| Seeking for Me Medium voice, Piano SoundForth
(Vocal Solos for Medium Voice). By Larry Carrier. For medium voice, piano. Solo ...(+)
(Vocal Solos for Medium Voice). By Larry Carrier. For medium voice, piano. Solo collection. Sacred. Published by SoundForth . Sacred.
$19.95 - See more - Buy online | | |
| Concerto in Eb Major Trumpet, Piano Carl Fischer
For Trumpet in Bb and Piano, S. 49. Composed by Johann Nepomuk Hummel (17...(+)
For Trumpet in Bb and Piano, S. 49. Composed by Johann Nepomuk Hummel (1778-1837). Edited by Elisa Koehler. Arranged by Elisa Koehler. Romantic. Score and part(s). With Standard notation. 36 8 pages. Carl Fischer #W002681. Published by Carl Fischer (CF.W2681).
$14.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Stylistic Etudes for Trombone Carl Fischer
Chamber Music trombone SKU: CF.WF231 20 Original Etudes in a Variety o...(+)
Chamber Music trombone SKU: CF.WF231 20 Original Etudes in a Variety of Styles. Composed by Tom Brantley. Collection - Performance. With Standard notation. 48 pages. Carl Fischer Music #WF231. Published by Carl Fischer Music (CF.WF231). ISBN 9781491153314. UPC: 680160910816. Stylistic Etudes for Trombone was written for intermediateto advanced level trombonists, seeking to meet thedemands of the modern marketplace for performers. AsI often tell my students, it’s simply not enough to mastera single style and fake the rest. To make a living as aperformer, trombonists are expected to play many, manydifferent styles authentically. Classical performers studyhard and devote themselves to mastering the stylisticnuances of various eras, various composers, variousforms; jazz musicians seek to accurately reflect the stylesof everything from bar-room burlesque to Coltrane; hornbands in the funk, rock, ska and hip-hop idioms mustreflect attention to the details of their influences even asthey create new paths through popular music.This etude collection is an attempt to help studentsand their teachers work on the details associated withmastering each of these various styles.In order to perform with the correct feel, articulationand sound, trombonists must first get these concepts intheir head through diligent listening and then disciplinedpractice playing in every single style. The same wayorchestral players study the symphonic literature andexcerpts, or the way a professional jazz musician mightwork on chord changes in excruciating detail, a wellroundedtrombone player must master styles by listeningto and playing with great recordings. Most of the etudesin this book are based on styles from specific orchestralliterature, jazz standards and other styles such as NewOrleans’ funk music (Meters) or the music of JamesBrown and Tower of Power.One final note: some of these are hard. On purpose. Theseare not warm-ups that you can play through mindlesslyto get your face going. These are “study pieces†in the oldfashionedsense. They are designed to challenge you asa player, to make you a little uncomfortable. Some aretougher than others, of course, but none of them are easy.If you can play through each of these well, with greatmusicianship and impeccable technique, you will be anincredibly versatile instrumentalist and be able to secureperformance opportunities that are outside the comfortzone of many trombonists.Thanks for buying this book. I hope you enjoy workingthrough these, whether you’re a teacher, student,performer, or weekend warrior. I learned a lot by puttingthese together and I hope you find them useful and helpful. Stylistic Etudes for Trombone was written for intermediate to advanced level trombonists, seeking to meet the demands of the modern marketplace for performers. As I often tell my students, it’s simply not enough to master a single style and fake the rest. To make a living as a performer, trombonists are expected to play many, many different styles authentically. Classical performers study hard and devote themselves to mastering the stylistic nuances of various eras, various composers, various forms; jazz musicians seek to accurately reflect the styles of everything from bar-room burlesque to Coltrane; horn bands in the funk, rock, ska and hip-hop idioms must reflect attention to the details of their influences even as they create new paths through popular music.This etude collection is an attempt to help students and their teachers work on the details associated with mastering each of these various styles.In order to perform with the correct feel, articulation and sound, trombonists must first get these concepts in their head through diligent listening and then disciplined practice playing in every single style. The same way orchestral players study the symphonic literature and excerpts, or the way a professional jazz musician might work on chord changes in excruciating detail, a well-rounded trombone player must master styles by listening to and playing with great recordings. Most of the etudes in this book are based on styles from specific orchestral literature, jazz standards and other styles such as New Orleans’ funk music (Meters) or the music of James Brown and Tower of Power.How these etudes were conceived, composed and transcribed: The style or concept of the etude was thought out in my head and ear. I then improvised in that style and concept on my trombone, recording my efforts until I was satisfied with the etude. All along, my goal was to play the range of the instrument while emphasizing certain articulations, rhythms, range and, fundamentally, the intended style of the etude. The resulting etude was then transcribed by a terrific graduate student named Zach Bornheimer, who also works with many other classical and jazz composers as a copyist/arranger.Tips for working on the etudes: Seek out professional recordings that match the style of each etude to get a good idea of what the etude should sound like musically. My recording of each of these etudes is available for download and can be purchased online for a modest fee. Search for “Brantley Etudes†at either iTunes or CDBaby. Practice each etude very slowly and in segments as needed, using a metronome. Record yourself and listen for good technique, musicianship and authenticity of style with your sound, feel and articulations. Compare your own efforts to the sounds you’ve heard on recordings. Would you fit in that ensemble or band? If range is an issue, take certain notes or passages down or up an octave. Work on your fundamentals every day, including the techniques and skills needed for these etudes. Be patient! Small improvements every day result in big success over time. Always play with a wide dynamic range. Always play with line and direction. Always play with impeccable time as well as rhythm. Use a metronome to help with this. Always play in tune. You can work on this with a tuner as well as with drones. Play these for teachers, friends, peers and colleagues not only for their feedback but also for the experience of informal performance. An audience changes everything. Make music, listen to music, record yourself, play in public and have fun!One final note: some of these are hard. On purpose. These are not warm-ups that you can play through mindlessly to get your face going. These are “study pieces†in the old-fashioned sense. They are designed to challenge you as a player, to make you a little uncomfortable. Some are tougher than others, of course, but none of them are easy. If you can play through each of these well, with great musicianship and impeccable technique, you will be an incredibly versatile instrumentalist and be able to secure performance opportunities that are outside the comfort zone of many trombonists.Thanks for buying this book. I hope you enjoy working through these, whether you’re a teacher, student, performer, or weekend warrior. I learned a lot by putting these together and I hope you find them useful and helpful.Best wishes,—Tom Brantley. $18.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| For the Mystic Harmony Theodore Presser Co.
Band Bass Clarinet, Bass Drum, Bassoon 1, Bassoon 2, Bongos, Castanets, Celesta,...(+)
Band Bass Clarinet, Bass Drum, Bassoon 1, Bassoon 2, Bongos, Castanets, Celesta, Clarinet, Clarinet 1, Clarinet 2, Clarinet 3, Contrabass Clarinet, Contrabassoon, English Horn, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn 1, Horn 2, Horn 3 and more. SKU: PR.16500100F Hymns for Wind Ensemble. Composed by Dan Welcher. Sws. Full score. 48 pages. Duration 10 minutes, 41 seconds. Theodore Presser Company #165-00100F. Published by Theodore Presser Company (PR.16500100F). ISBN 9781491114421. UPC: 680160669783. 9 x 12 inches. Commissioned for a consortium of high school and college bands in the north Dallas region, FOR THEMYSTIC HARMONY is a 10-minute inspirational work in homage to Norwood and Elizabeth Dixon,patrons of the Fort Worth Symphony and the Van Cliburn Competition. Welcher draws melodic flavorfrom five American hymns, spirituals, and folk tunes of the 19th century. The last of these sources toappear is the hymn tune For the Beauty of the Earth, whose third stanza is the quatrain: “For the joy of earand eye, For the heart and mind’s delight, For the mystic harmony, Linking sense to sound and sight,â€giving rise to the work’s title. This work, commissioned for a consortium of high school bands in the north Dallas area, is my fifteenth maturework for wind ensemble (not counting transcriptions). When I asked Todd Dixon, the band director whospearheaded this project, what kind of a work he most wanted, he first said “something that’s basically slow,†butwanted to leave the details to me. During a long subsequent conversation, he mentioned that his grandparents,Norwood and Elizabeth Dixon, were prime supporters of the Fort Worth Symphony, going so far as to purchase anumber of high quality instruments for that orchestra. This intrigued me, so I asked more about his grandparentsand was provided an 80-page biographical sketch. Reading that article, including a long section about theirdevotion to supporting a young man through the rigors of the Van Cliburn International Piano Competition fora number of years, moved me very much. Norwood and Elizabeth Dixon weren’t just supporters of the arts; theywere passionate lovers of music and musicians. I determined to make this work a testament to that love, and tothe religious faith that sustained them both. The idea of using extant hymns was also suggested by Todd Dixon,and this 10-minute work is the result.I have employed existing melodies in several works, delving into certain kinds of religious music more than a fewtimes. In seeking new sounds, new ways of harmonizing old tunes, and the contrapuntal overlaying of one tunewith another, I was able to make works like ZION (using 19th-century Revivalist hymns) and LABORING SONGS(using Shaker melodies) reflect the spirit of the composers who created these melodies, without sounding likepastiches or medleys. I determined to do the same with this new work, with the added problem of employingmelodies that were more familiar. I chose five tunes from the 19th century: hymns, spirituals, and folk-tunes.Some of these are known by differing titles, but they all appear in hymnals of various Christian denominations(with various titles and texts). My idea was to employ the tunes without altering their notes, instead using aconstantly modulating sense of harmony — sometimes leading to polytonal harmonizations of what are normallysimple four-chord hymns.The work begins and ends with a repeated chime on the note C: a reminder of steeples, white clapboard churchesin the country, and small church organs. Beginning with a Mixolydian folk tune of Caribbean origin presentedtwice with layered entrances, the work starts with a feeling of mystery and gentle sorrow. It proceeds, after along transition, into a second hymn that is sometimes connected to the sea (hence the sensation of water andwaves throughout it). This tune, by John B. Dykes (1823-1876), is a bit more chromatic and “shifty†than mosthymn-tunes, so I chose to play with the constant sensation of modulation even more than the original does. Atthe climax, the familiar spiritual “Were you there?†takes over, with a double-time polytonal feeling propelling itforward at “Sometimes it causes me to tremble.â€Trumpets in counterpoint raise the temperature, and the tempo as well, leading the music into a third tune (ofunknown provenance, though it appears with different texts in various hymnals) that is presented in a sprightlymanner. Bassoons introduce the melody, but it is quickly taken up by other instruments over three “verses,â€constantly growing in orchestration and volume. A mysterious second tune, unrelated to this one, interrupts it inall three verses, sending the melody into unknown regions.The final melody is “For the Beauty of the Earth.†This tune by Conrad Kocher (1786-1872) is commonly sung atThanksgiving — the perfect choice to end this work celebrating two people known for their generosity.Keeping the sense of constant modulation that has been present throughout, I chose to present this hymn in threegrowing verses, but with a twist: every four bars, the “key†of the hymn seems to shift — until the “Lord of all, toThee we praise†melody bursts out in a surprising compound meter. This, as it turns out, was the “mystery tuneâ€heard earlier in the piece. After an Ivesian, almost polytonal climax, the Coda begins over a long B( pedal. At first,it seems to be a restatement of the first two phrases of “For the Beauty†with long spaces between them, but it soonchanges to a series of “Amen†cadences, widely separated by range and color. These, too, do not conform to anykey, but instead overlay each other in ways that are unpredictable but strangely comforting.The third verse of “For the Beauty of the Earth†contains this quatrain:“For the joy of ear and eye, –For the heart and mind’s delightFor the mystic harmonyLinking sense to sound and sightâ€and it was from this poetry that I drew the title for the present work. It is my hope that audiences and performerswill find within it a sense of grace: more than a little familiar, but also quite new and unexpected. $25.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Androcles and the Lion Piano solo - Beginner Forsyth Publications
Piano Solo - Easy-Intermediate SKU: FP.FWS06 Composed by Stanley Wilson. ...(+)
Piano Solo - Easy-Intermediate SKU: FP.FWS06 Composed by Stanley Wilson. Sheet Music and Books. A classic tale of Ancient Rome for piano solo by Stanley Wilson. Suggested grade 1-2. Classical. Collection. Forsyths Publications #FWS06. Published by Forsyths Publications (FP.FWS06). ISBN 9790570503186. Stanley Wilson tells the story of Androcles and the Lion with these imaginative pieces for the early grade player.
The composer gained an open scholarship to study composition at the Royal College of Music and spent most of his career as Director of Music at Dulwich College. His piano albums show his gift for writing perfect miniature programmes, each album representing a story is told with unfailing truth and extraordinary economy of line. $10.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Volume 1 - How to Play Jazz and Improvise - Play-A-Long for Guitar Guitar [Sheet music + CD] Jamey Aebersold Jazz
By Jamey Aebersold. Arranged by Corey Christiansen. Book and CD. Published by Ja...(+)
By Jamey Aebersold. Arranged by Corey Christiansen. Book and CD. Published by Jamey Aebersold Jazz
$24.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| No Greater Love Medium voice, Piano SoundForth
(Vocal Solos for Medium Voice). By Larry Carrier. For medium voice, piano. This ...(+)
(Vocal Solos for Medium Voice). By Larry Carrier. For medium voice, piano. This edition: spiral bound. Solo collection. Sacred. Published by SoundForth . Sacred.
$24.95 - See more - Buy online | | |
| Concerto in E Major Trumpet Carl Fischer
Chamber Music Piano, Trumpet SKU: CF.W2682 For Trumpet in E and Piano,...(+)
Chamber Music Piano, Trumpet SKU: CF.W2682 For Trumpet in E and Piano, S.49. Composed by Johann Hummel. Edited by Elisa Koehler. Set of Score and Parts. With Standard notation. 36+8 pages. Carl Fischer Music #W2682. Published by Carl Fischer Music (CF.W2682). ISBN 9781491144954. UPC: 680160902453. 9 x 12 inches. Key: E major. Edited by Elisa Koehler, Associate Professor and Chair of the Music Department at Goucher College, this new edition of Johann Nepomuk Hummel's Concerto in E Major for trumpet in E and piano presented in its original key. The concerto by Johann Nepomuk Hummel (1778–1837)holds a unique place in the trumpet repertoire. Like theconcerto by Joseph Haydn (1732–1809) it was written forthe Austrian trumpeter Anton Weidinger (1766–1852) andhis newly invented keyed trumpet, performed a few timesby Weidinger, and then forgotten for more than 150 yearsuntil it was revived in the twentieth century. But unlikeHaydn’s concerto in Eb major, Hummel’s Concerto a Trombaprincipale (1803) was written in the key of E major for atrumpet pitched in E, not E≤. This difference of key proved tobe quite a conundrum for trumpeters and music publishersin the twentieth century. The first modern edition, publishedby Fritz Stein in 1957, transposed the concerto down onehalf step into the key of E≤ to make it more playable on atrumpet in Bb, which had become the standard instrumentfor trumpeters by the middle of the twentieth century.Armando Ghitalla made the first recording of the Hummel in1964 in the original key of E (on a C-trumpet) after editinga performing edition in 1959 in the transposed key of E≤ (forBb trumpet) published by Robert King Music. Needless tosay, the trumpet had changed dramatically in terms of design,manufacture, and cultural status between 1803 and 1957, andthe notion of classical solo repertoire for the modern trumpetwas still in its formative stages when the Hummel concertowas reborn.These factors conspired to create confusion regarding thenumerous interpretative challenges involved in performingthe Hummel concerto according to the composer’s originalintentions on modern trumpets. For those seeking the bestscholarly information, a facsimile of Hummel’s originalmanuscript score was published in 2011 with a separatevolume of analytical commentary by Edward H. Tarr,1 whoalso published the first modern edition of the concertoin the original key of E major (Universal Edition, 1972).This present edition—available in both keys: Eb and Emajor—strives to build a bridge between scholarship andperformance traditions in order to provide viable options forboth the purist and the practitioner.Following the revival of the Haydn trumpet concerto, acase could be made that some musicians were influencedby a type of normalcy bias that resulted in performancetraditions that attempted to make the Hummel morelike the Haydn by putting it in the same key, insertingunnecessary cadenzas, and adding trills where they mightnot belong.2 Issues concerning tempo and ornamentationposed additional challenges. As scholarship and performancepractice surrounding the concerto have become betterknown, trumpeters have increasingly sought to performthe concerto in the original key of E major—sometimes onkeyed trumpets—and to reconsider more recent performancetraditions in the transposed key of Eb.Regardless of the key, several factors need to be addressedwhen performing the Hummel concerto. The most notoriousof these is the interpretation of the wavy line (devoid of a “tr†indication), which appears in the second movement(mm. 4–5 and 47–49) and in the finale (mm. 218–221). InHummel’s manuscript score, the wavy line resembles a sinewave with wide, gentle curves, rather than the tight, buzzingappearance of a traditional trill line. Some have argued that itmay indicate intense vibrato or a fluttering tremolo betweenopen and closed fingerings on a keyed trumpet.3 In Hummel’s1828 piano treatise, he wrote that a wavy line without a “trâ€sign indicates uneigentlichen Triller oder den getrillertenNoten [“improper†trills or the notes that are trilled], andrecommends that they be played as main note trills that arenot resolved [ohne Nachschlag].4 Hummel’s piano treatisewas published twenty-five years after he wrote the trumpetconcerto, and his advocacy for main note trills (rather thanupper note trills) was controversial at the time, so trumpetersshould consider all of the available options when formingtheir own interpretation of the wavy line.Unlike Haydn, Hummel did not include any fermatas wherecadenzas could be inserted in his trumpet concerto. The endof the first movement, in particular, includes something likean accompanied cadenza passage (mm. 273–298), a featureHummel also included at the end of the first movement ofhis Piano Concerto No. 5 in Ab Major, Op. 113 (1827). Thethird movement includes a quote (starting at m. 168) fromCherubini’s opera, Les Deux Journées (1802), that diverts therondo form into a coda replete with idiomatic fanfares andvirtuosic figuration.5 Again, no fermata appears to signal acadenza, but the obbligato gymnastics in the solo trumpetpart function like an accompanied cadenza.Other necessary considerations include tempo choicesand ornamentation. Hummel did not include metronomemarkings to quantify his desired tempi for the movements,but clues may be gleaned through the surface evidence(metric pulse, beat values, figuration) and from the stratifiedtempo table that Hummel included in his 1828 piano treatise,where the first movement’s “Allegro con spirito†is interpretedas faster than the “Allegro†(without a modifier) of the finale.6In the realm of ornamentation, Hummel includes severalturns and figures that are open to interpretation. This editionincludes Hummel’s original symbols (turns and figuration)along with suggested realizations to provide musicians withoptions for forming their own interpretation.Finally, trumpeters are encouraged to listen to Mozart pianoconcerti as an interpretive context for Hummel’s trumpetconcerto. Hummel was a noted piano virtuoso at the end ofthe Classical era, and he studied with Mozart in Vienna asa young boy. Hummel also composed his own cadenzas forsome of Mozart’s piano concerti, and the twenty-five-year-oldcomposer imitated Mozart’s orchestral gestures and melodicfiguration in the trumpet concerto (most notably in the secondmovement, which resembles the famous slow movement ofMozart’s Piano Concerto No. 21 in C Major, K. 467). $34.99 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Etudes for Jazz Piano: Conversations of the Hands Piano solo [Sheet music] Jamey Aebersold Jazz
Etudes for Jazz Piano: Conversations of the Hands by Emiko Hayashi. Learn to get...(+)
Etudes for Jazz Piano: Conversations of the Hands by Emiko Hayashi. Learn to get the left and right hand working together and independently. Book. Published by Jamey Aebersold Jazz
(1)$15.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Bring Many Names Lyrics only Hope Publishing Company
By Brian Wren. Sacred. Print Music Collection (Hymn Texts). Published by Hope Pu...(+)
By Brian Wren. Sacred. Print Music Collection (Hymn Texts). Published by Hope Publishing Company.
$9.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 business days | | |
| Jesus, Be Near to Me Shawnee Press
Choral (Studiotrax CD) SKU: HL.35031603 By Tommy Walker. By Tommy Walker....(+)
Choral (Studiotrax CD) SKU: HL.35031603 By Tommy Walker. By Tommy Walker. Arranged by Heather Sorenson. Shawnee Sacred. Anthem, Commitment, General Worship, Gospel, Invitation, Praise And Worship. CD. Duration 300 seconds. Published by Shawnee Press (HL.35031603). UPC: 888680676056. 5.0x5.0x0.2 inches. 2 John 1:9, James 4:8, Jeremiah 23:23, Psalm 34:18. A slow gospel ballad, this choral adaptation is filled with characteristic stylings that will lift the spirit. Set as a passionate prayer for those seeking assurance and God's presence in their spiritual walk, this affirming song can be programmed any time of the year. A stellar piano part sets the message soaring, and the rhythm/strings and track options give choirs of any size a chance to do something current. Feature a soloist for a powerful and poignant moment of worship. Stirring! Score and Parts (rhy, pno, vn 1-2, va, vc, db) available as a digital download. $26.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Deux cents Etudes Nouvelles Melodiques et Progressives Pour Cor - Cahier 3: 40 Etudes Moyenne Force French horn Leduc, Alphonse
[200 New Melodic and Gradual Studies for Horn - Book 3: 40 Medium Difficulty]....(+)
[200 New Melodic and Gradual
Studies for Horn - Book 3: 40
Medium Difficulty]. Composed
by Maxime-Alphonse. Leduc.
Classical. Softcover. 26
pages. Alphonse Leduc
#AL16721. Published by
Alphonse Leduc
$26.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Modern Jazz Guitar Styles Guitar notes and tablatures [Sheet music + CD] - Easy Mel Bay
By Andre Bush. For Guitar (All). Method. Jazz. Level: Beginning-Intermediate. Bo...(+)
By Andre Bush. For Guitar (All). Method. Jazz. Level: Beginning-Intermediate. Book/CD Set. Size 8.75x11.75. 104 pages. Published by Mel Bay Publications, Inc.
$22.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Now II for violoncello solo (2015) Cello - Advanced Barenreiter
Violoncello - Level 5 SKU: BA.BA11071 Composed by Matthias Pintscher. In ...(+)
Violoncello - Level 5 SKU: BA.BA11071 Composed by Matthias Pintscher. In a folder. Part II of the cycle Profiles of Light. Performance score. Composed 2015. 4 pages. Baerenreiter Verlag #BA11071_00. Published by Baerenreiter Verlag (BA.BA11071). ISBN 9790006562015. 42 x 29.7 cm inches. “Now II†is the second part of a triptych of chamber pieces entitled “Profiles of Lightâ€. The first part is written for solo piano (Now I, BA 11073), the second for unaccompanied cello. The two instruments are then combined in the concluding third part, Uriel (BA 11013).
All three pieces were inspired by the Abstract Expressionist paintings of the American artist Barnett Newman. Newman's work has had a formative impact on Matthias Pintscher's artistic philosophy: what does it mean to reduce things to essentials while seeking maximum immediacy of expression? Several of Newman's paintings have a radiant light of uncommon intensity, yet resembling a dark illumination. The same sort of thing is found in the late works of Franz Schubert, where a comparable profundity and retrospective yearning likewise shine through the surface of even the brightest tonalities.
This is a piece about resonances, about the inward and outward givens of existence, about life itself: 'I find the cello a highly suitable instrument for depicting such existential conditions'.
$30.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Catalogue Of Birds, For Piano (volume 1) Piano solo Leduc, Alphonse
Piano (Piano) SKU: HL.48182061 Composed by Olivier Messiaen. Leduc. Post-...(+)
Piano (Piano) SKU: HL.48182061 Composed by Olivier Messiaen. Leduc. Post-1900. Softcover. 24 pages. Alphonse Leduc #AL22937. Published by Alphonse Leduc (HL.48182061). UPC: 888680850685. 9.0x12.0x0.237 inches. “Olivier Messiaen (1908-1992) is known for his unique composition style. Incorporating complex rhythms, harmony, melodies and his passion for ornithology, his Catalogue of Birds for Piano is no exception to the composer's popular, distinctive style. Messiaen became fascinated by birdsong from an early age, however, it wasn't until the 1950s that he took his passion to a new level, incorporating birdsong in to all of his compositions. Catalogue of Birds, composed in 1958, comprises thirteen movements, each depicting a specific bird. The first volume contains the first three movements; 1) The Alpine Chough, 2) The Oriole, and 3) The Blue Merle. Catalogue of Birds is essential to all advanced pianists seeking to expand and vary their repertoire.â€. $35.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Theme from Jurassic Park String Orchestra [Score and Parts] - Beginner Hal Leonard
Score and Parts String Orchestra (Score and Parts) - Grade 1 SKU: HL.4493082<...(+)
Score and Parts String Orchestra (Score and Parts) - Grade 1 SKU: HL.4493082 Composed by John Williams. Arranged by Robert Longfield. Easy Music For Strings. Movies. Softcover. Published by Hal Leonard (HL.4493082). UPC: 196288182122. Unleash awe-inspiring beauty of â??Theme from Jurassic Parkâ? with this enchanting string orchestra arrangement by Robert Longfield. John Williams' iconic score comes to life, allowing your orchestra to recreate the majestic wonder of prehistoric times. Elevate your performance with luch harmonies and captivating melodies that transport audiences to the heart of Jurassic Park. Perfect for young orchestras seeking a timeless cinematic experience, this arrangement promises to captivate and inspire, making your performance a Jurassic journey like never before. $40.00 - See more - Buy online | | |
| 30 Sacred Masterworks Choral Faber Music Limited
Edited by Judith Blezzard. Choir Sacred. Women's Choir. Book; Choral (Sacred); C...(+)
Edited by Judith Blezzard. Choir Sacred. Women's Choir. Book; Choral (Sacred); Choral Worship Collection; Worship Resources. Faber Edition. Masterwork; Sacred. Published by Faber Music
$19.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| 200 B.C. Concert band - Intermediate/advanced Oxford University Press
Concert band - Grade 4 SKU: MH.0-931329-53-1 Composed by Gregory B.Rudger...(+)
Concert band - Grade 4 SKU: MH.0-931329-53-1 Composed by Gregory B.Rudgers. Suitable for high school, community, and college bands. Conductor score and set of parts. Duration 7:30. Published by Manhattan Beach Music (MH.0-931329-53-1). ISBN 9780931329531. Journey back to ancient Greece and view a place of long-gone legend. Follow the trail to the Kingdom of Ithaca, from the heroic palace, to a place of tranquility, to a reckless dance of abandon, to the return of Odysseus. The melodic material used in 200 B.C. is from a two thousand year old Greek hymn to Apollo. The legendary adventures of Odysseus as described by Homer in the Odyssey (ca. 700 B.C.) provide the programmatic material. The music is freely based upon the First Delphic Hymn (or Paen to Apollo), composed ca. 200 B.C. The source is a transcription appearing on pages 363 - 367 of Ancient and Oriental Music, Edited by Egon Wellesz (Oxford University Press: London, 1957). Each movement of the work depicts a key event in the epic Homeric poem, as described below. Movement I: Intrada - The first four notes of this movement, C - Bb - G - Bb, are the melodic and harmonic foundation for the entire work. These pitches, introduced in a simple and direct manner, are subsequently developed in more complex fashions throughout the suite. Following this stately introduction is a militaristic fanfare that introduces the dotted-eighth and sixteenth-note figure later reprised in the second and fourth movements. Indeed, all the musical ideas which will be central to the remaining movements first appear in the Intrada. This movement depicts the grandeur of Odysseus and his kingdom in Ithaca, and establishes the heroic mood of the entire work. Movement II: Ballad - After a brief restatement of the opening dotted-eighth-and-sixteenth fanfare, the second movement extracts the falling third (Bb to G) from the C - Bb - G - Bb motif and extends it and expands it into a haunting solo for alto saxophone. The C - Bb - G - Bb motif appears again (see measures 23 - 33 in trumpets) as counterpoint to this melody, now pulsing through the thick texture of the band. Many performers have come to view the Ballad as the emotional epicenter of the entire suite; my conception of the Ballad is to achieve a union of pathos and strength. Programmatically, this movement depicts Odysseus's son, Telemachos, as he both longs for Odysseus's return and stoically defends his father's kingdom. Movement III: Dance - It will take Odysseus twenty years to return to Ithaca. During his absence, noblemen besiege his palace, violating the sanctity of the household and seeking the hand of his wife, Penelope. This movement depicts the wanton revelries that result. The original four-note motif is chromatically altered and the meter is made irregular. The rapid tempo, driving percussion, and angular meter and melodies combine in an explosion of reckless abandon. Movement IV: March Building from a delicate woodwind ensemble accompanied by finger cymbals to a fully orchestrated statement replete with thundering percussion, this is a resounding march of victory. Odysseus has returned in triumph to restore dignity to his household and to reclaim the throne of the Kingdom of Ithaca. Ensemble instrumentation: 1 Piccolo, 8 Flute 1 - 2, 2 Oboe 1 - 2, 4 Bb Clarinet 1, 4 Bb Clarinet 2, 4 Bb Clarinet 3, 1 Eb Alto Clarinet, 3 Bb Bass Clarinet, 2 Bassoon 1 - 2, 3 Eb Alto Saxophone 1, 3 Eb Alto Saxophone 2, 2 Bb Tenor Saxophone, 1 Eb Baritone Saxophone, 3 Bb Trumpet 1, 3 Bb Trumpet 2, 3 Bb Trumpet 3, 2 F Horn 1-2, 2 F Horn 3-4, 2 Trombone 1, 2 Trombone 2, 2 Trombone 3, 3 Euphonium (B.C.), 2 Euphonium T.C., 4 Tuba, 1 Timpani, 2 Mallet Percussion: Bells, Xylophone, 2 Percussion 1: Snare Drum, Tambourine, 2 Percussion 2: Crash Cymbals, Suspended Cymbal, Tom-Tom, Finger Cymbals, 1 Percussion 3: Bass Drum. $135.00 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Deux Cents Etudes Nouvelles Melodiques et Progressives French horn Leduc, Alphonse
[Two Hundred New Melodic and Progressive Studies] for Horn. Composed by Maxime...(+)
[Two Hundred New Melodic and
Progressive Studies] for
Horn. Composed by Maxime-
Alphonse. Leduc. Classical.
Softcover. 28 pages.
Alphonse Leduc #AL16543.
Published by Alphonse Leduc
$32.75 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Glorious Bodies - Volume 2 Organ Leduc, Alphonse
For Organ. Composed by Olivier Messiaen (1908-1992). Leduc. Classical. Softcov...(+)
For Organ. Composed by
Olivier Messiaen (1908-1992).
Leduc. Classical. Softcover.
10 pages. Alphonse Leduc
#AL20071. Published by
Alphonse Leduc
$24.99 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Metodo per Arpa: Il potere della musica Harp Ut Orpheus | | |
| Piano Works Piano solo Novello & Co Ltd.
Piano SKU: HL.368695 Composed by Herbert Howells. Piano. Classical. Softc...(+)
Piano SKU: HL.368695 Composed by Herbert Howells. Piano. Classical. Softcover. 132 pages. Novello & Co Ltd. #NOV100463. Published by Novello & Co Ltd. (HL.368695). ISBN 9781705141779. UPC: 840126969085. 9.0x12.0x0.289 inches. This collection of 27 pieces, transcribed and edited by the Howells scholar Jonathan Clinch and published for the first time to coincide with Matthew Schellhorn's recording of the complete piano music by Howells for Naxos, reveals a previously neglected aspect of this celebrated English composer. The pieces chart the musical development of Howells, from his earliest known work “The Arab's Song,†written when he as 16, to the “Petrus Suite,†completed in his 80s, as well as demonstrating his fascination with French music (“Phantasy,†“Harlequin Dreamingâ€) and the Tudor period (“Pavane†and “Galliard.â€) The volume also includes the moving tribute to his friend and fellow composer Finzi. Comprising a wide array of pieces from characterful miniatures to more substantial suites, the collection will appeal to Howells devotees and lovers of 20th century English music, as well as to anyone seeking fresh and distinctive piano repertoire. Includes: The Arab's Song • To a Wild Flower • Romance • Melody • Legend • Summer Idyls: I. Meadow-Rest • II. Summer-Song • III. June-Haze • IV. Down the Hills • V. Quiet Woods • VI. Near Midnight • VII. In the Morning • Phantasy • Harlequin Dreaming • Minuet for Ursula • My Lord Harewood's Galliard • Finzi: His Rest • Siciliana • “Comme le cerf soupire...†• Pavane and Galliard • Petrus Suite: Finnicle's Scherzo • Gavotte • Vagrant Flute • Minuet • 'Sine Nomine' • Bassoonic's Dance • Odd's Minuet • Toccatina. $24.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| let me listen Choral SATB SATB, Piano - Intermediate The Music of Dan Forrest
SATB chorus, piano (opt. guitar) - intermediate SKU: BP.DF1022 Composed b...(+)
SATB chorus, piano (opt. guitar) - intermediate SKU: BP.DF1022 Composed by Dan Forrest. Choral, School, Church, Community, Collegiate. Justice. Octavo. The Music of Dan Forrest #DF1022. Published by The Music of Dan Forrest (BP.DF1022). 6.88 x 10.5 inches. From the composer: Written as a statement of support for, and allyship with, our Black brothers and sisters (as well as all people of color). Too often, in any aspect of life, we explain away other people’s experiences instead of seeking to understand experiences that differ from our own; we’re so busy talking about our own viewpoints that we fail to listen to the voices we most need to hear. I asked Tony Silvestri to write a text that could function as a personal statement from me to people I need to listen to—especially to my friends of color. This the text that resulted—words that speak powerfully for any situation where we need to listen to those who have been marginalized or mistreated, not heard or believed. For SATB or SSAA choir with piano and optional guitar. $2.75 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
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