| Cantata BWV 213 "Lasst uns sorgen, lasst uns wachen" Breitkopf & Härtel
Viola (solos: SATB - choir: SATB - 0.2(ob d'am).0.0. - 2.0.0.0. - str - bc) S...(+)
Viola (solos: SATB - choir: SATB - 0.2(ob d'am).0.0. - 2.0.0.0. - str - bc) SKU: BR.OB-4713-19 Herkules auf dem Scheideweg - Dramma per musica - Urtext. Composed by Johann Sebastian Bach. Edited by Hans Gruss. Choir; stapled. Orchester-Bibliothek (Orchestral Library). In our new edition of this often performed work, many details pertaining to performance-practical matters have been revised. Cantata; Baroque. Part. 12 pages. Duration 43'. Breitkopf and Haertel #OB 4713-19. Published by Breitkopf and Haertel (BR.OB-4713-19). ISBN 9790004333730. 10 x 12.5 inches. In our new edition of this often performed work, many details pertaining to performance-practical matters have been revised. It is known that Bach reused the music of Cantata BWV 213 in his Christmas Oratorio and, as Hans Gruss convincingly explains, paid close attention to the preparation of the performance material in light of the repeated use of the new work. The final version of the cantata is recognizable in the parts of the Christmas Oratorio, states Gruss. The specifics of the later revision can thus be retraced. They have also entailed a number of editorial consequences which cast a new light on the Cantata BWV 213.
In our new edition of this often performed work, many details pertaining to performance-practical matters have been revised. $8.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Briefwechsel in Drei Banden Schott
SKU: HL.49046901 Book 2, 1879-1881 Hardcover. Edited by Thomas Koh...(+)
SKU: HL.49046901 Book 2, 1879-1881 Hardcover. Edited by Thomas Kohlhase. Edition Schott. Classical, German Edition. Hardcover. Schott Music #ED22750-20. Published by Schott Music (HL.49046901). UPC: 196288075271. This complete edition, which is the first outside Russia, of the almost fourteen-year correspondence between P. I. Tchaikovsky and the music-loving patron (and wealthy widow of a Baltic railway entrepreneur) N. F. von Meck represents for German-speaking readers and music historians an indispensable primary source on the life and work of the greatest Russian composer as well as on his environment, while, at the same time, reflecting the political, cultural and social situation of the Russian Empire from the perspective of two privileged, educated and regime-loving subjects. The life of the large families Tchaikovsky-Davydov and von Meck, the unpleasant consequences of the composer's unhappy marriage, faith and religion, literature, philosophy, the reception of earlier and contemporary Russian and European music, fine arts, foreigntravel, political, economic and social conditions - even farming (in Brailov and Kamenka/Verbovka, the Ukrainian estates of the von Meck and Davydov families) and many more are the topics of this correspondence between two related and yet so different personalities who, as agreed, never met in personal conversation and yet talked to each other in lively, often confessional speech. The texts of the letters in the present edition (whose planning dates back to the 1950s), with the added contrasting excerpts from letters of Tchaikovsky to other persons, such as his trusted brothers Anatoly and Modest, have been revised according to the new Russian Complete Edition by Polina Vajdman (Celjabinsk 2007 ff.). Various introductions, accompanying texts and overviews as well ascomprehensive indices (one of them systematically by subjects), together with numerous explanations and notes at the bottom of the pages, make it easier for the reader to find his/her way through the all in all more than 1,200 documents. The three volumes are also available for subscription. $105.00 - See more - Buy online | | |
| Consequences 2 Euphoniums and 2 Tubas BIM
By Michael Forbes. For 2 euphoniums and 2 tubas. Contemporary. 5. Composed 1999....(+)
By Michael Forbes. For 2 euphoniums and 2 tubas. Contemporary. 5. Composed 1999. Duration 6'
$37.44 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Homenaje a Segovia. An Anthology of Contemporary Music for Guitar (Anzaghi, Cappelli, F. Luppi, G. Luppi, Reghezza, Spazzoli, Tagliamacco, Ugoletti) Guitar Ut Orpheus
Guitar SKU: UT.CH-191 Anzaghi, Cappelli, F. Luppi, G. Luppi, Reghezza,...(+)
Guitar SKU: UT.CH-191 Anzaghi, Cappelli, F. Luppi, G. Luppi, Reghezza, Spazzoli, Tagliamacco, Ugoletti. Edited by Piero Bonaguri. Saddle stitching. Piero Bonaguri Collection. Classical. Ut Orpheus #CH 191. Published by Ut Orpheus (UT.CH-191). ISBN 9790215322295. 9 x 12 inches. Davide Anzaghi: Segoviana Andrea Cappelli: Corpo e anima Fabio Luppi: Rondò delle quarte Gian Paolo Luppi: Bagatelle per Andrés Segovia Marco Reghezza: Fughetta sulle corde vuote Alessandro Spazzoli: Preludio Corale Roberto Tagliamacco: Homenaje a Segovia Paolo Ugoletti: Omaggio a Segovia
One outstanding feature of Andrés Segoviaâ??s artistic activity was the systematic way in which he commissioned new works from leading composers who were not guitarists. This highly original initiative proved to have historic consequences for the emancipation of the guitar from the rather provincial milieu of aficionados in which it was confined, enabling it to emerge as a major protagonist in its own right on the international music scene. To mark the 25th anniversary of his passing (1987-2012) I asked some composers to write a piece paying tribute to Andrés Segovia. Most responded with enthusiasm and I was able to perform their tributes to Segovia in the concerts honouring the memory of the Maestro I held in 2012 â?? in venues including the Ravenna Festival, the Ateneo in Madrid, the Royal Academy of Music, London, and the Meeting in Rimini, as well as many others. In my turn I dedicate this volume, containing a selection of these pieces, to the memory of the Maestro. The volume is undoubtedly enhanced by the inclusion of two further tributes to Segovia, both produced to accompany concerts I gave in 2012: a poem by Davide Rondoni and a portrait of Segovia by Roberto Casadio. (Piero Bonaguri). $18.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| The Offerings of Nadab and Abihu Concert band - Intermediate Alfred Publishing
Concert Band - Grade 3 SKU: AP.48141S Composed by Brian Beck. Concert Ban...(+)
Concert Band - Grade 3 SKU: AP.48141S Composed by Brian Beck. Concert Band; Performance Music Ensemble; Single Titles. Young Symphonic. Score. 24 pages. Duration 4:00. Alfred Music #00-48141S. Published by Alfred Music (AP.48141S). UPC: 038081558783. English. Something is not right . . . a growing sense of danger is in the air. Dark colors, minor chords, shifting tonalities, and eerie melodic lines warn us of the consequences of playing with fire. (4:00). $9.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Cantata BWV 213 "Lasst uns sorgen, lasst uns wachen" Breitkopf & Härtel
Violin 1 (solos: SATB - choir: SATB - 0.2(ob d'am).0.0. - 2.0.0.0. - str - bc) <...(+)
Violin 1 (solos: SATB - choir: SATB - 0.2(ob d'am).0.0. - 2.0.0.0. - str - bc) SKU: BR.OB-4713-15 Herkules auf dem Scheideweg - Dramma per musica - Urtext. Composed by Johann Sebastian Bach. Edited by Hans Gruss. Choir; stapled. Orchester-Bibliothek (Orchestral Library). In our new edition of this often performed work, many details pertaining to performance-practical matters have been revised. Cantata; Baroque. Part. 12 pages. Duration 43'. Breitkopf and Haertel #OB 4713-15. Published by Breitkopf and Haertel (BR.OB-4713-15). ISBN 9790004333716. 10 x 12.5 inches. In our new edition of this often performed work, many details pertaining to performance-practical matters have been revised. It is known that Bach reused the music of Cantata BWV 213 in his Christmas Oratorio and, as Hans Gruss convincingly explains, paid close attention to the preparation of the performance material in light of the repeated use of the new work. The final version of the cantata is recognizable in the parts of the Christmas Oratorio, states Gruss. The specifics of the later revision can thus be retraced. They have also entailed a number of editorial consequences which cast a new light on the Cantata BWV 213.
In our new edition of this often performed work, many details pertaining to performance-practical matters have been revised. $8.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Try Shawnee Press
Choral (Studiotrax CD) SKU: HL.35031968 By Pink. By Ben West and busbee. ...(+)
Choral (Studiotrax CD) SKU: HL.35031968 By Pink. By Ben West and busbee. Arranged by Ryan O'Connell. Shawnee Press. Pop. CD. Published by Shawnee Press (HL.35031968). ISBN 9781540015051. UPC: 888680723064. 5.0x5.0x0.15 inches. Recorded by Pink, this top-ten hit is a song about taking risks with love, no matter the consequences. Ryan O'Connell's sleek choral version captures the mood and style of Pink's recording with instrumental parts also available. $26.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Sonata in A major Op. 54 Clarinet and Piano Breitkopf & Härtel
Clarinet and piano SKU: BR.EB-8899 Composed by Adolf Busch. Edited by Bet...(+)
Clarinet and piano SKU: BR.EB-8899 Composed by Adolf Busch. Edited by Bettina Beigelbeck. Solo instruments; stapled. Edition Breitkopf. Sonata; Early modern. Score. 64 pages. Duration 28'. Breitkopf and Haertel #EB 8899. Published by Breitkopf and Haertel (BR.EB-8899). ISBN 9790004185261. 9 x 12 inches. Brahms, Reger and the consequences Adolph Busch had already emigrated to the United States when he wrote the A-Major Clarinet Sonata . Shortly thereafter he revised the work once again until it was completed in its final form in spring 1941. Busch, a brilliant and sought-after solo violinist of the 1920s and 30s, concertized regularly in England and had become friends there with the clarinetist Reginald Kells, to whom he also dedicated the piece in three movements. Demanding in its musical idiom and no doubt inspired by the expressive playing of his friend, the sonata evidences a strong proximity to the works of Brahms and Reger. A long and demanding piece, edited with great care - a valuable addition to the repertoire for A clarinet. (Luigi Magistrelli, The Clarinet). $42.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Der Froschkonig - Intermediate Carus Verlag
Children's Choir, Flute, 2 Trumpets, 2 Violins, Viola, Cello/Contrabass, Synthes...(+)
Children's Choir, Flute, 2 Trumpets, 2 Violins, Viola, Cello/Contrabass, Synthesizer, Keyboard - Level 3 SKU: CA.1241905 Operetta. Composed by Rainer Bohm. Carus book series: More music books. Musicals for children, Songs for children, Secular choral music. Choral Score. 20 pages. Duration 60 minutes. Carus Verlag #CV 12.419/05. Published by Carus Verlag (CA.1241905). ISBN 9790007028329. Language: German. Text: Timm, Gabriele. Text: Gabriele Timm. Rosalia, the youngest of the King's five daughters, is a very bright but unruly child. One day, when she lets her fathers orb fall into the well while juggling, the scheming Prime Minister smells his chance, marble statues come to life, little frogs dance the Can-Can, and the King needs Aspirin again. Rosalia rescues the day when she picks up a huge slimy frog and throws him against the wall as punishment for his impertenance. This simple act has the most amazing consequences ... Score available separately - see item CA.1241900. $9.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Megadeth: Capitol Punishment - The Megadeth Years Guitar notes and tablatures [Sheet music] - Intermediate Hal Leonard
Performed by Megadeth. For guitar and voice. Format: guitar tablature songbook. ...(+)
Performed by Megadeth. For guitar and voice. Format: guitar tablature songbook. With guitar tablature, standard notation, vocal melody, lyrics, chord names, guitar chord diagrams and guitar notation legend. Metal. Series: Hal Leonard Guitar Recorded Versions. 148 pages. 9x12 inches. Published by Hal Leonard.
(3)$22.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Cantata BWV 213 "Lasst uns sorgen, lasst uns wachen" Breitkopf & Härtel
Violin 2 (solos: SATB - choir: SATB - 0.2(ob d'am).0.0. - 2.0.0.0. - str - bc) <...(+)
Violin 2 (solos: SATB - choir: SATB - 0.2(ob d'am).0.0. - 2.0.0.0. - str - bc) SKU: BR.OB-4713-16 Herkules auf dem Scheideweg - Dramma per musica - Urtext. Composed by Johann Sebastian Bach. Edited by Hans Gruss. Choir; stapled. Orchester-Bibliothek (Orchestral Library). In our new edition of this often performed work, many details pertaining to performance-practical matters have been revised. Cantata; Baroque. Part. 8 pages. Duration 43'. Breitkopf and Haertel #OB 4713-16. Published by Breitkopf and Haertel (BR.OB-4713-16). ISBN 9790004333723. 10 x 12.5 inches. In our new edition of this often performed work, many details pertaining to performance-practical matters have been revised. It is known that Bach reused the music of Cantata BWV 213 in his Christmas Oratorio and, as Hans Gruss convincingly explains, paid close attention to the preparation of the performance material in light of the repeated use of the new work. The final version of the cantata is recognizable in the parts of the Christmas Oratorio, states Gruss. The specifics of the later revision can thus be retraced. They have also entailed a number of editorial consequences which cast a new light on the Cantata BWV 213.
In our new edition of this often performed work, many details pertaining to performance-practical matters have been revised. $8.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Psalm 47 Carl Fischer
Choral SSAA choir SKU: CF.CM9570 Composed by John Ratledge. Psalms 47 fro...(+)
Choral SSAA choir SKU: CF.CM9570 Composed by John Ratledge. Psalms 47 from the Bible. Jbc. Performance Score. With Standard notation. 8 pages. Duration 1 minute, 44 seconds. Carl Fischer Music #CM9570. Published by Carl Fischer Music (CF.CM9570). ISBN 9781491153581. UPC: 680160911080. 6.75 x 10.5 inches. Key: Bb major. Latin. Psalms 47 from the Bible. Psalm 47 was commissioned by the Sigma Alpha Iota Chapter of Hardin Simmons University (Abilene, Texas), Suzanne Watts, conductor, back in 1978. I was a graduate student at the time, and the premiere was a great success. Consequently, the work has received many performances since that time; however, it remained unpublished until now. In a modified tripartite structure, the psalmist uses the imperative verb tense as a command to the people: (you clap), (you shout), (you sing) to exemplify that praise and joy should be public, intelligent, cheerful, and constant. The psalmist admonishes that praise and joy are visual, aural, palpable, and most definitely contagious. The contrasting slow section with a soprano solo should be like an accompanied arioso, where the soloist is supported by lush, major/minor seventh chords in inversion (accompanied recitative). The soloist actually becomes the narrator in this section, the preacher or deliverer of the news that the people will be protected, sustained and blessed. The rapid tempo of the A-section returns and the staggered entrances in the last section/coda indicate the ecstasy knowing that belief can manifest itself in individualized, energized, emotional responses that can change the world. Rise up and claim the power of JOY!. Psalm 47A was commissioned by the Sigma Alpha Iota Chapter of Hardin Simmons University (Abilene, Texas), Suzanne Watts, conductor, back in 1978. I was a graduate student at the time, and the premiere was a great success. Consequently, the work has received many performances since that time; however, it remained unpublished until now. In a modified tripartite structure, the psalmist uses the imperative verb tense as a command to the people:A (you clap), (you shout), (you sing) to exemplify that praise and joy should be public, intelligent, cheerful, and constant. The psalmist admonishes that praise and joy are visual, aural, palpable, and most definitely contagious. The contrasting slow section with a soprano solo should be like an accompanied arioso, where the soloist is supported by lush, major/minor seventh chords in inversion (accompanied recitative). The soloist actually becomes the narrator in this section, the preacher or deliverer of the news that the people will be protected, sustained and blessed. The rapid tempo of the A-section returns and the staggered entrances in the last section/coda indicate the ecstasy knowing that belief can manifest itself in individualized, energized, emotional responses that can change the world. Rise up and claim the power of JOY!. Psalm 47 was commissioned by the Sigma Alpha Iota Chapter of Hardin Simmons University (Abilene, Texas), Suzanne Watts, conductor, back in 1978. I was a graduate student at the time, and the premiere was a great success. Consequently, the work has received many performances since that time; however, it remained unpublished until now. In a modified tripartite structure, the psalmist uses the imperative verb tense as a command to the people: (you clap), (you shout), (you sing) to exemplify that praise and joy should be public, intelligent, cheerful, and constant. The psalmist admonishes that praise and joy are visual, aural, palpable, and most definitely contagious. The contrasting slow section with a soprano solo should be like an accompanied arioso, where the soloist is supported by lush, major/minor seventh chords in inversion (accompanied recitative). The soloist actually becomes the narrator in this section, the preacher or deliverer of the news that the people will be protected, sustained and blessed. The rapid tempo of the A-section returns and the staggered entrances in the last section/coda indicate the ecstasy knowing that belief can manifest itself in individualized, energized, emotional responses that can change the world. Rise up and claim the power of JOY!. Psalm 47Â was commissioned by the Sigma Alpha Iota Chapter of Hardin Simmons University (Abilene, Texas), Suzanne Watts, conductor, back in 1978. I was a graduate student at the time, and the premiere was a great success. Consequently, the work has received many performances since that time; however, it remained unpublished until now.In a modified tripartite structure, the psalmist uses the imperative verb tense as a command to the people:Â (you clap), (you shout), (you sing) to exemplify that praise and joy should be public, intelligent, cheerful, and constant. The psalmist admonishes that praise and joy are visual, aural, palpable, and most definitely contagious. The contrasting slow section with a soprano solo should be like an accompanied arioso, where the soloist is supported by lush, major/minor seventh chords in inversion (accompanied recitative). The soloist actually becomes the narrator in this section, the preacher or deliverer of the news that the people will be protected, sustained and blessed. The rapid tempo of the A-section returns and the staggered entrances in the last section/coda indicate the ecstasy knowing that belief can manifest itself in individualized, energized, emotional responses that can change the world.Rise up and claim the power of JOY! $2.25 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| 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 | | |
| Classroom Management in the Music Room
Musical course - Solfege [Book] Kjos Music Company
( Pin-Drop Quiet Classes and Rehearsals). By David Newell. Textbook. 244 pages....(+)
( Pin-Drop Quiet Classes and Rehearsals). By David Newell. Textbook. 244 pages. Published by Neil A. Kjos Music Company
$29.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| The Violinist’s Daily Warm-Ups and Scale System 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 | | |
| Variations - Paris, 1846 Marching band Anglo Music
Fanfare Band - Grade 6 SKU: BT.AMP-423-020 A Bicentennial Tribute to A...(+)
Fanfare Band - Grade 6 SKU: BT.AMP-423-020 A Bicentennial Tribute to Adolphe Sax. Composed by Philip Sparke. Elite Series. Concert Piece. Set (Score & Parts). Composed 2017. Anglo Music Press #AMP 423-020. Published by Anglo Music Press (BT.AMP-423-020). English-German-French-Dutch. Variations Paris, 1846 was composed specifically for the 25th anniversary of ‘Brass-Aux-Saxes’ in 2014, coincidentally the 150th anniversary of Adolphe Sax, the inventor of the saxophone. As a result, Philip Sparke created this work to pay homage to Adolphe Sax. The work is a series of variations based on one original theme and gives the ‘fanfare orchestra’ a unique and rare setting you would usually only find in Belgium, the Netherlands and parts of Japan. Consequently, this shows all of the different aspects of the band through both colour and technique.
Variations Paris, 1846 werd geschreven voor het 25-jarig bestaan van Fanfareorkest Brass-aux-Saxes uit het Belgische Westerlo in 2014, dat toevallig samenviel met het tweehonderdste geboortejaar van Adolphe Sax, de uitvinder van de saxofoon. Componist Philip Sparke schreef dit werk als hommage aan Sax. Het werk bestaat uit een reeks variaties op een originele koraalmelodie. Het is geschreven voor fanfare een ensemble dat in België en Nederland veel voorkomt, en hier en daar ook in Japan en laat alle verschillende aspecten van het orkest horen, zowel in klankkleur als techniek.
Variations Paris, 1846 wurde anlässlich des 25-jährigen Jubiläums von Brass-Aux-Saxes im Jahr 2014 komponiert, in dem sich zufälligerweise auch der 200. Geburtstag von Adolphe Sax, dem Erfinder des Saxophons, jährte. Daher schrieb Philip Sparke eine Hommage an Adolphe Sax. Das Werk besteht aus einer Reihe von Variationen über ein Originalthema und bietet der Fanfare einer einzigartigen Besetzung, die man nur in Belgien, den Niederlanden und manchmal in Japan findet die Möglichkeit, die verschiedenen Facetten des Orchesters hinsichtlich seiner Klangfarben und technischen Möglichkeiten darzubieten.
Variations Paris, 1846 fut composé en 2014 l’occasion du 25e anniversaire de Brass-Aux-Saxes, qui co ncidait aussi avec le bicentenaire de la naissance du grand inventeur belge Adolphe Sax. Philip Sparke rend donc hommage Adolphe Sax avec cette œuvre basée sur une série de variations sur un thème original. Elle permet l’orchestre de fanfare (un regroupement rare que l’on ne retrouve qu’en Belgique, aux Pays-Bas et quelquefois au Japon) de mettre en valeur les différents aspects de la formation, tels que des couleurs variées et leur technique. $447.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Slavia Brass ensemble - Intermediate/advanced De Haske Publications
Brass Band - Grade 4 SKU: BT.DHP-0940575-030 Composed by Jan Van der Roos...(+)
Brass Band - Grade 4 SKU: BT.DHP-0940575-030 Composed by Jan Van der Roost. Inspiration Series. Concert Piece. Set (Score & Parts). Composed 1994. De Haske Publications #DHP 0940575-030. Published by De Haske Publications (BT.DHP-0940575-030). Jan Van der Roost originally composed each and every note of ‘Slavia’ (as in case in ‘Puszta’, ‘Rikudim’ and ‘A Highland Rhapsody’). Consequently, ‘Slavia’ does not contain any arrangement of existing tunes, but is an original composition ‘in the style of…’. The introduction has an ABA structure and exposes a broad melodic line. Following a short cadenza, there is a second movement in a fast and fiery tempo. The tempi increase, gradually culminating in an exciting final climax, making this ‘Slavonic Rhapsody’ a spell-binding experience to the very last note. $137.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Messiah - Carus Choir Coach Carus Verlag
SATB vocal soli, S(S)ATB choir, 2 oboes, 2 bassoons, 2 trumpets, timpani, 2 viol...(+)
SATB vocal soli, S(S)ATB choir, 2 oboes, 2 bassoons, 2 trumpets, timpani, 2 violins, viola, basso continuo SKU: CA.5505692 Composed by George Frideric Handel. Carus Choir Coach. Messiah.Ccc (3 Cds). Sacred vocal music, Oratorios. Compact Disc. Composed 1742. HWV 56. Duration 150 minutes. Carus Verlag #CV 55.056/92. Published by Carus Verlag (CA.5505692). Text language: English. Text: Jennens, Charles. George Frideric Handel is considered England's first and foremost composer of oratorios. Above all, the Messiah is regarded as the epitome of sacred music and in German-speaking countries it is also one of the most often performed works in the genre. The version of the Messiah which is most often performed today is a combination of various versions. Consequently, the present critical edition by Ton Koopman contains all the surviving alternative versions of the solo movements. A concordance makes it possible to assign these movements to those various performances of the work conducted by Handel between the Dublin premiere in 1742 and the London concerts which took place up to 1759. In accordance with the wishes voiced by many choral conductors and singers, the vocal score is available in separate English and German versions. Score available separately - see item CA.5505600. $26.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| 3 Miniatures String Quartet: 2 violins, viola, cello Music Sales
String Quartet SKU: HL.14036998 Composed by Per Norgard. Music Sales Amer...(+)
String Quartet SKU: HL.14036998 Composed by Per Norgard. Music Sales America. Classical. Set. 9 pages. Music Sales #KP00159. Published by Music Sales (HL.14036998). ISBN 9788759864876. Danish. Per Norgard THREE MINIATURES for string quartet (string quartet no. 3)The Three Miniatures for string quartet (composed 1959) has a consequent experimental structure that dictates every note in the three extremely short movements. Each member of the quartet thus plays his own little melody a certain (but different) number of times so that the brand new soundscopes constantly appear in spite of the unchanging parts, due to their different length. Per Norgard. $13.25 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Messa Breve For Mixed Choir (3 Voices Stb) And Organ Organ - Intermediate Schott
Mixed choir (STB) and organ - intermediate SKU: HL.49017835 For mixed ...(+)
Mixed choir (STB) and organ - intermediate SKU: HL.49017835 For mixed choir with 3 voices (STB) and organ. Composed by Nino Rota. This edition: Saddle stitching. Sheet music. Choral. Score. Composed 1961. 34 pages. Duration 16'. Schott Music #C52578. Published by Schott Music (HL.49017835). ISBN 9790001148672. UPC: 884088566845. 7.5x11.0x0.108 inches. Latin. Rota's Mass for choir and organ is published in two editions: for three-part mixed choir and for four-part male choir, each with organ. The organ part is identical in both editions. As a consequence, it is possible to perform the work with varying choir ensembles. The mass, with Latin text, is suitable both for amateur choirs and performance in small churches or concert halls. $12.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Hanon Complete for the Pianist Piano solo Santorella Publications
Hanon Complete for The Virtuoso Pianist composed by Charles-Louis Hanon. For pia...(+)
Hanon Complete for The Virtuoso Pianist composed by Charles-Louis Hanon. For piano. This edition: Paperback. Instructional. Exercises. Book. Text Language: English. 128 pages. Published by Santorella Publications
(1)$10.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Slavia Marching band - Intermediate/advanced De Haske Publications
Fanfare Band - Grade 4 SKU: BT.DHP-0940575-020 Composed by Jan Van der Ro...(+)
Fanfare Band - Grade 4 SKU: BT.DHP-0940575-020 Composed by Jan Van der Roost. Inspiration Series. Concert Piece. Set (Score & Parts). Composed 1994. De Haske Publications #DHP 0940575-020. Published by De Haske Publications (BT.DHP-0940575-020). Jan Van der Roost originally composed each and every note of ‘Slavia’ (as in case in ‘Puszta’, ‘Rikudim’ and ‘A Highland Rhapsody’). Consequently, ‘Slavia’ does not contain any arrangement of existing tunes, but is an original composition ‘in the style of…’. The introduction has an ABA structure and exposes a broad melodic line. Following a short cadenza, there is a second movement in a fast and fiery tempo. The tempi increase, gradually culminating in an exciting final climax, making this ‘Slavonic Rhapsody’ a spell-binding experience to the very last note. $211.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| David Carr Glover Method For Piano Sight Reading And Ear Training Level 2 Piano solo [Sheet music] Alfred Publishing
By E. L. Lancaster and Gayle Kowalchyk. David Carr Glover. For Piano. Piano meth...(+)
By E. L. Lancaster and Gayle Kowalchyk. David Carr Glover. For Piano. Piano method/supplement. Book. 56 pages. Published by Alfred Publishing.
$7.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Messiah Viola Carus Verlag
Viola SKU: CA.5505613 Composed by George Frideric Handel. Edited by Ton K...(+)
Viola SKU: CA.5505613 Composed by George Frideric Handel. Edited by Ton Koopman, Jan Siemons. Arranged by Siegfried Petrenz. This edition: urtext. Awards / Prizes: Deutscher Musikeditionspreis Best Edition. Awards / Prizes: Deutscher Musikeditionspreis Best Edition; Carus sheet music series: Vocal scores XL. Messiah Kart Ga-Format. Innovative practice aids, Sacred vocal music, Oratorios. Individual part. Composed 1742. HWV 56. 32 pages. Duration 150 minutes. Carus Verlag #CV 55.056/13. Published by Carus Verlag (CA.5505613). ISBN 9790007226763. Language: English/German. Text: Jennens, Charles. Text: Charles Jennens. George Frideric Handel is considered England's first and foremost composer of oratorios. Above all, the Messiah is regarded as the epitome of sacred music and in German-speaking countries it is also one of the most often performed works in the genre. The version of the Messiah which is most often performed today is a combination of various versions. Consequently, the present critical edition by Ton Koopman contains all the surviving alternative versions of the solo movements. A concordance makes it possible to assign these movements to those various performances of the work conducted by Handel between the Dublin premiere in 1742 and the London concerts which took place up to 1759. In accordance with the wishes voiced by many choral conductors and singers, the vocal score is available in separate English and German versions. Score and part available separately - see item CA.5505600. $14.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Frederick Stocken: Scale Shapes For Piano Grade 3 (Original Edition) Piano solo Chester
Piano Solo (Piano) SKU: HL.14028872 Music Sales America. Chester Music #C...(+)
Piano Solo (Piano) SKU: HL.14028872 Music Sales America. Chester Music #CH62986. Published by Chester Music (HL.14028872). Based on the requirements of the Associated Board of the Royal Schools of Music, Scale Shapes is an invaluable aid for grade exams and general progress, which uses a new diagram-based way to learn piano scales using the Stocken Method. The unique Keyboard Diagrams provide a system which allows the student to concentrate exclusively on the physical shapes of the technical exercise and in consequence, to focus on the acquisition of 'good legato, even fingers, firm tone and a musical curve'. This method is not designed to be a substitute for the acquisition of the ability to read staff notation, but the complications of staff notation are no longer linked to the physical complications of a given scale with this method. $11.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Color Concordia Concert band De Haske Publications
Concert Band (Score & Parts) - Level 3.5 SKU: HL.4008198 Fantasy Conce...(+)
Concert Band (Score & Parts) - Level 3.5 SKU: HL.4008198 Fantasy Concertante on “C(on)C(or)D(i)A†De Haske Concert & Contest Collection. Composed by Jan de Haan. De Haske Concert Band. Concert. Duration 620 seconds. De Haske Publications #033214. Published by De Haske Publications (HL.4008198). UPC: 196288137313. 9.0x12.0 inches. Concordia was the Roman goddess of concord or unity. To convey the unity among their musicians, many music societies over the years, including the band that commissioned this composition, have chosen this name. The literal translation of Color Concordia is color harmony. Consequently, the composer has gratefully used the many ranges of coloring of the concert band for the instrumentation of this work. He based the thematic material on the four note names in Concordia: C, C, D and A, resulting in a brilliant piece of music that will suit any band. $165.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| String Quartet No. 4 "chaconne" - Score And Parts String Quartet: 2 violins, viola, cello Schott
String quartet SKU: HL.49045639 Chaconne. Composed by Fred Lerdahl...(+)
String quartet SKU: HL.49045639 Chaconne. Composed by Fred Lerdahl. This edition: Saddle stitching. Sheet music. String Ensemble. Softcover. Composed 2016. 108 pages. Duration 990 seconds. Schott Music #ED 30174. Published by Schott Music (HL.49045639). ISBN 9781540004796. UPC: 888680710774. 9.5x12.0x0.37 inches. Chaconne (2016), for string quartet, was commissioned by the Daedalus Quartet to celebrate its 15th anniversary. The commission was supported by New Music USA, made possible by annual program support and/or endowment gifts from Pennsylvania Council on the Arts, Helen F. Whitaker Fund, and Aaron Copland Fund for Music.My music has a substantial history with Daedalus. I composed the Third String Quartet (2008) for them, and subsequently they performed my three string quartets on several occasions and recorded them brilliantly on Bridge Records (Bridge 9352: Music of Fred Lerdahl, vol. 3). Chaconne is in one movement lasting 19 minutes. It is effectively my fourth string quartet. Quartets 1-3 form a unified cycle lasting 70 minutes. When I finished the cycle, I thought I would never write again for the medium; yet I could not resist the opportunity of working again with Daedalus. The issue was how to compose another string quartet unrelated to the earlier cycle. The solution came from my solo cello piece There and Back Again (2010), which was based on a four-bar variation pattern from a 17th-century chaconne. Unlike the asymmetrical phrases and expanding variations of much of my music, the chaconne form requires symmetrical phrases and strictly periodic variations. I wished to work again with these symmetries but on a larger scale. Chaconne also differs in character and expression from the three-quartet cycle. The cycle is inward and intense, a kind of psychological excavation. Chaconne is, for the most part, transparent and playful. Many of its textures emerge from little canons, not completely unlike the rounds that children sing. Any composer who writes in chaconne form (one thinks above all of the last movement of Bach's D minor violin partita and the finale of Brahms's Fourth Symphony) is confronted with the challenge of how to create a larger form out of a constantly repeating pattern.My Chaconne grows from paired antecedent-consequent phrases, each variation lasting eight bars. The 50 variations group into three large rotations, forming three arcs of tension and relaxation, with subtle parallel connections across the rotations. Notwithstanding my attraction to chaconne form, I purposefully disguised its symmetries and periodicities in order to build an overall dramatic shape. Fred Lerdahl. $118.50 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Firebird Suite (L'Oiseau de feu / Der Feuervogel) Orchestra [Study Score / Miniature] Schott
Orchestra (Study Score) SKU: HL.49045788 Suite for Orchestra 1919 Edit...(+)
Orchestra (Study Score) SKU: HL.49045788 Suite for Orchestra 1919 Edition Eulenburg No. 1475. Composed by Igor Stravinsky. This edition: Paperback/Soft Cover. Sheet music. Study Score. Writing music to heighten dramatic situations, such as battle and crisis, was a speciality of Igor Stravinsky. In his ballet, The Firebird, premiered in 1910, the 27 year old composer surpassed many of today's film composers by depicting a breathtaking ba. Classical. Softcover. Composed 1919. 124 pages. Duration 1200 seconds. Schott Music #ETP1475. Published by Schott Music (HL.49045788). ISBN 9783795714567. UPC: 888680747985. 6.0x8.75x0.309 inches. Edition Eulenburg No. 1475. Igor Stravinsky's musical setting of the Slavic fable The Firebird is one of the most ground-breaking orchestral works of the early 20th century. The reviews of the world premiere of the ballet at the Theatre National de l'Opera in Paris lauded Stravinsky's 'dazzling music in all shades of colour'; as a consequence, he composed two orchestral suites of his ballet. The version of 1919 is now published as a new edition with a modern notation and new orchestral material. $34.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
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