| 101 Popular Songs French horn Hal Leonard
For Horn. By Various. Instrumental Folio. Softcover. 128 pages. Published by ...(+)
For Horn. By Various.
Instrumental Folio.
Softcover. 128 pages.
Published by Hal Leonard
$18.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| 101 Popular Songs Trombone Hal Leonard
For Trombone. By Various. Instrumental Folio. Softcover. 128 pages. Published...(+)
For Trombone. By Various.
Instrumental Folio.
Softcover. 128 pages.
Published by Hal Leonard
$18.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Library of Easy Piano Pop Songs Easy Piano - Easy Music Sales
By Various. Easy Piano Songbook. Softcover. 288 pages. Music Sales #AM1011461...(+)
By Various. Easy Piano
Songbook. Softcover. 288
pages. Music Sales
#AM1011461. Published by
Music Sales
$22.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Royal Coronation Dances Concert band - Intermediate Manhattan Beach Music
Concert band - Grade 3 SKU: MH.1-59913-054-8 Composed by Bob Margolis. Su...(+)
Concert band - Grade 3 SKU: MH.1-59913-054-8 Composed by Bob Margolis. Suitable for advanced middle school, high school, community and college bands. Conductor score and set of parts. Duration 4:45. Published by Manhattan Beach Music (MH.1-59913-054-8). ISBN 9781599130545. Royal Coronation Dances is the first sequel to the Fanfare Ode & Festival, both being settings of dance music originally arranged by Gervaise in the mid 16th-century (the next sequel is The Renaissance Fair, which uses music of Susato and Praetorius). Fanfare Ode & Festival has been performed by many tens of thousands of students, both in high school and junior high school. I have heard that some of them are amazed that the music they are playing was first played and danced to over 400 years ago. Some students tend to think that music started with Handel and his Messiah to be followed by Beethoven and his Fifth Symphony, with naught in between or before of consequence. Although Royal Coronation Dances is derived from the same source as Fanfare Ode & Festival, they are treated in different ways. I envisioned this new suite programmatically -- hence the descriptive movement titles, which I imagined to be various dances actually used at some long-ago coronation. The first movement depicts the guests, both noble and common, flanked by flag and banner bearers, arriving at the palace to view the majestic event. They are festive, their flags swirling the air, their cloaks brightly colored. In the second movement, the queen in stately measure moves to take her place on the throne as leader and protector of the realm. In the third movement, the jesters of the court entertain the guests with wild games of sport. Musically, there are interesting sonorities to recreate. Very special attention should be given to the tambourine/tenor drum part in the first movement. Their lively rhythms give the movement its power. Therefore they should be played as distinctly and brilliantly as possible. The xylophone and glockenspiel add clarity, but must not be allowed to dominate. Observe especially the differing dynamics; the intent is to allow much buzzing bass to penetrate. The small drum (starting at meas. 29) should be played expressively, with attention to the notated articulations, with the brass light and detached, especially in a lively auditorium. It is of some further interest that the first dance is extremely modal. The original is clearly in G mixolydian mode (scale: G-A-B-C-D-E-F-G). However, other editors might put in F-sharps in many places (changing the piece almost to G major), in the belief that such ficta would have been automatically put in by the 16th-century performers as they played. I doubt it. I have not only eschewed these within the work, but even at the cadences. So this arrangement is most distinctly modal (listen to the F-naturals in meas. 22 and 23, for instance), with all the part-writing as Gervaise wrote it. In the second movement, be careful that things do not become too glued together. In the 16th century this music might have been played by a consort of recorders, instruments very light of touch and sensitive to articulation. Concert band can easily sound heavy, and although this movement has been scored for tutti band, it must not sound it. It is essential, therefore, that you hear all the instruments, with none predominating. Only when each timbre can be heard separately and simultaneously will the best blend occur, and consequently the greatest transparency. So aim for a transparent, spacious tutti sound in this movement. Especially have the flutes, who do this so well, articulate rather sharply, so as to produce a chiffing sound, and do not allow the quarter-notes to become too tied together in the entire band. The entrance of the drums (first tenor, then bass) are events and as such should be audible. Incidentally, this movement begins in F Major and ends in D Minor: They really didn't care so much about those things then. The third movement (one friend has remarked that it is the most Margolisian of the bunch, but actually I am just getting subtler, I hope) again relies upon the percussion (and the scoring) to make its points. Xylophone in this movement is meant to be distinctly audible. Therefore, be especially sure that the xylophone player is secure in the part, and also that the tambourine and toms sound good. This movement must fly or it will sink, so rev up the band and conduct it in 1 for this mixolydian jesting. I suppose the wildly unrelated keys (clarinets and then brass at the end) would be a good 16th-century joke, but to us, our put-up-the-chorus-a-half-step ears readily accept such shenanigans. Ensemble instrumentation: 1 Full Score, 1 Piccolo, 4 Flute 1, 4 Flute 2 & 3, 2 Oboe 1 & 2, 2 Bassoon 1 & 2, 1 Eb Clarinet, 4 Bb Clarinet 1, 4 Bb Clarinet 2, 4 Bb Clarinet 3, 2 Eb Alto Clarinet, 1 Eb Contra Alto Clarinet, 3 Bb Bass & Bb Contrabass Clarinet, 2 Eb Alto Saxophone 1, 2 Eb Alto Saxophone 2, 2 Bb Tenor Saxophone, 2 Eb Baritone Saxophone, 3 Bb Trumpet 1, 3 Bb Trumpet 2, 3 Bb Trumpet 3, 4 Horn in F 1 & 2, 2 Trombone 1, 4 Trombone 2 & 3, 3 Euphonium (B.C.), 2 Euphonium (T.C.), 4 Tuba, 1 String Bass, 1 Timpani (optional), 2 Xylophone & Glockenspiel, 5 Percussion. $95.00 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| First 50 Piano Duets You Should Play 1 Piano, 4 hands - Intermediate Hal Leonard
Composed by Various. Piano Duet. Broadway, Pop. Softcover. Published by Hal L...(+)
Composed by Various. Piano
Duet. Broadway, Pop.
Softcover. Published by Hal
Leonard
$24.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Easy Progressive Guitar Pieces Guitar Hal Leonard
(60 Songs Arranged in Sequence of Difficulty for Solo Guitar). By Various. For G...(+)
(60 Songs Arranged in Sequence of Difficulty for Solo Guitar). By Various. For Guitar. Guitar Solo. Softcover. Published by Hal Leonard
$14.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| 100 of the Most Beautiful Piano Solos Ever Piano solo Hal Leonard
By Various. For Piano/Keyboard. Piano Solo Songbook. Softcover. 464 pages. Publi...(+)
By Various. For Piano/Keyboard. Piano Solo Songbook. Softcover. 464 pages. Published by Hal Leonard
$34.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Feel Good Songs (Piano/Vocal/Guitar) Piano, Vocal and Guitar [Sheet music] Hal Leonard
Songs to Soothe the Soul, Open the Heart and Rekindle the Spirit. By Various. Pi...(+)
Songs to Soothe the Soul, Open the Heart and Rekindle the Spirit. By Various. Piano/Vocal/Chords Songbook (Arrangements for piano and voice with guitar chords). Softcover. Size 9x12 inches. 237 pages. Published by Hal Leonard.
$16.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Scott The Piano Guy's Favorite Piano Fake Book Fake Book [Fake Book] Hal Leonard
Arranged by Scott Houston. Fake Book (Includes melody line and chords). Softcove...(+)
Arranged by Scott Houston. Fake Book (Includes melody line and chords). Softcover. Size 9x12 inches. 152 pages. Published by Hal Leonard.
(3)$34.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Forty Songs for a Better World - 2nd Edition Piano, Vocal and Guitar [Sheet music] - Intermediate Hal Leonard
By Various. Piano/Vocal/Chords Songbook (Arrangements for piano and voice with g...(+)
By Various. Piano/Vocal/Chords Songbook (Arrangements for piano and voice with guitar chords). Softcover. Size 9x12 inches. 176 pages. Published by Hal Leonard.
$15.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Nameless Seas (Piano Concerto) Piano and Orchestra Fennica Gehrman
Piano and orchestra SKU: FG.55011-372-5 Composed by Matthew Whittall. Stu...(+)
Piano and orchestra SKU: FG.55011-372-5 Composed by Matthew Whittall. Study score. Fennica Gehrman #55011-372-5. Published by Fennica Gehrman (FG.55011-372-5). ISBN 9790550113725. Images of the sea figure prominently throughout my life and memories: from holidays on the Atlantic coast during my Canadian childhood to my current Baltic home, and the imagined, only later experienced Mediterranean of my ancestral heritage. As an immigrant (son of an immigrant) bound to two northern countries, the sea is emblematic of my twin homelands, from the expanses of water surrounding them to those separating them. A Mari usque ad Mare. The sea is also an enduring image of the unknown, of expanses unexplored, of the raw power of nature and, for too many currently, of terror holding a hope of refuge - or the pain of loss. Such disparate ideas were captured for me in the seascapes of the New York painter MaryBeth Thielhelm, whom I met in 2008 during a residency on the Gulf of Mexico. Her vast, abstract, nearly monochromatic depictions of imaginary seas in wildly varying moods were the catalyst for a concerto where the piano is frequently far from a hero battling a collective, but rather acts as a channel for elemental forces surging up from the orchestra, floating - sometimes barely so - on its constantly shifting surface. There are few themes to speak of, beyond a handful of iconic ideas that periodically cycle upward. Rather, the piano's material is largely an ornamentation of the more primal rhythmic and harmonic impulses from the orchestra below - a poetic interpretation, if you will, of the more immediate experience of facing the vastness of some unknown body of water. The title Nameless Seas is borrowed from one of Thielhelm's exhibitions, as are those of the four movements, which are bridged together into two halves of roughly equal weight - one rhapsodic and free, the other more single-minded and direct, separated only by a short breath. The opening movement, Nocturne, is predominantly calm, if brooding, darkness and light alternating throughout. Lyrical arabesques sparkle over gently lapping cross-currents in the strings and mirrored timpani, the piano's full power only rarely deployed. The waves gradually build, drawing in the full orchestra for a meeting of forces in Land and Sea, a brighter, more warmly lyrical scene that unfolds in series of dreamlike, sometimes even nostalgic visions, which for me carry strong memories of sitting on rocks above surging Atlantic waves. The third movement, Wake, is a fast, perpetual-motion texture of glinting, darting rhythms and sudden shafts of light, with a prominent part for the steel drums, limning the piano's quicksilver figurations. An ecstatic climax crashes into a solo cadenza that grows progressively calmer and more introspective rather than virtuosic. Much of the tension finally releases into Unclaimed Waters, a drifting, meditative seascape in which the piano is progressively engulfed by a series of ever-taller waves, ultimately dissolving into a tolling, rippling continuum of sound. It has been a great privilege to realize such a long-held dream as this piece, and to write it for not one, but two great pianists. Risto-Matti Marin and Angela Hewitt, both of whose friendship and support have been unfailing and humbling, share the dedication. Nameless Seas was commissioned by the PianoEspoo festival and Canada's National Arts Centre, with the premieres in Ottawa and Helsinki led by Hannu Lintu and Olari Elts. Thanks are due also to the Jenny and Antti Wihuri fund, whose generous grant provided me with much-needed time, and Escape to Create in Seaside, Florida, the source to which I returned to do a large part of the work. $49.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Children's Songs for Ocarina Ocarina - Easy Hal Leonard
Composed by Various. Ocarina. Children. Softcover. 32 pages. Published by Hal ...(+)
Composed by Various. Ocarina.
Children. Softcover. 32 pages.
Published by Hal Leonard
$9.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Changed Forever Choral 3-part SSA A Cappella [Octavo] Cypress Choral Music
Composed by Shari Ulrich. Arranged by Kate MacColl. For SSA choir, a cappella. O...(+)
Composed by Shari Ulrich. Arranged by Kate MacColl. For SSA choir, a cappella. Octavo. Published by Cypress Choral Music
$3.10 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Hall of Ghosts Theodore Presser Co.
Chamber Music Clarinet SKU: PR.114422950 Composed by Amanda Harberg. Full...(+)
Chamber Music Clarinet SKU: PR.114422950 Composed by Amanda Harberg. Full score. 4 pages. Duration 4:15. Theodore Presser Company #114-42295. Published by Theodore Presser Company (PR.114422950). ISBN 9781491134870. UPC: 680160685370. HALL OF GHOSTS was composed in 2020 during the Covidlockdown period. Evocative of imagined spirits in an empty concert hall, the music pits dramatic silences, amid searching and plaintive phrases of the clarinet, against a lively middle section — a dialogue between the ticking of time and an instrument striving to make itself heard. The work was inspired by piccoloist Gudrun Hinze’s video for Harberg’s Prayer Project, filmed in the hauntingly empty Gewandhaus Chamber Music Hall. Hall of Ghosts was composed in April 2020 as a “thank you†gift dedicated to the wonderful community of flutists who participated in my Prayer Project – a virtual flute orchestra project that I produced during the Covid-19 lockdown period. In July 2021, I arranged Hall of Ghosts for clarinetist Christopher Pell, who premiered the new version at the Interlochen Center for the Arts.Hall of Ghosts was inspired by piccoloist Gudrun Hinze, who recorded her part for the Prayer Project in the empty Gewandhaus Chamber Music Hall. This hall would normally be full of musicians rehearsing and performing, but now, due to Covid-19, the hall lay empty and filled only with echoes and memories. The image of Gudrun’s solitary piccolo inspired in me a musical invocation, imploring the spirits to let the music return.In the first section, the silence of rests and pauses creates an expressive background for the searching and plaintive phrases of the solo piccolo. The lively middle section is a contrapuntal dialogue between the ticking of time and an instrument striving to make itself heard. These materials trade off throughout the piece. You can decide through your interpretation on who wins. The music? Or the ghosts? $9.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Karl Jenkins: Piano Piano solo Boosey and Hawkes
Composed by Karl Jenkins. BH Piano. Classical. Softcover. 60 pages. Boosey &...(+)
Composed by Karl Jenkins. BH
Piano. Classical. Softcover.
60 pages. Boosey & Hawkes
#M060136122. Published by
Boosey & Hawkes
$19.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
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