. Jeremy Nafziger #6Re335EyhndYxZ7ALSuj10. Published by Jeremy Nafziger (A0.481914). Key: C major.The Beatles classic with the Advent hymn, In Dulci Jubilo. Both texts come from dreams, and this winds up a meaningful combination. In Dulci was written in the 14th century by German monk and teacher Heinrich Suso (or Seuse), who writes in his third-person autobiography about a dream he had: Now this same angel came up to the Servant [Suso] brightly, and said that God had sent him down to him, to bring him heavenly joys amid his sufferings; adding that he must cast off all his sorrows from his mind and bear them company, and that he must also dance with them in heavenly fashion. Then they drew the Servant by the hand into the dance, and the youth began a joyous song about the infant Jesus, which runs thus: In dulci jubilo... About 650 years later, in 1968, Paul McCartney was staying out late, drinking too much, and thinking that the Beatles were probably going to break up soon. Then one night, somewhere between deep sleep and insomnia, I had the most comforting dream about my mother, who died when I was only 14. She had been a nurse, my mum, and very hardworking, because she wanted the best for us.... At night when she came home, she would cook, so we didn’t have a lot of time with each other. But she was just a very comforting presence in my life. And when she died, one of the difficulties I had, as the years went by, was that I couldn’t recall her face so easily.... So in this dream twelve years later, my mother appeared, and there was her face, completely clear, particularly her eyes, and she said to me very gently, very reassuringly: “Let it be.†It was lovely. I woke up with a great feeling. It was really like she had visited me at this very difficult point in my life and gave me this message: Be gentle, don’t fight things, just try and go with the flow and it will all work out. His mother's name was Mary, or course. He wrote the song in the next few days, and it was released on the album on the same name in 1970, a month after the Beatles split up. As for the actual texts, they're very different. In Dulci is macaronic (alternating between two languages, in this case Latin and a translation from Medieval German) and ecstatic; Let It Be is English and more subdued. In this version, we alternate between the two but keep the Let It Be structure, except for a diversion in the middle where the well-known Bach setting is adopted as kind of an interlude. The two texts and melodies are sung together in the last verse (the fourth In Dulci verse and the third Let It Be verse), where both are talking about music.
$3.99
3.66 €
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The Beatles
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Jeremy Nafziger
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Let It Be
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Jeremy Nafziger
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SheetMusicPlus
Earmarks
Instrumental Duet,Piano Alto Saxophone,Clarinet,Instrumental Duet,Piano - Level 5 - Digita…
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Instrumental Duet,Piano Alto Saxophone,Clarinet,Instrumental Duet,Piano - Level 5 - Digital Download SKU: A0.1002829 Composed by Kyle Vanderburg. Contemporary. Score and parts. 46 pages. NoteForge #3885237. Published by NoteForge (A0.1002829). Earmarks is a musical (and hopefully humorous) view of some of the issues in today's political climate, designed to make you make you laugh--or to make you think. And definitely to make you talk. It starts out with Echo Chamber, where everything you hear is everything you want to hear. As we move more and more of our lives online, we're at the mercy of algorithms that try to deliver more of what we like--and give us options for removing that which we don't. The more time we spend in these echo chambers, the less we hear from dissenters. (The piano tries to come in with a new idea later in the movement, but is largely ignored).The second movement, Filibuster, does what I initially intended. Although all three instruments do get to play, it's a lot of repeated, pleasant-sounding milquetoast stuff without a great deal of substance that never really resolves. And it has a repeat sign at the end that allows it to be played as many times as the performers wish. How long this movement is depends entirely on the whim of the pianist. A swing state is a state with a similar level of support for both parties that can go either way during an election. Likewise, Swing States is a piece for saxophone and piano, and a piece for clarinet and piano, and it's a struggle to see who's going to win. Will they sort out their differences? Will we?
$14.99
13.76 €
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Kyle Vanderburg
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Earmarks
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NoteForge
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SheetMusicPlus
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