| Nickelback -- Here and Now Guitar notes and tablatures [Sheet music] Alfred Publishing
(Authentic Guitar TAB). For Guitar. This edition: Authentic Guitar TAB. Artis...(+)
(Authentic Guitar TAB). For
Guitar. This edition:
Authentic Guitar TAB.
Artist/Personality; Authentic
Guitar TAB; Book; Guitar
Personality; Guitar TAB.
Guitar TAB Anthology.
Pop/Rock. 88 pages. Published
by Alfred Music Publishing
$19.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Sound Innovations for String Orchestra -- Creative Warm-Ups Orchestra [Score] - Intermediate Alfred Publishing
Exercises for Intonation, Rhythm, Bowing, and Creativity for Intermediate Str...(+)
Exercises for Intonation, Rhythm, Bowing, and Creativity for Intermediate String Orchestra (Conductor's Score). Composed by Bob Phillips; Kirk Moss; Matt Turner; Stephen Benham. This edition: Teacher's Score. Method/Instruction; SmartMusic; String Orchestra Method/Supplement. Sound Innovations for String Orchestra. Score. 101 pages. Alfred Music #00-44213. Published by Alfred Music (AP.44213).
$34.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Sound Innovations for String Orchestra -- Creative Warm-Ups Orchestra [Sheet music + Audio access] - Intermediate Alfred Publishing
Exercises for Intonation, Rhythm, Bowing, and Creativity for Intermediate Str...(+)
Exercises for Intonation, Rhythm, Bowing, and Creativity for Intermediate String Orchestra (Cello/Bass). Composed by Bob Phillips; Kirk Moss; Matt Turner; Stephen Benham. This edition: Cello/Bass. Method/Instruction; SmartMusic; String Orchestra Method/Supplement. Sound Innovations for String Orchestra. Book. 56 pages. Alfred Music #00-44212. Published by Alfred Music (AP.44212).
$9.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Sound Innovations for String Orchestra -- Creative Warm-Ups Violin [Sheet music + Audio access] Alfred Publishing
Exercises for Intonation, Rhythm, Bowing, and Creativity for Intermediate Str...(+)
Exercises for Intonation, Rhythm, Bowing, and Creativity for Intermediate String Orchestra (Violin). Composed by Bob Phillips; Kirk Moss; Matt Turner; Stephen Benham. This edition: Violin. Method/Instruction; SmartMusic; String Orchestra Method/Supplement. Sound Innovations for String Orchestra. Book. 56 pages. Alfred Music #00-44210. Published by Alfred Music (AP.44210).
$9.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Sound Innovations for String Orchestra -- Creative Warm-Ups Orchestra [Sheet music + Audio access] - Intermediate Alfred Publishing
Exercises for Intonation, Rhythm, Bowing, and Creativity for Intermediate Str...(+)
Exercises for Intonation, Rhythm, Bowing, and Creativity for Intermediate String Orchestra (Viola). Composed by Bob Phillips; Kirk Moss; Matt Turner; Stephen Benham. This edition: Viola. Method/Instruction; SmartMusic; String Orchestra Method/Supplement. Sound Innovations for String Orchestra. Book. 56 pages. Alfred Music #00-44211. Published by Alfred Music (AP.44211).
$9.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| The Violinist’s Daily Warm-Ups and Scale System Violin Carl Fischer
Chamber Music Violin SKU: CF.BF131 Composed by Roland Vamos. With Standar...(+)
Chamber Music Violin SKU: CF.BF131 Composed by Roland Vamos. With Standard notation. 168 pages. Carl Fischer Music #BF131. Published by Carl Fischer Music (CF.BF131). ISBN 9781491153765. UPC: 680160911264. 9 x 12 inches. Inspired by Clarence Cameron White’s book The Violinist’s Daily Dozen, The Violinist’s Daily Sixteen is a collection of daily exercises compiled by Roland Vamos. Intended for student and professional violinists, the collection provides the performer with a variety of exercises for daily warm-ups. Mr. Vamos also focuses on developing dexterity and flexibility in the fingers and joints, the first and fourth fingers in particular. Each of the sixteen exercises is notated for each of the four strings, and Vamos recommends that the exercises be practiced as warm-ups, choosing a different string for each day of practice.Also included with the Daily Sixteen is a comprehensive set of studies for developing fluency with scales and arpeggios. Mr. Vamos’ unique methodology is to begin with major scales and arpeggios, followed by minor scales and arpeggios, all of which are notated in two, three and four octaves. Alternate fingers are provided, as well as a variety of slurred and mixed bowings using the three parts of the bow whenever feasible. It is a remarkably systematic approach to performing scales and arpeggios on the violin and will surely benefit students and professionals alike. ForewordThis short hand-setting set of exercises was inspired by a book entitled The Violinist’s Daily Dozen, conceived by Clarence Cameron White, a prominent African-American violinist, composer and arranger who enjoyed the bulk of his career in the first half of the twentieth century.I have practiced this set of exercises since I was twelve years old. It has served me as a superb warm-up and hand setting tool. Over the years, I have found that there are some aspects of this warm-up routine that were not given sufficient attention or not addressed at all. Consequently, I have expanded the Daily Dozen to create a new work entitled The Violinist’s Daily Sixteen.I have also paid particular attention in this work as to how these exercises are to be practiced. In exercises one and two, I have indicated some notes to be played before the actual written exercises. This is to ensure that the fourth finger will be over the string in a position ready to strike even though it is not being used. Before playing exercises three, four, nine, ten, eleven and twelve, I have indicated silent fingers to be placed on the notes they would be playing if they were being used.I have replaced Mr. White’s grace notes with notes of specific value and have slowed down the exercises so that the first joint (the joint nearest the string) of each finger can move with flexibility and strength. At no time should the first joint buckle.In Mr. White’s version, the last exercise gave the first finger some very valuable backward extensions. In this exercise (number 14 in this book), I caution the student not to move the hand along with the first finger. The hand should remain in position while the first finger independently moves back and forth.It became obvious to me that if the first finger were given the opportunity to develop the dexterity that Mr. White’s twelfth exercise emphasizes, the fourth finger could benefit from an exercise that gives it a forward extension. Consequently, I added another exercise to create a Baker’s Dozen (thirteen).Several years later, I felt that the second and third fingers should also have an exercise to further develop their dexterity…hence exercise fourteen was added to create a “Vamos Dozen.â€Because the first finger did not have sufficient practice in the development of the first joint in the original version, I have added two exercises to precede White’s fifth exercise. After re-working and re-numbering these exercises, I have come up with a total of sixteen exercises. It is my suggestion that these be practiced as a warm-up, choosing a different string each day.—Roland VamosEvanston, Illinois 2017 PrefaceScales are a means of teaching a person the fingerboard on his or her instrument. The fingers move across the strings and are required to make shifts, all in highly organized patterns. Scales and arpeggios are the foundation upon which our repertoire is built. Many scale books have been written; each one being organized in its own specific way. The Flesch Scale System has been a standard for many decades. It is very comprehensive and systematic. From the point of view of establishing similar patterns, it has one drawback: it is organized by starting with a major key, followed by its relative minor, going through the circle of fifths. I believe that it is more profitable to do only major scales with their arpeggios first, going up chromatically, and then follow them in a similar way with the minor scales. In using this approach, the similarities in fingerings between the various scales are more apparent. It is also profitable to have alternate fingerings whenever possible. My approach to scales and arpeggios includes a variety of slurred and mixed bowings using the three parts of the bow whenever feasible. These bowings are not all-inclusive. Whenever a particularly awkward bowing pattern is encountered in the repertoire, it can be practiced as an additional bowing variation in the scales and arpeggios.   I have chosen to introduce the three and four octave scales by teaching two octave scales across the strings in one position going up chromatically through seven positions; starting on the first, second, third, and finally fourth fingers in major and melodic minor.—Roland VamosEvanston, Illinois 2017. $29.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Avenged Sevenfold - Hail to the King Guitar notes and tablatures Hal Leonard
By Avenged Sevenfold. For Guitar. Guitar Recorded Version. Softcover. Guitar tab...(+)
By Avenged Sevenfold. For Guitar. Guitar Recorded Version. Softcover. Guitar tablature. 120 pages. Published by Hal Leonard
$29.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Etudes Book IX (Nos.81-90) Piano solo Peters | | |
| 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 | | |
| Lunea: 23 Centences by Nikolaus Lenau Schott
Baritone; Piano - difficult SKU: HL.49045197 For Baitone and Piano - G...(+)
Baritone; Piano - difficult SKU: HL.49045197 For Baitone and Piano - German. Composed by Heinz Holliger. This edition: Saddle stitching. Sheet music. Vocal. Classical. Softcover. Composed 2009-2010/2012. 92 pages. Duration 32'. Schott Music #ED21643. Published by Schott Music (HL.49045197). ISBN 9790001193467. UPC: 841886029071. 9.0x12.0x0.262 inches. German. This edition contains the original piano version, as well as a piano reduction of the version for baritone and Ensemble.The subtitle of this work dedicated to Christian Gerhaher, '23 sentences by Nikolaus Lenau', should be taken literally: some of the texts in Heinz Holliger's setting consist of only a few words. With relentless focus on essential elements, the texts are a distillation of the sensation which has been recorded in literary history as 'world-weariness'. Holliger reflects this concentrated emotion, presenting the singer and pianist with the highest level of technical demands within an extremely limited space, never as an end in itself but always as means to an extreme compression of musical and emotional expression. $59.00 - See more - Buy online | | |
| It's a Ukulele Christmas Ukulele Alfred Publishing
(Over 80 Holiday Favorites). For Ukulele. This edition: Ukulele TAB. Book; S...(+)
(Over 80 Holiday Favorites).
For Ukulele. This edition:
Ukulele TAB. Book; Sing-Along;
Ukulele Mixed Folio.
Christmas; Winter. 152 pages.
Published by Alfred Music
$24.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Star Spangled Banner and America (EP) Piano solo - Easy Santorella Publications
Star Spangled Banner and America the Beautiful for Easy Piano composed by John S...(+)
Star Spangled Banner and America the Beautiful for Easy Piano composed by John Stafford Smith and Samuel A. Ward. Arranged by Jonathon Robbins. For easy piano solo. Solo. Patriotic. Sheet Music. Text Language: English. 4 pages. Published by Santorella Publications
$4.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Star Spangled Banner and America the Beautiful * Piano Vocal Edition Piano, Vocal and Guitar Santorella Publications
Star Spangled Banner and America the Beautiful * Piano Vocal Edition composed by...(+)
Star Spangled Banner and America the Beautiful * Piano Vocal Edition composed by John Stafford Smith and Samuel A. Ward. Arranged by Jonathon Robbins. For piano, voice, guitar solo. Solo. Patriotic. Sheet Music. Text Language: English. 8 pages. Published by Santorella Publications
$4.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Star Spangled and America * Alto sax Alto Saxophone and Piano Santorella Publications
Star Spangled Banner and America the Beautiful for Alto Sax and Piano composed b...(+)
Star Spangled Banner and America the Beautiful for Alto Sax and Piano composed by John Stafford Smith and Samuel A. Ward. Arranged by Jonathon Robbins. For alto sax solo and piano accompaniment. Solo with Accompaniment. Patriotic. Score and solo part. Text Language: English. 8 pages. Published by Santorella Publications
$7.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Star Spangled Banner and America the Beautiful for Trombone and Piano Trombone and Piano Santorella Publications
Composed by John Stafford Smith and Samuel A. Ward. Arranged by Jonathon Robbins...(+)
Composed by John Stafford Smith and Samuel A. Ward. Arranged by Jonathon Robbins. For trombone solo and piano accompaniment. Solo with Accompaniment. Patriotic. Score and solo part. Text Language: English. 8 pages. Published by Santorella Publications
$7.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Granica Dance Toward Death 2 Pianos And Percussion Score And Parts [Score and Parts] Schott
2 pianos and percussion - difficult SKU: HL.49018079 Dance Toward Deat...(+)
2 pianos and percussion - difficult SKU: HL.49018079 Dance Toward Death. Composed by Enjott Schneider. This edition: Saddle stitching. Sheet music. Ensemble. Score and parts. Composed 2009. 112 pages. Duration 10'. Schott Music #ED20790. Published by Schott Music (HL.49018079). ISBN 9790001170949. UPC: 884088549046. 9.0x12.0x0.324 inches. With Granica, Enjott Schneider presents a work in which three instruments play alongside each other in a concertante manner on an equal basis. As in most of his pieces, he makes careful use of contemporary playing techniques and combines turbulent passages with quiet, narrative phases.The one-part work starts with a 'dance of life', so called by Enjott Schneider. In the course of the piece, this lively, dynamic dance changes and eventually disappears in the 'depths of death'. Granica comes from the Slavonic and means 'border'. The work was commissioned by the Embassy of Cyprus.
2 Klaviere * S. (Vibraphon, auch mit Kontrabassbogen gestrichen * Crotales, auch mit Kontrabassbogen gestrichen, ad lib. Vibraphon, hohe Lage * Triangel, am Stander * hangendes Becken, tief * Bell tree * Tamtam * Tamburin, auf Stander * Tomtoms, ad lib. Rototoms * Holzplatten, hell klingend, ad lib. auf Fell liegend * Grosse Trommel) (1 Spieler). $58.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| String Quartet No. 3 "in Flight Music" Score And Parts String Quartet: 2 violins, viola, cello Schott
String quartet (String Quartet) - difficult SKU: HL.49043938 'In Fligh...(+)
String quartet (String Quartet) - difficult SKU: HL.49043938 'In Flight Music'. Composed by Edward Cowie. This edition: Saddle stitching. Sheet music. String Ensemble. Softcover. Composed 1982-1983. 122 pages. Duration 15'. Schott Music #ED13390. Published by Schott Music (HL.49043938). ISBN 9790220133923. 9.25x12.0x0.494 inches. The 3rd String Quartet was originally composed in 1982-3 to a commission from The Adelaide Festival, and premiered by The Petra Quartet in 1983. Subsequent to this quartet, I have composed two more; No. 4 in 1986 and No. 5 in 2002.The offer to re-publish this work, led me to begin by a process of amendment, but ended in the composition of a virtually new quartet! Only parts of the original quartet have been retained. I also chose to 'frame' (in my case this means an inspirational focus and filter), the quartet in a new way too.In Flight Music keeps the 4-movement format of the original quartet, but is now directly linked to a life-long interest in flight. The first two movements are concerned with aspects of humans in flight, whilst the last two deal with insects and birds respectively.Since all my music is these days preceded by visualisations in the form of drawings, wherever possible, this quartet might be performed with the four drawings, one for each movement, back-projected behind the players.Digital copies of these drawings may be obtained from Schott Music.Edward Cowie.Maurens. France. August, 2010. $73.00 - See more - Buy online | | |
| Classical Music from Three Films of Stanley Kubrick for Intermediate Piano Piano solo - Intermediate Carl Fischer
Featuring Music from 2001: A Space Odyssey, A Clockwork Orange and Barry Lyndo...(+)
Featuring Music from 2001: A
Space Odyssey, A Clockwork
Orange and Barry Lyndon.
Composed by Antonio Vivaldi
(1678-1741), Giovanni
Paisiello (1740-1816),
Wolfgang Amadeus Mozart
(1756-1791), Ludwig van
Beethoven (1770-1827),
Gioachino Rossini (1792-
1868), Franz Schubert (1797-
1828), Edward Elgar (1857-
1934), and George Frideric
Handel (1685-1759). Edited
by Nicholas Hopkins.
Arranged by Nicholas
Hopkins. Carl Fischer Music
#PL1064. Published by Carl
Fischer Music
$22.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Nimrod String Orchestra [Score and Parts] - Intermediate Kendor Music Inc.
By Edward Elgar. Arranged by Bender. Concert String Orchestra. Level: Grade 4. P...(+)
By Edward Elgar. Arranged by Bender. Concert String Orchestra. Level: Grade 4. Published by Kendor Music Inc.
$56.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Klezmer Fiddler Violin [Sheet music + Audio access] Boosey and Hawkes
Traditional Fiddle Music from Around the World Violin Edition. Composed by E...(+)
Traditional Fiddle Music from
Around the World Violin
Edition. Composed by Edward
Huws Jones. Arranged by Edward
Huws Jones. Boosey & Hawkes
Chamber Music. Folk, Klezmer.
Softcover Audio Online. 40
pages. Boosey & Hawkes
#M060138928. Published by
Boosey & Hawkes
$22.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Family Treasury of Christmas Songs Piano, Vocal and Guitar [Sheet music + CD] Alfred Publishing
(73 Heart-Warming Holiday Favorites (Piano/Vocal/Guitar)). Edited by Carolcuella...(+)
(73 Heart-Warming Holiday Favorites (Piano/Vocal/Guitar)). Edited by Carolcuellar / Richard Martin. For Guitar; Keyboard; Piano; Voice. This edition: Piano/Vocal/Guitar. Book; CD; P/V/C Mixed Folio; Piano/Vocal/Chords. Christmas; Family/Group; Winter. 288 pages. Published by Alfred Music Publishing
$24.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Dreams and Fancies Concert band [Score and Parts] G and M Brand Music Publishers
Concert band (Piccolo, 1st Flute, 2nd Flute, 1st Oboe, 2nd Oboe*, Eb Clarinet*, ...(+)
Concert band (Piccolo, 1st Flute, 2nd Flute, 1st Oboe, 2nd Oboe*, Eb Clarinet*, 1st Bb Clarinet, 2nd Bb Clarinet, 3rd Bb Clarinet, Eb Alto Clarinet*, Bb Bass Clarinet, 1st Bassoon, 2nd Bassoon*, 1st Eb Alto Saxophone, 2nd Eb Alto Saxophone, Bb Tenor Saxophone, Eb Barit) - grade 5 SKU: CN.R10194 Composed by Michael Brand. Band Music. Score and parts. Duration 10:00. Published by G & M Brand Music Publishers (CN.R10194). The story of a sleepless night, Dreams and Fancies uses musical episodes to depict definite pictures: the three accented pulses of the main theme signifying a kind of fate, a demented waltz which breaks down, a love theme in the middle, then a wild jazz party. The end is a huge climax - a grand ceremony in which the lovers marry, but haunted by the three accented pulses of the first theme, representing a dark fate.
This is a story of a sleepless night: fancy is the old English word for a musical fantasy. There are musical episodes, some of which are associated with definite pictures: the three accented pulses of the main theme signifying a kind of fate, a demented waltz which breaks down, a love theme in the middle, then a wild jazz party. The themes all come together as the music becomes more exciting towards the end with thematic interjections appearing as flashbacks. The end is a huge climax - a grand ceremony in which the lovers marry, but haunted by the three accented pulses of the first theme, representing a dark fate. Musically the piece is unifying in two ways. Firstly, all the themes are built from the opening 15 bars. Secondly, the pulse of the music remains virtually constant with each beat around 76 per minute. This means that the tempi need to relate to each other: a difficult task for the conductor! $130.00 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Dreams and Fancies Concert band [Score] G and M Brand Music Publishers
Concert band (Piccolo, 1st Flute, 2nd Flute, 1st Oboe, 2nd Oboe*, Eb Clarinet*, ...(+)
Concert band (Piccolo, 1st Flute, 2nd Flute, 1st Oboe, 2nd Oboe*, Eb Clarinet*, 1st Bb Clarinet, 2nd Bb Clarinet, 3rd Bb Clarinet, Eb Alto Clarinet*, Bb Bass Clarinet, 1st Bassoon, 2nd Bassoon*, 1st Eb Alto Saxophone, 2nd Eb Alto Saxophone, Bb Tenor Saxophone, Eb Barit) - grade 5 SKU: CN.S11194 Composed by Michael Brand. Band Music. Score only. Duration 10:00. Published by G & M Brand Music Publishers (CN.S11194). The story of a sleepless night, Dreams and Fancies uses musical episodes to depict definite pictures: the three accented pulses of the main theme signifying a kind of fate, a demented waltz which breaks down, a love theme in the middle, then a wild jazz party. The end is a huge climax - a grand ceremony in which the lovers marry, but haunted by the three accented pulses of the first theme, representing a dark fate.
This is a story of a sleepless night: fancy is the old English word for a musical fantasy. There are musical episodes, some of which are associated with definite pictures: the three accented pulses of the main theme signifying a kind of fate, a demented waltz which breaks down, a love theme in the middle, then a wild jazz party. The themes all come together as the music becomes more exciting towards the end with thematic interjections appearing as flashbacks. The end is a huge climax - a grand ceremony in which the lovers marry, but haunted by the three accented pulses of the first theme, representing a dark fate. Musically the piece is unifying in two ways. Firstly, all the themes are built from the opening 15 bars. Secondly, the pulse of the music remains virtually constant with each beat around 76 per minute. This means that the tempi need to relate to each other: a difficult task for the conductor! $15.00 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
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