| The New Guitar Big Book of Hits -- '50s and '60s Guitar notes and tablatures Alfred Publishing
(Guitar TAB). For Guitar. Book; Guitar Mixed Folio; Guitar TAB. The New Guitar T...(+)
(Guitar TAB). For Guitar. Book; Guitar Mixed Folio; Guitar TAB. The New Guitar TAB Big Book. Adult Contemporary; Folk; Pop; Pop/Rock; Rock. 264 pages. Published by Alfred Music
$24.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Orgelsinfonie No. 16 'Martin Luther' Organ - Advanced Schott
Organ - advanced SKU: HL.49045437 For Organ. Composed by Enjott Sc...(+)
Organ - advanced SKU: HL.49045437 For Organ. Composed by Enjott Schneider. This edition: Saddle stitching. Sheet music. Organ Large Works. Classical. Softcover. Composed 2016. 48 pages. Duration 24'. Schott Music #ED 22668. Published by Schott Music (HL.49045437). ISBN 9790001162715. UPC: 841886029088. 9.0x12.0x0.168 inches. On the occasion of the quincentenary of Reformation Day in 2017, the composer Enjott Schneider thoroughly studied Martin Luther the individual and all his contradictions. The result is a brilliant, demanding organ symphony which is perfect for concerts on the subject of Reformation and Martin Luther.The composer describes the five movements of the symphony as follows:'1st movement:Wir glauben all an einen Gott with its quintuplet-like beginning is very Gregorian in style, outlining the range of Lutheran emotionalism between the Middle Ages and the modern era. The irrationality of faith ultimately has priority over any thought and evidence. At the beginning of the movement, sounds of knocking on wood remind of the nailing of the Ninety-Five Theses to the doors of churches in Wittenberg. The chorale melody sometimes hides with an almost rough medieval saltarello, referring to Luther's robustness and vitality with which he knew to carry away even common people.2nd movement:In 1530, the electoral prince of Saxony presented to Luther at Coburg Castle the golden signet ring with the Luther rose which became the symbol of his theology of grace. A white heart with black cross is fixed on a five-petalled rose. To him, white is the colour of angels and ghosts, black stands for the pain of crucification: The just shall live by faith, but by faith in the Crucified. But the fact that the rose and the heart are the dominating symbols shows how Catholic Marian piety remained an ingredient of Luther's spirituality throughout his life. In line with the dominant five-petal structure of the rose, this movement was composed, to a large extent, in accordance with the floating, lyrical rhythm in 5/8 time.3rd movement:The omnipresence of death and dying - from the plague and war to the never-ending dangers of daily life - was an essential part of the world view of that time. Fears ensued that might heighten into the grotesque, e.g. in the pictures of Hieronymus Bosch. The Danse macabre was a popular motif in those years. Luther's chorale Mitten wir im Leben sind / mit dem Tod umfangen from 1524 (Enchiridion from Erfurt) is based on the Gregorian chant Media vita in morte sumus created in France around 750 and, with its idea of transience, inspired a simplistic air.4th movement:The famous confession delivered at the Diet of Worms in 1521, I stand here and can say no more. God help me. Amen, are not Luther's words but the version later used as text for a pamphlet. However, it represents quite plainly the straightforwardness and inevitability of his mission. Musically, it was made into a perpetuum mobile, i.e. a dogged, ostinato and never-ending musical air.5th movement:The Mighty Fortress, on the other hand, is one of the great symbols of Martin Luther which, with its shining C major key, embodies the Protestant ideology and willful nature of the Reformation unlike any other song. Heinrich Heine called it the Marseille anthem of the Reformation, Friedrich Engels the Marseillaise of the Peasants' Wars. This disputability is not thought through to the end but rather interrupted: With a jubilant birdcall version of the melody, the finale shows a rather chamber-music-like side of the ideals of freedom of Christians.'. $28.99 - See more - Buy online | | |
| Doors (score and parts) Percussion Ensemble C. Alan Publications
Composed by Dave Hall. Percussion Ensemble. For Percussion Ensemble (Crotales (2...(+)
Composed by Dave Hall. Percussion Ensemble. For Percussion Ensemble (Crotales (2 octaves) Vibraphone 1 Vibraphone 2 Bells (Double Seconds (Steel Pan) Tam-Tam) Marimba 1 (4-octave) (Small Triangle, Suspended Cymbal (shared with Marimba 3) Marimba 2 (4.3 or 5-octave) (Large Triangle, Suspended Cymbal (shared with Marimba 4) ). Medium difficult. Score and parts. Duration 9:30. Published by C. Alan Publications
$60.00 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| The Doors: The Doors Anthology
Piano, Vocal and Guitar [Sheet music] - Intermediate Hal Leonard
Performed by The Doors. For voice, piano and guitar chords. Format: piano/vocal/...(+)
Performed by The Doors. For voice, piano and guitar chords. Format: piano/vocal/chords songbook. With vocal melody, piano accompaniment, lyrics, chord names, guitar chord diagrams, introductory text and black and white photos. Classic rock and psychedelic rock. 412 pages. 9x12 inches. Published by Hal Leonard.
(14)$39.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Transposed Musician GIA Publications
SKU: GI.G-10049 Teaching Universal Skills to Improve Performance and B...(+)
SKU: GI.G-10049 Teaching Universal Skills to Improve Performance and Benefit Life. Composed by Dylan Savage. Music Education. 278 pages. GIA Publications #10049. Published by GIA Publications (GI.G-10049). ISBN 9781622774333. Music teachers know their students don’t just learn to play music, they are also exposed to universal life skills along the way. But that’s just part of the story. Currently, most students are largely left to learn these universal skills—like problem-solving, patience, focus, collaboration, critical thinking, creativity, and communication—on their own and often not very effectively. The Transposed Musician is a practical guide to teaching these universal skills within the context of a traditional music lesson. The results not only empower students to better confront the challenges of the twenty-first century, they significantly improve musicianship—a double benefit. Author Dylan Savage spent two decades refining his approach to teaching universal skills through music, and he shares them in this book. Each of the eight chapters of The Transposed Musician focuses on a specific universal skill (problem-solving, focus, patience, critical thinking, communication, collaboration, improvisation, and creativity) and shows how students can apply that skill to music. He then shows how teachers can guide those students to “transpose†that skill to life and back again to music with far deeper understanding and musicianship. With practical examples and clear writing, this book is for music educators wishing to help their students become both better musicians and also better-equipped citizens of the world. Students truly become “transposed musicians†for life and for music. Dylan Savage is Associate Professor of Piano at the University of North Carolina–Charlotte. He is also a Bösendorfer Concert Artist, a Capstone Records Recording Artist, and a winner of the Rome Festival Orchestra Competition. https://thetransposedmusician.com/ This book is priceless and contains a wealth of music teaching information that every teacher should apply to their studio. Dylan Savage’s use of universal skills transforms music teaching into a viable and essential part of education in the twenty-first-century. This teaching approach of using universal skills can revolutionize teaching music in both the private studio and college level and will give teachers a greater sense of purpose and satisfaction in their work. This book challenges many preconceived ideas about teaching music and mastering performance. Bravo for shaking up the status quo. —Randall Hartsell   Composer, Clinician, Teacher This book asks and explores fascinating questions about what it means to study music in a changing world. Are there skills we can learn in our music lessons which can enrich our lives in other non-musical areas, and then can we bring those expanded skills back into our study of music itself? Too often our conservatories are dead-ends, stuck with outdated, one-dimensional approaches which can lead to stunted personal development. This book suggests ways in which we can break down doors, for students and teachers alike, and celebrate music as something life-affirming, in and out of the studio. —Stephen Hough   Pianist, Composer, Writer Dylan Savage has given us a fresh and creative pedagogy to guide our music students toward life as twenty-first-century musicians. His career as pianist and teacher, and his firsthand experience in the marketplace of business and industry, allow him to forge a systematic approach to teaching universal skills in the music lesson. In each of the eight chapters, skills such as problem-solving, focus, critical thinking, collaboration, and improvisation are defined and applied to musical skills. These in turn are “transposed†to non-musical applications. We observe the music lessons and the active “transposition†or transfer of universal skills exemplified through descriptions of particular lessons. The anxieties, confusions, and ultimate comfort and understanding of students are guided by the questions of the teacher. The book is beautifully organized and is enriched by quotations of artists, musicians and philosophers, and suggested readings and references. I really think this is an important and helpful book with a point of view that is much needed. The empathy and knowledge of the author steer the reader toward the realities of today’s musical world, a world that requires skilled musicians to have universal skills that benefit their lives, regardless of their ultimate career paths. —Phyllis Alpert Lehrer   Professor Emerita, Westminster Choir College of Rider University   Artist Faculty, Westminster Conservatory In The Transposed Musician, Dylan Savage combines a visionary’s deep understanding of the challenges music students and teachers face with an eminently practical way to meet those challenges. Using a master teacher’s insight, Savage “transposes†eight potential stumbling blocks into eight universal skills that can be acquired through a beautifully organized, step-by-step approach. In turn, he shows how these skills can be applied to other areas in our rapidly changing world, helping us lead more satisfying, meaningful, and fulfilling lives, not only as musicians, but as human beings. For students and teachers alike, an inspired and inspiring book. —Barbara Lister-Sink, Ed.D.   Producer, Freeing the Caged Bird The Transposed Musician is an important contribution to our literature on teaching essential life skills including problem-solving, patience, focus, critical thinking, and creativity within the traditional music lesson. Teachers and students both can benefit from the study and application of these skills. Applications are made both to the traditional lesson as well as to non-music applications. —Jane Magrath   Pianist, Author, Teacher   University of Oklahoma Twenty-five hundred years ago Plato recommended music first in his ideal curriculum for potential leaders of Athens—before sport, mathematics, and moral philosophy. None of his candidates, one may assume, aspired to become a professional musician. Nevertheless, throughout centuries, otherwise people have acknowledged that the study and practice of music generates collateral benefits essential to human fulfillment. In his new book The Transposed Musician, Professor Dylan Savage of the University of North Carolina at Charlotte identifies eight of these benefits—Problem Solving, Focus, Patience, Critical Thinking, Communication, Collaboration, Improvisation, and Creativity—and calls them “universal skills†which may be developed consciously and systematically within the context of traditional music lessons. Doing so takes what has been implicit all along and makes it explicit. Music is good for us! Music teachers, even at the highest conservatory level, learn from Professor Savage that they are not so much professional trainers as guides to a happier, more successful life. —Dr. Joseph Robinson   Principal Oboe, New York Philharmonic (1978–2005)   Successful author, teacher, producer, and arts advocate Savage's excellent book couldn't be more timely, unique, clear, full of wisdom, and exactly what we need. As he points out, music teachers have known for generations—in a rather generalized way—that musical skills can strengthen life skills in many ways. Dylan Savage is the first to address this 'transposition' intentionally, with specific exercises in the transferrable skills. What better gift could there be for music students facing an ever-changing world? —William Westney   Award-winning concert pianist (Geneva Competition) and teacher   Author of The Perfect Wrong Note: Learning to Trust Your Musical Self. $22.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| The Doors: Best Of The Doors - Easy Guitar Melody line, Lyrics and Chords [Sheet music] - Easy Hal Leonard
Performed by The Doors. For guitar and voice. Format: easy guitar/vocal songbook...(+)
Performed by The Doors. For guitar and voice. Format: easy guitar/vocal songbook (no tablature). With standard notation, vocal melody, lyrics, chord names, guitar chord diagrams and strum patterns. Classic Rock and Psychedelic Rock. 64 pages. 9x12 inches. Published by Hal Leonard.
(1)$12.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Doors: The Doors - Easy Piano Piano, Voice [Sheet music] - Easy Hal Leonard
Performed by The Doors. For voice and piano. Format: easy piano/vocal/chords son...(+)
Performed by The Doors. For voice and piano. Format: easy piano/vocal/chords songbook. With vocal melody, piano accompaniment, lyrics and chord names. Classic rock and psychedelic rock. 94 pages. 9x12 inches. Published by Hal Leonard.
(5)$19.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Doors: The Doors For Guitar - Easy Guitar Guitar notes and tablatures [Sheet music] - Easy Hal Leonard
Performed by The Doors. Easy guitar tablature songbook for easy guitar and voice...(+)
Performed by The Doors. Easy guitar tablature songbook for easy guitar and voice. 63 pages. Published by Hal Leonard.
(2)$14.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Doors: The Doors Guitar notes and tablatures [Sheet music + CD] Hal Leonard
Performed by The Doors. For guitar and voice. Includes guitar tablature songbook...(+)
Performed by The Doors. For guitar and voice. Includes guitar tablature songbook and accompaniment CD. With standard guitar notation, guitar tablature, vocal melody, lyrics, chord names, guitar chord diagrams, guitar notation legend and strum and pick patterns. Classic rock and psychedelic rock. Series: Hal Leonard Signature Licks . 72 pages. 9x12 inches. Published by Hal Leonard.
(2)$22.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Doors on Tour Orchestra [Score and Parts] - Intermediate Alfred Publishing
(Featuring: Light My Fire / People Are Strange / Hello, I Love You). Composed by...(+)
(Featuring: Light My Fire / People Are Strange / Hello, I Love You). Composed by The Doors. Arranged by Patrick Roszell. Orchestra. Full Orchestra; Part(s); Score. Pop Concert Full Orchestra. Form: Medley. Rock. Grade 3. 226 pages. Published by Alfred Music
$72.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| The Doors on Tour Concert band [Score] - Intermediate Alfred Publishing
Featuring: Light My Fire / People Are Strange / Hello, I Love You. Compos...(+)
Featuring: Light My Fire / People Are Strange / Hello, I Love You. Composed by The Doors. Arranged by Patrick Roszell. Concert Band; Performance Music Ensemble; Single Titles. Pop Concert Band. Form: Medley. Rock. Score. 32 pages. Duration 4:45. Alfred Music #00-43142S. Published by Alfred Music (AP.43142S).
$10.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| The Doors on Tour Concert band [Score and Parts] - Intermediate Alfred Publishing
(Featuring: Light My Fire / People Are Strange / Hello, I Love You). Compose...(+)
(Featuring: Light My Fire /
People Are Strange / Hello,
I Love You). Composed by The
Doors. Arranged by Patrick
Roszell. Concert Band.
Concert Band; Part(s);
Score. Pop Concert Band.
Form: Medley. Rock. Grade 3.
Published by Alfred Music
$75.00 $71.25 (5% off) See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| String Quartet No. 3 String Quartet: 2 violins, viola, cello Theodore Presser Co.
String quartet String Quartet SKU: PR.16400272S Cassatt. Composed ...(+)
String quartet String Quartet SKU: PR.16400272S Cassatt. Composed by Dan Welcher. Premiere: Cassatt Quartet, Northeastern Illinois University, Chicago, IL. Contemporary. Full score. With Standard notation. Composed 2007. WRT11142. 52 pages. Duration 24 minutes. Theodore Presser Company #164-00272S. Published by Theodore Presser Company (PR.16400272S). UPC: 680160588442. 8.5 x 11 inches. My third quartet is laid out in a three-movement structure, with each movement based on an early, middle, and late work of the great American impressionist painter Mary Cassatt. Although the movements are separate, with full-stop endings, the music is connected by a common scale-form, derived from the name MARY CASSATT, and by a recurring theme that introduces all three movements. I see this theme as Mary's Theme, a personality that stays intact while undergoing gradual change. I The Bacchante (1876) [Pennsylvania Academy of Fine Arts, Philadelphia, Pennsylvania] The painting shows a young girl of Italian or Spanish origin, playing a small pair of cymbals. Since Cassatt was trying very hard to fit in at the French Academy at the time, she painted a lot of these subjects, which were considered typical and universal. The style of the painting doesn't yet show Cassatt's originality, except perhaps for certain details in the face. Accordingly the music for this movement is Spanish/Italian, in a similar period-style but using the musical signature described above. The music begins with Mary's Theme, ruminative and slow, then abruptly changes to an alla Spagnola-type fast 3/4 - 6/8 meter. It evokes the Spanish-influenced music of Ravel and Falla. Midway through, there's an accompanied recitative for the viola, which figures large in this particular movement, then back to a truncated recapitulation of the fast music. The overall feeling is of a well-made, rather conventional movement in a contemporary Spanish/Italian style. Cassatt's painting, too, is rather conventional. II At the Opera (1880) [Museum of Fine Arts, Boston, Massachusetts] This painting is one of Cassatt's most well known works, and it hangs in the Museum of Fine Arts in Boston. The painting shows a woman alone in a box at the opera house, completely dressed (including gloves) and looking through opera glasses at someone or something that is NOT on the stage. Across the auditorium from her, but exactly at eye level, is a gentleman with opera glasses intently watching her - though it is not him that she's looking at. It's an intriguing picture. This movement is far less conventional than the first movement, as the painting is far less conventional. The music begins with a rapid, Shostakovich-type mini-overture lasting less than a minute, based on Mary's Theme. My conjecture is that the woman in the painting has arrived late to the opera, busily stumbling into her box. What happens next is a kind of collage, a kind of surrealistic overlaying of two different elements: the foreground music, at first is a direct quotation of Soldier's Chorus from Gounod's FAUST (an opera Cassatt would certainly have heard in the brand-new Paris Opera House at that time), played by Violin II, Viola, and Cello. This music is played sul ponticello in the melody and col legno in the marching accompaniment. On top of this, the first violin hovers at first on a high harmonic, then descends into a slow melody, completely separate from the Gounod. It's as if the woman in the painting is hearing the opera onstage but is not really interested in it. Then the cello joins the first violin in a kind of love-duet (just the two of them, at first). This music isn't at all Gounod-derived; it's entirely from the same scale patterns as the first movement and derives from Mary's Theme and its scale. The music stays in a kind of dichotomy feeling, usually three-against-one, until the end of the movement, when another Gounod melody, Valentin's aria Avant de quitter ce lieux reappears in a kind of coda for all four players. It ends atmospherically and emotionally disconnected, however. The overall feeling is a kind of schizophrenic, opera-inspired dream. III Young Woman in Green, Outdoors in the Sun (1909) [Worcester Art Museum, Massachusetts] The painting, one of Cassatt's last, is very simple: just a figure, looking sideways out of the picture. The colors are pastel and yet bold - and the woman is likewise very self-assured and not in the least demure. It is eight minutes long, and is all about melody - three melodies, to be exact (Young Woman, Green, and Sunlight). No angst, no choppy rhythms, just ever-unfolding melody and lush harmonies. I quote one other French composer here, too: Debussy's song Green, from Ariettes Oubliees. 1909 would have been Debussy's heyday in Paris, and it makes perfect sense musically as well as visually to do this. Mary Cassatt lived her last several years in near-total blindness, and as she lost visual acuity, her work became less sharply defined - something akin to late water lilies of Monet, who suffered similar vision loss. My idea of making this movement entirely melodic was compounded by having each of the three melodies appear twice, once in a pure form, and the second time in a more diffuse setting. This makes an interesting two ways form: A-B-C-A1-B1-C1. String Quartet No.3 (Cassatt) is dedicated, with great affection and respect, to the Cassatt String Quartet, whose members have dedicated themselves in large measure to the furthering of the contemporary repertoire for quartet. $38.99 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| String Quartet No. 3 String Quartet: 2 violins, viola, cello Theodore Presser Co.
Chamber Music String Quartet SKU: PR.164002720 Cassatt. Composed b...(+)
Chamber Music String Quartet SKU: PR.164002720 Cassatt. Composed by Dan Welcher. Spiral and Saddle. Premiere: Cassatt Quartet, Northeastern Illinois University, Chicago, IL. Contemporary. Set of Score and Parts. With Standard notation. Composed 2007. WRT11142. 52+16+16+16+16 pages. Duration 24 minutes. Theodore Presser Company #164-00272. Published by Theodore Presser Company (PR.164002720). UPC: 680160573042. 8.5 x 11 inches. My third quartet is laid out in a three-movement structure, with each movement based on an early, middle, and late work of the great American impressionist painter Mary Cassatt. Although the movements are separate, with full-stop endings, the music is connected by a common scale-form, derived from the name MARY CASSATT, and by a recurring theme that introduces all three movements. I see this theme as Mary's Theme, a personality that stays intact while undergoing gradual change. I The Bacchante (1876) [Pennsylvania Academy of Fine Arts, Philadelphia, Pennsylvania] The painting shows a young girl of Italian or Spanish origin, playing a small pair of cymbals. Since Cassatt was trying very hard to fit in at the French Academy at the time, she painted a lot of these subjects, which were considered typical and universal. The style of the painting doesn't yet show Cassatt's originality, except perhaps for certain details in the face. Accordingly the music for this movement is Spanish/Italian, in a similar period-style but using the musical signature described above. The music begins with Mary's Theme, ruminative and slow, then abruptly changes to an alla Spagnola-type fast 3/4 - 6/8 meter. It evokes the Spanish-influenced music of Ravel and Falla. Midway through, there's an accompanied recitative for the viola, which figures large in this particular movement, then back to a truncated recapitulation of the fast music. The overall feeling is of a well-made, rather conventional movement in a contemporary Spanish/Italian style. Cassatt's painting, too, is rather conventional. II At the Opera (1880) [Museum of Fine Arts, Boston, Massachusetts] This painting is one of Cassatt's most well known works, and it hangs in the Museum of Fine Arts in Boston. The painting shows a woman alone in a box at the opera house, completely dressed (including gloves) and looking through opera glasses at someone or something that is NOT on the stage. Across the auditorium from her, but exactly at eye level, is a gentleman with opera glasses intently watching her - though it is not him that she's looking at. It's an intriguing picture. This movement is far less conventional than the first movement, as the painting is far less conventional. The music begins with a rapid, Shostakovich-type mini-overture lasting less than a minute, based on Mary's Theme. My conjecture is that the woman in the painting has arrived late to the opera, busily stumbling into her box. What happens next is a kind of collage, a kind of surrealistic overlaying of two different elements: the foreground music, at first is a direct quotation of Soldier's Chorus from Gounod's FAUST (an opera Cassatt would certainly have heard in the brand-new Paris Opera House at that time), played by Violin II, Viola, and Cello. This music is played sul ponticello in the melody and col legno in the marching accompaniment. On top of this, the first violin hovers at first on a high harmonic, then descends into a slow melody, completely separate from the Gounod. It's as if the woman in the painting is hearing the opera onstage but is not really interested in it. Then the cello joins the first violin in a kind of love-duet (just the two of them, at first). This music isn't at all Gounod-derived; it's entirely from the same scale patterns as the first movement and derives from Mary's Theme and its scale. The music stays in a kind of dichotomy feeling, usually three-against-one, until the end of the movement, when another Gounod melody, Valentin's aria Avant de quitter ce lieux reappears in a kind of coda for all four players. It ends atmospherically and emotionally disconnected, however. The overall feeling is a kind of schizophrenic, opera-inspired dream. III Young Woman in Green, Outdoors in the Sun (1909) [Worcester Art Museum, Massachusetts] The painting, one of Cassatt's last, is very simple: just a figure, looking sideways out of the picture. The colors are pastel and yet bold - and the woman is likewise very self-assured and not in the least demure. It is eight minutes long, and is all about melody - three melodies, to be exact (Young Woman, Green, and Sunlight). No angst, no choppy rhythms, just ever-unfolding melody and lush harmonies. I quote one other French composer here, too: Debussy's song Green, from Ariettes Oubliees. 1909 would have been Debussy's heyday in Paris, and it makes perfect sense musically as well as visually to do this. Mary Cassatt lived her last several years in near-total blindness, and as she lost visual acuity, her work became less sharply defined - something akin to late water lilies of Monet, who suffered similar vision loss. My idea of making this movement entirely melodic was compounded by having each of the three melodies appear twice, once in a pure form, and the second time in a more diffuse setting. This makes an interesting two ways form: A-B-C-A1-B1-C1. String Quartet No.3 (Cassatt) is dedicated, with great affection and respect, to the Cassatt String Quartet, whose members have dedicated themselves in large measure to the furthering of the contemporary repertoire for quartet. $53.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| The Doors Guitar [Sheet music] Hal Leonard
By The Doors. Guitar Chord Songbook. Softcover. 128 pages. Published by Hal Leon...(+)
By The Doors. Guitar Chord Songbook. Softcover. 128 pages. Published by Hal Leonard.
(1)$22.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Doors - Really Easy Guitar Series Lyrics and Chords Hal Leonard
22 Songs with Chords, Lyrics and Basic Tab. By The Doors. Really Easy Guitar. ...(+)
22 Songs with Chords, Lyrics
and Basic Tab. By The Doors.
Really Easy Guitar. Pop,
Rock. Softcover. 48 pages.
Published by Hal Leonard
$9.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Doors (Deluxe Guitar Play-Along Volume 25) Guitar notes and tablatures [Sheet music + Audio access] Hal Leonard
Deluxe Guitar Play-Along Volume 25. By The Doors. Deluxe Guitar Play-Along. Po...(+)
Deluxe Guitar Play-Along
Volume 25. By The Doors.
Deluxe Guitar Play-Along. Pop,
Rock. Softcover Audio Online.
Published by Hal Leonard
$19.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Doors for Ukulele Ukulele Hal Leonard | | |
| The Doors: Anthology Guitar notes and tablatures [Sheet music] Hal Leonard
Performed by The Doors. For guitar and voice. Format: guitar tablature songbook....(+)
Performed by The Doors. For guitar and voice. Format: guitar tablature songbook. With guitar tablature, standard notation, vocal melody, lyrics, chord names, introductory text and black
(5)$22.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Doors B Flat, E Flat, C and Bass clef Instruments [Sheet music + CD] Hal Leonard
Jazz Play-Along Volume 70. By The Doors. Jazz Play Along. Softcover with CD. 56 ...(+)
Jazz Play-Along Volume 70. By The Doors. Jazz Play Along. Softcover with CD. 56 pages. Published by Hal Leonard.
(1)$14.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Doors Drum Play-Along Volume 14 Drums [Sheet music + CD] Hal Leonard
Drum Play-Along Volume 14. By The Doors. Drum Play-Along. Softcover with CD. Pub...(+)
Drum Play-Along Volume 14. By The Doors. Drum Play-Along. Softcover with CD. Published by Hal Leonard.
$19.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
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