| The Ultimate Fake Book - C Instruments (3rd Edition)
Fake Book [Fake Book] Hal Leonard
C Edition. Fake Book (Includes melody line and chords). Size 9x12 inches. 816 pa...(+)
C Edition. Fake Book (Includes melody line and chords). Size 9x12 inches. 816 pages. Published by Hal Leonard.
(31)$55.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Ultimate Fake Book - Third Edition (Bb version)
Bb Instruments [Fake Book] Hal Leonard
Bb Edition. Fake Book (Includes melody line and chords). Size 9x12 inches. 816 p...(+)
Bb Edition. Fake Book (Includes melody line and chords). Size 9x12 inches. 816 pages. Published by Hal Leonard.
(8)$49.95 - See more - Buy onlinePre-shipment lead time: 3 to 5 business days | | |
| Rise Again Songbook Lyrics and Chords Hal Leonard
(Words and Chords to Nearly 1200 Songs 9x12 Spiral Bound). Edited by Annie Patte...(+)
(Words and Chords to Nearly 1200 Songs 9x12 Spiral Bound). Edited by Annie Patterson and Peter Blood. For Vocal. Vocal. Softcover. 304 pages. Published by Hal Leonard
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| Rise Again Songbook Hal Leonard
(Words and Chords to Nearly 1200 Songs Spiral-Bound). Edited by Annie Patterson ...(+)
(Words and Chords to Nearly 1200 Songs Spiral-Bound). Edited by Annie Patterson and Peter Blood. For Vocal. Vocal. Softcover. 304 pages. Published by Hal Leonard
$34.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Concerto - Piano And Orchestra - Solo Part Schott
Piano and orchestra - difficult SKU: HL.49046544 For piano and orchest...(+)
Piano and orchestra - difficult SKU: HL.49046544 For piano and orchestra. Composed by Gyorgy Ligeti. This edition: Saddle stitching. Sheet music. Edition Schott. Softcover. Composed 1985-1988. Duration 24'. Schott Music #ED23178. Published by Schott Music (HL.49046544). ISBN 9781705122655. UPC: 842819108726. 9.0x12.0x0.224 inches. I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. The markings of the movements are the following: 1. Vivace molto ritmico e preciso 2. Lento e deserto 3. Vivace cantabile 4. Allegro risoluto 5. Presto luminoso.The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale; my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. In the Piano Concerto I realized new concepts of harmony and rhythm. The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time 'rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form; later in the fourth movement it will be considerably developed. The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement; however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly; they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales; in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting; illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated; the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus; indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. (Gyorgy Ligeti). $34.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Ultimate Country Fake Book - 4th Edition
Fake Book [Fake Book] Hal Leonard
Fake Book (Includes melody line and chords). Size 9x12 inches. 568 pages. Publis...(+)
Fake Book (Includes melody line and chords). Size 9x12 inches. 568 pages. Published by Hal Leonard.
(8)$55.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Best Fake Book Ever - 5th Edition C Instruments [Fake Book] Hal Leonard
C Edition. Composed by Various. Fake Book. Broadway, Country, Jazz, Pop, Stand...(+)
C Edition. Composed by
Various. Fake Book. Broadway,
Country, Jazz, Pop, Standards.
Softcover. 802 pages.
Published by Hal Leonard
$49.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Real Book - Volume V Eb Instruments Hal Leonard
E-flat Edition. Composed by Various. Fake Book. Jazz. Softcover. 504 page...(+)
E-flat Edition. Composed by Various. Fake Book. Jazz. Softcover. 504 pages. Published by Hal Leonard (HL.175279).
$49.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Real Book - Volume V
Bb Instruments Hal Leonard
B-flat Edition. Composed by Various. Fake Book. Softcover. 504 pages. Publish...(+)
B-flat Edition. Composed by
Various. Fake Book.
Softcover. 504 pages.
Published by Hal Leonard
$49.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Real Book - Volume V
C Instruments [Fake Book] Hal Leonard
(C Edition). By Various. By Various. For C Instruments. Fake Book. Softcover. 46...(+)
(C Edition). By Various. By Various. For C Instruments. Fake Book. Softcover. 464 pages. Published by Hal Leonard
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| The Best Rock Pop Fake Book C Instruments [Fake Book] Hal Leonard
(For C Instruments). By Various. For C Instruments. Fake Book. Softcover. 576 pa...(+)
(For C Instruments). By Various. For C Instruments. Fake Book. Softcover. 576 pages. Published by Hal Leonard
$39.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| It's How You Play the Game Shawnee Press
(Performance/Accompanimen t CD) SKU: HL.35029497 A Musical Play About ...(+)
(Performance/Accompaniment CD) SKU: HL.35029497 A Musical Play About Being a Good Sport. Composed by Jill Gallina and Michael Gallina. Musicals. Elementary, Musicals. CD only. Published by Shawnee Press (HL.35029497). ISBN 9781480367579. UPC: 884088965075. 5x5 inches. Jill and Michael Gallina. This 2-part, reproducible mini-musical is a Rise and Shine musical specifically designed to be performed on choral risers. This format enables directors to provide their students with a valuable performance opportunity while putting the rehearsal process on the fast track to success.
The emphasis in this musical is on being a good sport. A number of elements that contribute to athletic success are also included. Helpful suggestions are incorporated into the rhyming script and the lyrics of each song. With good sportsmanship as the main theme, students are reminded to follow the rules, keep their ego in check, play fair and square, eat right, exercise, use self-control, play to the best of their ability, and have a positive attitude. At the end of the musical, the coach reminds the players that “it's not whether you win or lose, it's how you play the game!”
With an easy-to-memorize rhyming script and reproducible singer pages available on the CD-ROM that comes with the Teacher Book, this musical is perfect for your kids in Grades 2-5. Performance time: approx. 20 mins. $49.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Exercises for the Cello in Various Combinations of Double-Stops Carl Fischer
Chamber Music Cello SKU: CF.BF126 Composed by Roland Vamos. Edited by Hor...(+)
Chamber Music Cello SKU: CF.BF126 Composed by Roland Vamos. Edited by Horacio Contreras. SWS. Book. With Standard notation. 64 pages. Carl Fischer Music #BF126. Published by Carl Fischer Music (CF.BF126). ISBN 9781491150009. UPC: 680160907502. 9x12 inches. Written by world renown pedagogue, Roland Vamos, this collection of double-stop exercises fill a void in the literature of technical exercises for cellists. These etudes feature a systematic series of fixed double-stops that enables the player to practice and master every possible combination of finger patterns across two strings without shifting. Mr. Vamos says of the book, The most important accomplishment is the development of a strong left handà These exercises, when practiced slowly and carefully, will help to develop a keen sense of pitch and intonation. Adapted for cello by Horacio Contreras, teacher, chamber musician, and recitalist. When I first became familiar with Roland Vamos’ Exercises, I was impressed with itsclarity and effectiveness. The book focuses on a few important fundamentals of string playing,and it is accessible to students of every age. Moreover, its tonal organization in C major makesit simple and easy to understand. I recognized the potential this book could have for cellists,and after spending several months working on an adaptation, I witnessed its results in buildingand maintaining important fundamentals of technique.Mr. Vamos’ Exercises is comprised of simple patterns of double-stops in sevenpositions. There are two basic groups of variations: seven double-stop variations in differentcombined rhythms that develop finger coordination and independence of the left hand, andnine bowing variations that use détaché at the frog, middle and tip of the bow to work onstring crossings, coordination, and balance of the bow. The whole work provides training thatimproves intonation, sound, and ease of playing in all positions and all parts of the bow.In order to adapt Mr. Vamos’ book for cello, I needed to make some modifications tothe original. To address the different needs of the neck and the thumb positions, I chose to writetwo separate books. I kept the original ascending stepwise motion for subsequent variationsin Book I by following a diatonic scale on the top line of the patterns. However, I modifiedthe tonal framework to adjust to the more limited range of the cello. Therefore, unlike in Mr.Vamos’ book, variations in Book I do not ascend through the positions in a uniform pattern.I also switched the order of patterns to create a gradual increase in difficulty. In Book II, Iadded options that work on the fourth finger and an extended left hand frame, and at the end, Iincluded five sets of variations with different bowing alternatives.Mr. Vamos provides a number of specific instructions regarding left hand techniquein his exercises. For his original version, two fingers must remain down for almost the entireset of variations, providing a solid reference for the frame of the hand. In variations H and I,he instructs students to lift these fingers when they are not being used. In the case of thumbposition on cello, lifting the thumb could make the hand unstable; therefore, I suggested thatthe thumb remains down while the other fingers are lifted alternately in H and I. I have foundthis exercise quite useful to work on thumb independence and relaxing the thumb while usingother fingers.Mr. Vamos gives precise instructions for the bowing exercises as well. Following hisdirections, the exercises should be performed with a relaxed hand and flexible fingers. Thenotes should be consistently connected even when crossing strings. The bowing patterns shouldbe performed at the frog, the middle and the tip of the bow in every position. $19.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| First 50 Theater Songs You Should Play on Piano Easy Piano - Easy Hal Leonard
Composed by Various. Easy Piano Songbook. Broadway, Musicals. Softcover. Publi...(+)
Composed by Various. Easy
Piano Songbook. Broadway,
Musicals. Softcover. Published
by Hal Leonard
$25.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Easy Primary Songs for Piano Piano solo - Easy Jackman Music Corporation
Piano - easy to medium easy SKU: JK.01966 Composed by Various. Arranged b...(+)
Piano - easy to medium easy SKU: JK.01966 Composed by Various. Arranged by Paralee Miles Eckman. Piano Beginner, Piano Preludes, Piano Solos, Special Events Baptism and Confirmation, Special Events Primary Program, Children. Christian, Inspirational. Jackman Music Corporation #01966. Published by Jackman Music Corporation (JK.01966). UPC: 093285019669. Mosiah 2:22, Doctrine and Covenants 59:23. Easy Primary Songs for Piano is the perfect book for beginning pianists who can play hands together. You'll find many of the most well-loved primary songs in this book, arranged in a simple but beautiful way. In an effort to make this book simple and approachable, every song has been arranged in the keys of C, G, or F. Each song displays a keyboard chart above, showing the beginning hand positions and the sharps/flats included in the piece. Songs have been ordered by level of difficulty (Beginner: Level 1 to Level 2). Watch for helpful tips above each song and don't be afraid to refer to the pages in the front which contain helpful tools and basic piano/music theory. * While this book is perfect for developing pianists, it could also be used in a primary setting as a simplified songook for the accompanist. This book was originally titled Simplified Favorites (#80095) Contents: A Happy Family Baptism Book of Mormon Stories Dare to Do Right Families Can Be Together Forever Give Said the Little Stream Happy, Happy Birthday Have a Very, Merry Christmas He Sent His Son I Am a Child of God I Believe in Being Honest I Feel My Savior's Love I Hope They Call Me on a Mission I Lived in Heaven I Love to See the Temple I Want to Be a Missionary Now I Will Be Valiant In the Leafy Treetops Pioneer Children Sang as They Walked It's Autumn-time Keep the Commandments Mother Dear My Dad My Heavenly Father Loves Me Oh, What do You Do in the Summertime? Once There Was a Snowman Quickly I'll Obey Search, Ponder and Pray Seek the Lord Early Smiles Teach Me to Walk in the Light Thank Thee for Everything The Golden Plates We'll Bring the World His Truth When Joseph Went to Bethlehem When He Comes Again Composers: various Arranger: Paralee Miles Eckman Lyricist: various Difficulty: easy to medium easy Reference: Mosiah 2:22, Doctrine and Covenants 59:23. $13.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Ukuleles on Board! Hal Leonard
Collection (with digital access to lesson slides) Choral (Collection) SKU: HL...(+)
Collection (with digital access to lesson slides) Choral (Collection) SKU: HL.261481 Play and Sing Songs in the Music Class with Step-by-Step Projectable Lesson Slides. Composed by Marty Gross and Sally Haines. ExpressiveArts. Collection, Elementary. Softcover Media Online. 72 pages. Published by Hal Leonard (HL.261481). ISBN 9781540020376. UPC: 888680727437. 8.5x11.0x0.208 inches. By Marty Gross and Sally Haines. Get on board! Using ukuleles in an elementary general music class can open new experiences for your students. These fun, accessible instruments encourage singing while promoting confidence and musical independence. Ukuleles also provide an additional way for you to observe student progress and assess musical understanding. UKULELES ON BOARD is a collection of sequential lessons that illustrate how teachers can use ukuleles along with other common classroom resources to create engaging, robust musical activities for students. Examples are provided for using ukuleles together with Orff instruments, recorders, a variety of percussion and even jug band instruments. Each unit includes digital access to step-by-step projectable lesson slides so you can project all the visual cues your students will need. In addition to being easy to learn and fun, the folk songs used throughout the book provide students with cultural and historical connections. The activities and concepts found in UKULELES ON BOARD are based on the National Standards for Music Education. The material has been field-tested in grades 2-4, but is also appropriate for fifth grade students new to the ukulele. This is a valuable guide to using ukuleles to support and enhance the music curriculum in your school. Songs include: Are You Sleeping? (Frere Jacques!), Michael Finnegan, Buffalo Gals, Joe Turner Blues, Shalom Chaverim, I Love the Mountains, Little 'Liza Jane, Hambone, One Bottle of Pop, Pay Me My Money Down, Let Us Chase the Squirrel, Go Tell Aunt Rhody, Old Joe Clark. Suggested for grades 2-5. $39.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Moon Bass Orchestra [Score] - Easy Highland/Etling
Orchestra - Grade 2 SKU: AP.35968S Bass Section Feature. Composed ...(+)
Orchestra - Grade 2 SKU: AP.35968S Bass Section Feature. Composed by Todd Parrish. Performance Music Ensemble; Single Titles; String Orchestra. Highland/Etling String Orchestra. Blues; Jazz/Fusion; Light Concert; Swing. Score. 8 pages. Duration 2:52. Highland/Etling #00-35968S. Published by Highland/Etling (AP.35968S). UPC: 038081417233. English. Let your string bass section swing in this easy-to-play blues piece as they build skills and enjoy the motivation of being in the spotlight. Basses carry the melody much of the time, while also accompanying the melody as it weaves through other sections. All parts stay in first position, while the bass shifts briefly to third position. Educational objectives include playing accidentals, contrasting between staccato and legato, and learning to play in a swing style. (2:52). $7.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Basic Keyboard Chord Chart Easy Piano - Beginner Santorella Publications
Keyboard - beginning SKU: SP.TS237 Reference; Chords. Chart. Santorella P...(+)
Keyboard - beginning SKU: SP.TS237 Reference; Chords. Chart. Santorella Publications #TS237. Published by Santorella Publications (SP.TS237). ISBN 9781585607389. Our All-New Basic Keyboard Chord Chart is a complete and concise resource, while being exceptionally easy to read and understand. We've included Major, Minor, Augmented, Diminished, Dominant Seventh, Major Seventh, Minor Seventh, Added 6th, Added 9th, and even 13th chords in a convenient fold-out chart printed on extra-heavy stock to last for many years. This comprehensive chart contains a total of 120 chords with shaded key diagrams indicating how to play each one. Additionally, using our Chord Building Chart, you'll not only learn to play each chord, but you'll also understand why and how they are constructed. The Basic Keyboard Chord Chart is portable and affordable, and the perfect at-a-glance reference for musicians of all skill levels. $4.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Dirt Simple Harmonica Harmonica [Sheet music + Audio access] - Beginner Mel Bay
Composed by Phil Duncan. For harmonica. Saddle-stitched. Dirt Simple. Beginning....(+)
Composed by Phil Duncan. For harmonica. Saddle-stitched. Dirt Simple. Beginning. Book and online audio. Published by Mel Bay Publications, Inc
$14.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Studio Ghibli 77 Selections [Japanese/English/Chinese] Piano solo - Easy Yamaha
Piano - Easy to Intermediate Levels SKU: YM.GTP01101652 The Ultimate S...(+)
Piano - Easy to Intermediate Levels SKU: YM.GTP01101652 The Ultimate Studio Ghibli Piano Solo Collection. Composed by Joe Hisaishi. Studio Ghibli. Anime Song; J-Pop. Book. Yamaha Music Media #GTP01101652. Published by Yamaha Music Media (YM.GTP01101652). ISBN 9784636113334. 8.75 x 12 inches. Here is the ultimate, official, complete edition of Studio Ghibli Piano Solo Collection, featuring 77 of Studio Ghibli's essential musical masterpieces, fully supported in three languages: Japanese, English and Simplified Chinese! From 20 of Studio Ghibli's most beloved films, including My Neighbor Totoro, Princess Mononoke, Spirited Away, and more, comes a piano solo collection featuring 77 iconic songs. In addition to timeless favorites, songs from popular soundtracks such as Kiki's Delivery Service and Porco Rosso are included. Featuring Studio Ghibli's musical masterpieces in solo piano arrangements, this collection includes the film's theme songs as well as fan-favorite instrumental music. The difficulty levels range from easy to intermediate, making them accessible to a wide range of players, and the simpler arrangements can be fully enjoyed by players who can feel the essence and atmosphere. The book cover features official Studio Ghibli artwork. The book is supported in Japanese, English and Chinese. This single volume offers a comprehensive, special collector's edition for enjoying the music of Studio Ghibli. Studio Ghibli 77 Selections is sure to take you on a musical journey through 20 Studio Ghibli films! $26.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Fiddle Tunes for Banjo Made Easy Banjo [Sheet music + Audio access] - Beginner Mel Bay
Banjo (5-string) - Beginning SKU: MB.21028M Composed by Ross Nickerson. S...(+)
Banjo (5-string) - Beginning SKU: MB.21028M Composed by Ross Nickerson. Saddle-stitched, Banjo: 5-String, Banjo 5-String, Children and Young Beginner, Solos and Duets, Tunebooks. Made Easy. Banjo. Book and online audio. 32 pages. Mel Bay Publications, Inc #21028M. Published by Mel Bay Publications, Inc (MB.21028M). ISBN 9780786689224. UPC: 786689226. 8.75 x 11.75 inches. Fiddle Tunes for Banjo Made Easy is a collection of must-know, easy-to-learn bluegrass instrumental standards. Ross records each song at three speeds and also includes a rhythm backup track. The slow speed is ideal for hearing the notes clearly and being able to play along in rhythm; the medium speed is a perfect goal for the beginning and intermediate student while the faster speed demonstrates what the song can sound like with a hard, driving push. The tablature is large for ease of reading and includes accent marks for melody notes where needed. Ross also provides tips and suggestions for each song to save you valuable practice time. These are tips on the more challenging spots that Ross has learned firsthand from teaching these privately for many years. In addition, there is a whole page of instruction on learning the chords to the song, how to play the song using only the chords, chord charts written out for each song and tips for memorizing and playing without tab. Fiddle Tunes for Banjo Made Easy is not just another tab book; it covers all the bases and gives you a realistic balanced approach for learning the songs the EASY way. Includes access to online audio. $14.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Leonore Overture for Orchestra no. 3 (1806) Double Bass Barenreiter
Double Bass SKU: BA.BA08833-85 Composed by Ludwig van Beethoven. Edited b...(+)
Double Bass SKU: BA.BA08833-85 Composed by Ludwig van Beethoven. Edited by Helga Lühning. This edition: urtext edition. Stapled. Single part. Composed 1806. No. 3. 7 pages. Baerenreiter Verlag #BA08833_85. Published by Baerenreiter Verlag (BA.BA08833-85). ISBN 9790006567584. 32.5 x 25.5 cm inches. Sooner or later theRomantic Pieceswill pave their way through all the salons: thus the periodical Dalibor predicted when theRomantic Piecesop. 75 were first issued by the publisher Simrock in 1887. Since then they have become some of Dvorak's most popular works for violin and piano. Now they are being made available for violists also.
Bella and Semjon Kalinowsky have arranged the four pieces on the basis of theComplete Edition of the Works of Antonin Dvorak. The piano part of the original version remains, while the violin part has been adapted for viola; it has been transcribed into the alto clef and includes fingering and bowing marks.
With their entrancing melodies and poetry, these pieces pose few technical challenges and are thus easy to play.
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| Children's Dances Flute and Piano EMB (Editio Musica Budapest)
For flute and piano. 20th Century. EMB. Pedagogical performance pieces. So...(+)
For flute and piano. 20th
Century. EMB. Pedagogical
performance pieces.
Softcover. 28 pages. Editio
Musica Budapest #EMBZ15069.
Published by Editio Musica
Budapest
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| Blues for Brennan Jazz Ensemble [Score and Parts] - Beginner Kjos Music Company
Band jazz ensemble - Grade 1 SKU: KJ.ZB413 Composed by Ethan Freier. Stan...(+)
Band jazz ensemble - Grade 1 SKU: KJ.ZB413 Composed by Ethan Freier. Standard of Excellence Jazz Ensemble Method. Jazz. Score and parts. Neil A. Kjos Music Company #ZB413. Published by Neil A. Kjos Music Company (KJ.ZB413). UPC: 8402702698. Catchy riffs and swinging lines make this the perfect chart for beginning jazz ensembles. The use of pedal points gives this blues a unique flavor while being true to the blues form. About Standard of Excellence Jazz Ensemble Method The Standard of Excellence Jazz Ensemble Method is designed to help both you and your jazz ensemble students explore the world of jazz through easy-to-use Rhythm Studies, Improvisation Studies, Instrument Specific Exercises, and full ensemble jazz charts. The approach is non-theoretical and aurally based. Each part book comes with an accompaniment CD, so like every great jazz player throughout history, students learn to play jazz by listening! $50.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Blues for Brennan - Score Jazz Ensemble [Score] - Beginner Kjos Music Company
Band jazz ensemble - Grade 1 SKU: KJ.ZB413F Composed by Ethan Freier. Sta...(+)
Band jazz ensemble - Grade 1 SKU: KJ.ZB413F Composed by Ethan Freier. Standard of Excellence Jazz Ensemble Method. Jazz. Score. Neil A. Kjos Music Company #ZB413F. Published by Neil A. Kjos Music Company (KJ.ZB413F). Catchy riffs and swinging lines make this the perfect chart for beginning jazz ensembles. The use of pedal points gives this blues a unique flavor while being true to the blues form. About Standard of Excellence Jazz Ensemble Method The Standard of Excellence Jazz Ensemble Method is designed to help both you and your jazz ensemble students explore the world of jazz through easy-to-use Rhythm Studies, Improvisation Studies, Instrument Specific Exercises, and full ensemble jazz charts. The approach is non-theoretical and aurally based. Each part book comes with an accompaniment CD, so like every great jazz player throughout history, students learn to play jazz by listening! $8.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Basic Fingering Chart for Viola Viola - Beginner Santorella Publications
Viola - beginning SKU: SP.TS557 Composed by Tony Santorella. Reference; E...(+)
Viola - beginning SKU: SP.TS557 Composed by Tony Santorella. Reference; Educational. Reference, Educational. Chart. 4 pages. Santorella Publications #TS557. Published by Santorella Publications (SP.TS557). ISBN 9781585609178. Due to the success of our Instrumental Fingering Posters, we thought it would be helpful to create a smaller version that could be tucked comfortably into any method book as a reference guide. Unbeknownst to us after days of research, we were left with countless questions, much confusion, and a slew of poorly crafted images from contradicting publications. That being said, we realized that there weren't truly any trustworthy resources in print and decided to address the void. We consulted experts in every category asking questions until both we and they and we were satisfied. Finally, a guide to fingering for beginners that even the experienced players will find beneficial. Santorella's Basic Fingering Charts are essential for anyone that picks up an instrument. Initially intended for beginners but after understanding the importance of false fingerings or more appropriately called, alternate fingerings their necessity is vital for playing certain musical passages on a particular instrument. In addition, after observing the difficulties that students had in identifying key signatures, we decided to include the Circle of Fifths diagram and every major scale in two octaves in every key including their enharmonic counterparts. After all was said in done, we now know, we now have the best educational products available for fingering in the industry. Our Basic Fingering Charts are perfect for private students, classroom study, or simply for a quick and easy reference guide while practicing at home. These graphic reference guides for assorted brass, reeds, woodwinds, and orchestral strings are specifically available for Clarinet, Bass Clarinet, Trumpet, Flute, Piccolo, Recorder, Baritone Horn, Trombone, Bass Trombone, Alto Sax, Soprano Sax, Tenor Sax, Baritone Sax, French Horn, Euphonium, Tuba, Oboe, Bassoon, Violin, Viola, Cello, and Bass. Every chart displays the entire range of each instrument by clearly depicting the fingering for each note including all their enharmonic substitutions. Each chart includes a diagram identifying the levers, valves, keys, slides, frets and more of each and every instrument. Learn where, when, and why to place your fingers. Now is the time to truly start playing with assured confidence. $4.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Basic Fingering Chart for Bass Trombone Bass Trombone - Beginner Santorella Publications
Composed by Tony Santorella. Reference; Educational. Chart. Santorella Publica...(+)
Composed by Tony Santorella.
Reference; Educational. Chart.
Santorella Publications
#TS553. Published by
Santorella Publications
$4.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
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