| How to Train Your Dragon String Quartet: 2 violins, viola, cello - Easy Hal Leonard
Score and Parts String Quartet (Score and Parts) - Grade 2 SKU: HL.4493037(+)
Score and Parts String Quartet (Score and Parts) - Grade 2 SKU: HL.4493037 Composed by John Powell. Arranged by Robert Longfield. Pops For String Quartet. Movies. Softcover. Duration 100 seconds. Published by Hal Leonard (HL.4493037). UPC: 196288155898. 9.0x12.0x0.049 inches. Embark on a thrilling musical journey with this accessible string quartet arrangement by Robert Longfield. This captivating medley of themes will bring the magic of dragons to life! With captivating rhythms and mesmerizing melodies, your young string players will soar to new heights! Let the power of dragons captivate your ensemble and create an unforgettable performance! $14.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Processionals & Marches for String Quartet String Quartet: 2 violins, viola, cello Greenblatt and Seay
String Quartet (violin 1, violin 2, viola, cello) SKU: GS.BSG4PROMAR-P Ar...(+)
String Quartet (violin 1, violin 2, viola, cello) SKU: GS.BSG4PROMAR-P Arranged by Deborah Greenblatt. Spiral-bound. Set of parts. Greenblatt & Seay #BSG4PROMAR-P. Published by Greenblatt & Seay (GS.BSG4PROMAR-P). 8.5 x 11 inches. 30 energetic pieces to get your audience motivated, and their toes tapping. All four parts share the interesting melodic bits, and the relentless rhythms that provide the energy to forge ahead. You will enjoy sharing some old favorites, like Mendelssohn's Wedding March, Wagner's Bridal March, and for you Alfred Hitchcock fans, Gounod's Funeral March of a Marionette. This collection also includes works by Sousa, Frederick II, Joplin, Mozart, Schubert, etc. $30.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| The Song I Came to Sing Hal Leonard
SA divisi Cello Accompaniment; Choral (SA) SKU: HL.364343 Composed by Cra...(+)
SA divisi Cello Accompaniment; Choral (SA) SKU: HL.364343 Composed by Craig Hella Johnson. Craig Hella Johnson Series. Concert, Festival. Octavo. Published by Hal Leonard (HL.364343). UPC: 840126958638. 6.75x10.5x0.019 inches. Here is a setting of a Tagore text set for cello and treble voices. It was composed specifically for a Conspirare program called “The Singing Guitar,†the Grammy Award-nominated album featuring three works for guitar quartets and voices. This was conceived as an introductory invocation which would reflect aspects of unfulfilled purpose and a longing for intimacy with the Divine. It will gracefully fill the same role in your concerts. $2.10 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Americana Collection Kendor Music Inc.
Quartet 2 Baritones T.C. or B.C. and 2 Tubas - 4-.5 SKU: KN.18052 Arrange...(+)
Quartet 2 Baritones T.C. or B.C. and 2 Tubas - 4-.5 SKU: KN.18052 Arranged by Ken Pollitt. Ensemble. Kendor Ensemble Series. Kendor Music Inc #18052. Published by Kendor Music Inc (KN.18052). UPC: 822795180527. Looking for music that will allow your low brass players a chance to steal the show? These arrangements of patriotic marches and melodies are purely American and are perfect for school or civic gatherings. Written for 2 Baritones and 2 Tubas, it includes great flexibility as Baritone T.C. or Trombones can be substituted for the top 2 parts, and Bass Trombone may be substituted for either of the tuba parts. $20.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Concerto For Oboe And Orchestra [Score] Theodore Presser Co.
Orchestra Orchestra SKU: PR.11641373S Composed by Peter Schickele. Full s...(+)
Orchestra Orchestra SKU: PR.11641373S Composed by Peter Schickele. Full score. Duration 24 minutes. Theodore Presser Company #116-41373S. Published by Theodore Presser Company (PR.11641373S). UPC: 680160680344. The concerto has always seemed an especially attractive medium to me, not necessarily because of its expectations of virtuosity (although flaunting it when you've got it certainly has its place), and emphatically not because of the perception of a concerto as a contest, but because so much of what I write feels song-like; I'm very much at home with the age-old texture of melody and accompaniment. I hope, before I move on, to have the opportunity to write concertos for all the major instruments, and perhaps some of the rarer ones as well. The oboe is not only one of the major instruments, it is one of my favorite instruments. I've always loved its sound, but since moving to New York I have gotten to hear and, in some cases, know some extremely fine oboists who broadened my appreciation of the instrument's possibilities. I especially remember a concert, probably in the late 1960's, in which Humbert Lucarelli played a Handel concerto, filling out large melodic leaps with cascading scale passages in a way that raised the hair on the back of your neck, somewhat in the way that John Coltrane's sheets of sound did. The sweeping scales in the second movement of my concerto were definitely inspired by Bert Lucarelli's performance. The first, third and fifth movements of the Concerto for Oboe and Orchestra are song-like, whereas the second and fourth have strong scherzo and dance qualities, including a couple of sections that sound like out-and-out pirate dances to me. The hymn-like tune at the beginning of the middle movement was originally begun as a vocal piece to be sung by my wife, son and daughter at my brother's wedding, but I couldn't come up with good works for it, so it ended up as an instrumental chant. The opening and closing of the concerto make use of the oboe's uniquely soulful singing. I had not heard Pamela Woods Pecha's solo playing in person when she approached me about writing a concerto, but I had heard her fine recording of chamber music for oboe and strings by the three B's (English, that is: Bliss, Bax and Britten) with the Audubon Quartet. I actually already had some oboe concerto ideas in my sketchbooks; although I didn't end up using any of those earlier ideas, it's interesting that most of them tended to share the general feeling and tonality of the eventual opening of the concerto. The work was completed on October 13, 1994. I hate the compromises involved in making piano reductions -- perhaps I would feel differently if I were a more accomplished pianist -- so I often decide to make piano reductions for four hands rather than two. My good friend Jon Kimura Parker is a terrific sight-reader, and I roped him into coming over to my place on February 17, 1995, to help me accompany Pamela on the first read-through of the piece. The first performance of the work took place on July 21, 1995, at the American Music Festival in Duncan, Oklahoma, with Mark Parker conducting the Festival Orchestra. $80.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Concerto For Oboe And Orchestra Theodore Presser Co.
Orchestra Orchestra SKU: PR.11641373L Composed by Peter Schickele. Large ...(+)
Orchestra Orchestra SKU: PR.11641373L Composed by Peter Schickele. Large Score. Duration 24 minutes. Theodore Presser Company #116-41373L. Published by Theodore Presser Company (PR.11641373L). UPC: 680160680337. The concerto has always seemed an especially attractive medium to me, not necessarily because of its expectations of virtuosity (although flaunting it when you've got it certainly has its place), and emphatically not because of the perception of a concerto as a contest, but because so much of what I write feels song-like; I'm very much at home with the age-old texture of melody and accompaniment. I hope, before I move on, to have the opportunity to write concertos for all the major instruments, and perhaps some of the rarer ones as well. The oboe is not only one of the major instruments, it is one of my favorite instruments. I've always loved its sound, but since moving to New York I have gotten to hear and, in some cases, know some extremely fine oboists who broadened my appreciation of the instrument's possibilities. I especially remember a concert, probably in the late 1960's, in which Humbert Lucarelli played a Handel concerto, filling out large melodic leaps with cascading scale passages in a way that raised the hair on the back of your neck, somewhat in the way that John Coltrane's sheets of sound did. The sweeping scales in the second movement of my concerto were definitely inspired by Bert Lucarelli's performance. The first, third and fifth movements of the Concerto for Oboe and Orchestra are song-like, whereas the second and fourth have strong scherzo and dance qualities, including a couple of sections that sound like out-and-out pirate dances to me. The hymn-like tune at the beginning of the middle movement was originally begun as a vocal piece to be sung by my wife, son and daughter at my brother's wedding, but I couldn't come up with good works for it, so it ended up as an instrumental chant. The opening and closing of the concerto make use of the oboe's uniquely soulful singing. I had not heard Pamela Woods Pecha's solo playing in person when she approached me about writing a concerto, but I had heard her fine recording of chamber music for oboe and strings by the three B's (English, that is: Bliss, Bax and Britten) with the Audubon Quartet. I actually already had some oboe concerto ideas in my sketchbooks; although I didn't end up using any of those earlier ideas, it's interesting that most of them tended to share the general feeling and tonality of the eventual opening of the concerto. The work was completed on October 13, 1994. I hate the compromises involved in making piano reductions -- perhaps I would feel differently if I were a more accomplished pianist -- so I often decide to make piano reductions for four hands rather than two. My good friend Jon Kimura Parker is a terrific sight-reader, and I roped him into coming over to my place on February 17, 1995, to help me accompany Pamela on the first read-through of the piece. The first performance of the work took place on July 21, 1995, at the American Music Festival in Duncan, Oklahoma, with Mark Parker conducting the Festival Orchestra. $175.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
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