| Do-It-Yourself Flute Flute [Sheet music + Audio access] - Beginner Hal Leonard
The Best Step-by-Step Guide to Start Playing. Do It Yourself. Instruction, M...(+)
The Best Step-by-Step Guide to
Start Playing. Do It Yourself.
Instruction, Method. Softcover
Media Online. 128 pages.
Published by Hal Leonard
$24.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Acadia Theodore Presser Co.
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clar...(+)
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clarinet 3, Contrabass Clarinet, Contrabassoon, Double Bass, English Horn, Euphonium, Flute 1, Flute 2, Horn 1, Horn 2, Horn 3, Horn 4, Oboe 1, Oboe 2, Percussion 1 and more. SKU: PR.16500103F Mvt. 3 from Symphony No. 6 (Three Places in the East). Composed by Dan Welcher. Full score. 60 pages. Theodore Presser Company #165-00103F. Published by Theodore Presser Company (PR.16500103F). ISBN 9781491131763. UPC: 680160680290. Ever since the success of my series of wind ensemble works Places in the West, I've been wanting to write a companion piece for national parks on the other side of the north American continent. The earlier work, consisting of GLACIER, THE YELLOWSTONE FIRES, ARCHES, and ZION, spanned some twenty years of my composing life, and since the pieces called for differing groups of instruments, and were in slightly different styles from each other, I never considered them to be connected except in their subject matter. In their depiction of both the scenery and the human history within these wondrous places, they had a common goal: awaking the listener to the fragile beauty that is in them; and calling attention to the ever more crucial need for preservation and protection of these wild places, unique in all the world. With this new work, commissioned by a consortium of college and conservatory wind ensembles led by the University of Georgia, I decided to build upon that same model---but to solidify the process. The result, consisting of three movements (each named for a different national park in the eastern US), is a bona-fide symphony. While the three pieces could be performed separately, they share a musical theme---and also a common style and instrumentation. It is a true symphony, in that the first movement is long and expository, the second is a rather tightly structured scherzo-with-trio, and the finale is a true culmination of the whole. The first movement, Everglades, was the original inspiration for the entire symphony. Conceived over the course of two trips to that astonishing place (which the native Americans called River of Grass, the subtitle of this movement), this movement not only conveys a sense of the humid, lush, and even frightening scenery there---but also an overview of the entire settling-of- Florida experience. It contains not one, but two native American chants, and also presents a view of the staggering influence of modern man on this fragile part of the world. Beginning with a slow unfolding marked Heavy, humid, the music soon presents a gentle, lyrical theme in the solo alto saxophone. This theme, which goes through three expansive phrases with breaks in between, will appear in all three movements of the symphony. After the mood has been established, the music opens up to a rich, warm setting of a Cherokee morning song, with the simple happiness that this part of Florida must have had prior to the nineteenth century. This music, enveloping and comforting, gradually gives way to a more frenetic, driven section representative of the intrusion of the white man. Since Florida was populated and developed largely due to the introduction of a train system, there's a suggestion of the mechanized iron horse driving straight into the heartland. At that point, the native Americans become considerably less gentle, and a second chant seems to stand in the way of the intruder; a kind of warning song. The second part of this movement shows us the great swampy center of the peninsula, with its wildlife both in and out of the water. A new theme appears, sad but noble, suggesting that this land is precious and must be protected by all the people who inhabit it. At length, the morning song reappears in all its splendor, until the sunset---with one last iteration of the warning song in the solo piccolo. Functioning as a scherzo, the second movement, Great Smoky Mountains, describes not just that huge park itself, but one brave soul's attempt to climb a mountain there. It begins with three iterations of the UR-theme (which began the first movement as well), but this time as up-tempo brass fanfares in octaves. Each time it begins again, the theme is a little slower and less confident than the previous time---almost as though the hiker were becoming aware of the daunting mountain before him. But then, a steady, quick-pulsed ostinato appears, in a constantly shifting meter system of 2/4- 3/4 in alteration, and the hike has begun. Over this, a slower new melody appears, as the trek up the mountain progresses. It's a big mountain, and the ascent seems to take quite awhile, with little breaks in the hiker's stride, until at length he simply must stop and rest. An oboe solo, over several free cadenza-like measures, allows us (and our friend the hiker) to catch our breath, and also to view in the distance the rocky peak before us. The goal is somehow even more daunting than at first, being closer and thus more frighteningly steep. When we do push off again, it's at a slower pace, and with more careful attention to our footholds as we trek over broken rocks. Tantalizing little views of the valley at every switchback make our determination even stronger. Finally, we burst through a stand of pines and----we're at the summit! The immensity of the view is overwhelming, and ultimately humbling. A brief coda, while we sit dazed on the rocks, ends the movement in a feeling of triumph. The final movement, Acadia, is also about a trip. In the summer of 2014, I took a sailing trip with a dear friend from North Haven, Maine, to the southern coast of Mt. Desert Island in Acadia National Park. The experience left me both exuberant and exhausted, with an appreciation for the ocean that I hadn't had previously. The approach to Acadia National Park by water, too, was thrilling: like the difference between climbing a mountain on foot with riding up on a ski-lift, I felt I'd earned the right to be there. The music for this movement is entirely based on the opening UR-theme. There's a sense of the water and the mysterious, quiet deep from the very beginning, with seagulls and bell buoys setting the scene. As we leave the harbor, the theme (in a canon between solo euphonium and tuba) almost seems as if large subaquatic animals are observing our departure. There are three themes (call them A, B and C) in this seafaring journey---but they are all based on the UR theme, in its original form with octaves displaced, in an upside-down form, and in a backwards version as well. (The ocean, while appearing to be unchanging, is always changing.) We move out into the main channel (A), passing several islands (B), until we reach the long draw that parallels the coastline called Eggemoggin Reach, and a sudden burst of new speed (C). Things suddenly stop, as if the wind had died, and we have a vision: is that really Mt. Desert Island we can see off the port bow, vaguely in the distance? A chorale of saxophones seems to suggest that. We push off anew as the chorale ends, and go through all three themes again---but in different instrumentations, and different keys. At the final tack-turn, there it is, for real: Mt. Desert Island, big as life. We've made it. As we pull into the harbor, where we'll secure the boat for the night, there's a feeling of achievement. Our whale and dolphin friends return, and we end our journey with gratitude and celebration. I am profoundly grateful to Jaclyn Hartenberger, Professor of Conducting at the University of Georgia, for leading the consortium which provided the commissioning of this work. $39.99 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Great Smoky Mountains Theodore Presser Co.
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clar...(+)
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clarinet 3, Contrabass Clarinet, Contrabassoon, Double Bass, English Horn, Euphonium, Flute 1, Flute 2, Horn 1, Horn 2, Horn 3, Horn 4, Oboe 1, Oboe 2, Percussion 1 and more. SKU: PR.16500102F Mvt. 2 from Symphony No. 6 (Three Places in the East). Composed by Dan Welcher. Full score. 52 pages. Theodore Presser Company #165-00102F. Published by Theodore Presser Company (PR.16500102F). ISBN 9781491131749. UPC: 680160680276. Ever since the success of my series of wind ensemble works Places in the West, I've been wanting to write a companion piece for national parks on the other side of the north American continent. The earlier work, consisting of GLACIER, THE YELLOWSTONE FIRES, ARCHES, and ZION, spanned some twenty years of my composing life, and since the pieces called for differing groups of instruments, and were in slightly different styles from each other, I never considered them to be connected except in their subject matter. In their depiction of both the scenery and the human history within these wondrous places, they had a common goal: awaking the listener to the fragile beauty that is in them; and calling attention to the ever more crucial need for preservation and protection of these wild places, unique in all the world. With this new work, commissioned by a consortium of college and conservatory wind ensembles led by the University of Georgia, I decided to build upon that same model---but to solidify the process. The result, consisting of three movements (each named for a different national park in the eastern US), is a bona-fide symphony. While the three pieces could be performed separately, they share a musical theme---and also a common style and instrumentation. It is a true symphony, in that the first movement is long and expository, the second is a rather tightly structured scherzo-with-trio, and the finale is a true culmination of the whole. The first movement, Everglades, was the original inspiration for the entire symphony. Conceived over the course of two trips to that astonishing place (which the native Americans called River of Grass, the subtitle of this movement), this movement not only conveys a sense of the humid, lush, and even frightening scenery there---but also an overview of the entire settling-of- Florida experience. It contains not one, but two native American chants, and also presents a view of the staggering influence of modern man on this fragile part of the world. Beginning with a slow unfolding marked Heavy, humid, the music soon presents a gentle, lyrical theme in the solo alto saxophone. This theme, which goes through three expansive phrases with breaks in between, will appear in all three movements of the symphony. After the mood has been established, the music opens up to a rich, warm setting of a Cherokee morning song, with the simple happiness that this part of Florida must have had prior to the nineteenth century. This music, enveloping and comforting, gradually gives way to a more frenetic, driven section representative of the intrusion of the white man. Since Florida was populated and developed largely due to the introduction of a train system, there's a suggestion of the mechanized iron horse driving straight into the heartland. At that point, the native Americans become considerably less gentle, and a second chant seems to stand in the way of the intruder; a kind of warning song. The second part of this movement shows us the great swampy center of the peninsula, with its wildlife both in and out of the water. A new theme appears, sad but noble, suggesting that this land is precious and must be protected by all the people who inhabit it. At length, the morning song reappears in all its splendor, until the sunset---with one last iteration of the warning song in the solo piccolo. Functioning as a scherzo, the second movement, Great Smoky Mountains, describes not just that huge park itself, but one brave soul's attempt to climb a mountain there. It begins with three iterations of the UR-theme (which began the first movement as well), but this time as up-tempo brass fanfares in octaves. Each time it begins again, the theme is a little slower and less confident than the previous time---almost as though the hiker were becoming aware of the daunting mountain before him. But then, a steady, quick-pulsed ostinato appears, in a constantly shifting meter system of 2/4- 3/4 in alteration, and the hike has begun. Over this, a slower new melody appears, as the trek up the mountain progresses. It's a big mountain, and the ascent seems to take quite awhile, with little breaks in the hiker's stride, until at length he simply must stop and rest. An oboe solo, over several free cadenza-like measures, allows us (and our friend the hiker) to catch our breath, and also to view in the distance the rocky peak before us. The goal is somehow even more daunting than at first, being closer and thus more frighteningly steep. When we do push off again, it's at a slower pace, and with more careful attention to our footholds as we trek over broken rocks. Tantalizing little views of the valley at every switchback make our determination even stronger. Finally, we burst through a stand of pines and----we're at the summit! The immensity of the view is overwhelming, and ultimately humbling. A brief coda, while we sit dazed on the rocks, ends the movement in a feeling of triumph. The final movement, Acadia, is also about a trip. In the summer of 2014, I took a sailing trip with a dear friend from North Haven, Maine, to the southern coast of Mt. Desert Island in Acadia National Park. The experience left me both exuberant and exhausted, with an appreciation for the ocean that I hadn't had previously. The approach to Acadia National Park by water, too, was thrilling: like the difference between climbing a mountain on foot with riding up on a ski-lift, I felt I'd earned the right to be there. The music for this movement is entirely based on the opening UR-theme. There's a sense of the water and the mysterious, quiet deep from the very beginning, with seagulls and bell buoys setting the scene. As we leave the harbor, the theme (in a canon between solo euphonium and tuba) almost seems as if large subaquatic animals are observing our departure. There are three themes (call them A, B and C) in this seafaring journey---but they are all based on the UR theme, in its original form with octaves displaced, in an upside-down form, and in a backwards version as well. (The ocean, while appearing to be unchanging, is always changing.) We move out into the main channel (A), passing several islands (B), until we reach the long draw that parallels the coastline called Eggemoggin Reach, and a sudden burst of new speed (C). Things suddenly stop, as if the wind had died, and we have a vision: is that really Mt. Desert Island we can see off the port bow, vaguely in the distance? A chorale of saxophones seems to suggest that. We push off anew as the chorale ends, and go through all three themes again---but in different instrumentations, and different keys. At the final tack-turn, there it is, for real: Mt. Desert Island, big as life. We've made it. As we pull into the harbor, where we'll secure the boat for the night, there's a feeling of achievement. Our whale and dolphin friends return, and we end our journey with gratitude and celebration. I am profoundly grateful to Jaclyn Hartenberger, Professor of Conducting at the University of Georgia, for leading the consortium which provided the commissioning of this work. $36.99 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Everglades (River of Grass) Theodore Presser Co.
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clar...(+)
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clarinet 3, Contrabass Clarinet, Contrabassoon, Double Bass, English Horn, Euphonium, Flute 1, Flute 2, Horn 1, Horn 2, Horn 3, Horn 4, Oboe 1, Oboe 2, Percussion 1 and more. SKU: PR.16500101F Mvt. 1 from Symphony No. 6 (Three Places in the East). Composed by Dan Welcher. Full score. 52 pages. Theodore Presser Company #165-00101F. Published by Theodore Presser Company (PR.16500101F). ISBN 9781491131725. UPC: 680160680252. Ever since the success of my series of wind ensemble works Places in the West, I've been wanting to write a companion piece for national parks on the other side of the north American continent. The earlier work, consisting of GLACIER, THE YELLOWSTONE FIRES, ARCHES, and ZION, spanned some twenty years of my composing life, and since the pieces called for differing groups of instruments, and were in slightly different styles from each other, I never considered them to be connected except in their subject matter. In their depiction of both the scenery and the human history within these wondrous places, they had a common goal: awaking the listener to the fragile beauty that is in them; and calling attention to the ever more crucial need for preservation and protection of these wild places, unique in all the world. With this new work, commissioned by a consortium of college and conservatory wind ensembles led by the University of Georgia, I decided to build upon that same model---but to solidify the process. The result, consisting of three movements (each named for a different national park in the eastern US), is a bona-fide symphony. While the three pieces could be performed separately, they share a musical theme---and also a common style and instrumentation. It is a true symphony, in that the first movement is long and expository, the second is a rather tightly structured scherzo-with-trio, and the finale is a true culmination of the whole. The first movement, Everglades, was the original inspiration for the entire symphony. Conceived over the course of two trips to that astonishing place (which the native Americans called River of Grass, the subtitle of this movement), this movement not only conveys a sense of the humid, lush, and even frightening scenery there---but also an overview of the entire settling-of- Florida experience. It contains not one, but two native American chants, and also presents a view of the staggering influence of modern man on this fragile part of the world. Beginning with a slow unfolding marked Heavy, humid, the music soon presents a gentle, lyrical theme in the solo alto saxophone. This theme, which goes through three expansive phrases with breaks in between, will appear in all three movements of the symphony. After the mood has been established, the music opens up to a rich, warm setting of a Cherokee morning song, with the simple happiness that this part of Florida must have had prior to the nineteenth century. This music, enveloping and comforting, gradually gives way to a more frenetic, driven section representative of the intrusion of the white man. Since Florida was populated and developed largely due to the introduction of a train system, there's a suggestion of the mechanized iron horse driving straight into the heartland. At that point, the native Americans become considerably less gentle, and a second chant seems to stand in the way of the intruder; a kind of warning song. The second part of this movement shows us the great swampy center of the peninsula, with its wildlife both in and out of the water. A new theme appears, sad but noble, suggesting that this land is precious and must be protected by all the people who inhabit it. At length, the morning song reappears in all its splendor, until the sunset---with one last iteration of the warning song in the solo piccolo. Functioning as a scherzo, the second movement, Great Smoky Mountains, describes not just that huge park itself, but one brave soul's attempt to climb a mountain there. It begins with three iterations of the UR-theme (which began the first movement as well), but this time as up-tempo brass fanfares in octaves. Each time it begins again, the theme is a little slower and less confident than the previous time---almost as though the hiker were becoming aware of the daunting mountain before him. But then, a steady, quick-pulsed ostinato appears, in a constantly shifting meter system of 2/4- 3/4 in alteration, and the hike has begun. Over this, a slower new melody appears, as the trek up the mountain progresses. It's a big mountain, and the ascent seems to take quite awhile, with little breaks in the hiker's stride, until at length he simply must stop and rest. An oboe solo, over several free cadenza-like measures, allows us (and our friend the hiker) to catch our breath, and also to view in the distance the rocky peak before us. The goal is somehow even more daunting than at first, being closer and thus more frighteningly steep. When we do push off again, it's at a slower pace, and with more careful attention to our footholds as we trek over broken rocks. Tantalizing little views of the valley at every switchback make our determination even stronger. Finally, we burst through a stand of pines and----we're at the summit! The immensity of the view is overwhelming, and ultimately humbling. A brief coda, while we sit dazed on the rocks, ends the movement in a feeling of triumph. The final movement, Acadia, is also about a trip. In the summer of 2014, I took a sailing trip with a dear friend from North Haven, Maine, to the southern coast of Mt. Desert Island in Acadia National Park. The experience left me both exuberant and exhausted, with an appreciation for the ocean that I hadn't had previously. The approach to Acadia National Park by water, too, was thrilling: like the difference between climbing a mountain on foot with riding up on a ski-lift, I felt I'd earned the right to be there. The music for this movement is entirely based on the opening UR-theme. There's a sense of the water and the mysterious, quiet deep from the very beginning, with seagulls and bell buoys setting the scene. As we leave the harbor, the theme (in a canon between solo euphonium and tuba) almost seems as if large subaquatic animals are observing our departure. There are three themes (call them A, B and C) in this seafaring journey---but they are all based on the UR theme, in its original form with octaves displaced, in an upside-down form, and in a backwards version as well. (The ocean, while appearing to be unchanging, is always changing.) We move out into the main channel (A), passing several islands (B), until we reach the long draw that parallels the coastline called Eggemoggin Reach, and a sudden burst of new speed (C). Things suddenly stop, as if the wind had died, and we have a vision: is that really Mt. Desert Island we can see off the port bow, vaguely in the distance? A chorale of saxophones seems to suggest that. We push off anew as the chorale ends, and go through all three themes again---but in different instrumentations, and different keys. At the final tack-turn, there it is, for real: Mt. Desert Island, big as life. We've made it. As we pull into the harbor, where we'll secure the boat for the night, there's a feeling of achievement. Our whale and dolphin friends return, and we end our journey with gratitude and celebration. I am profoundly grateful to Jaclyn Hartenberger, Professor of Conducting at the University of Georgia, for leading the consortium which provided the commissioning of this work. $36.99 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Big Book of Christmas Songs for Flute Hal Leonard
By Various Composers. Instrumental Folio. Size 9x12 inches. 146 pages. Published...(+)
By Various Composers. Instrumental Folio. Size 9x12 inches. 146 pages. Published by Hal Leonard.
(6)$17.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| World Music Songbook Piano, Vocal and Guitar [Sheet music] Hal Leonard
(More Than 100 Folk Songs from Countries Across the Globe). By Various. Pian...(+)
(More Than 100 Folk Songs from
Countries Across the Globe).
By Various. Piano/Vocal/Guitar
Songbook. Softcover. 248
pages. Published by Hal
Leonard
$19.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| 101 Peaceful Melodies Flute Hal Leonard
For Flute. By Various. Instrumental Folio. Classics, Pop, Standards. Softcover...(+)
For Flute. By Various.
Instrumental Folio. Classics,
Pop, Standards. Softcover. 104
pages. Published by Hal
Leonard
$17.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Traditional: All Through The Night Flute Trio: 3 flutes - Intermediate Kendor Music Inc.
By Traditional. Arranged by Christensen. For 3 flutes. Flute Trio. Level: Grade ...(+)
By Traditional. Arranged by Christensen. For 3 flutes. Flute Trio. Level: Grade 3. Published by Kendor Music Inc.
$7.50 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| International Folksongs [fakebook (leadsheet notation)] Hal Leonard
By Various. For voice and C instrument. Hal Leonard Paperback Songs. Folk. Diffi...(+)
By Various. For voice and C instrument. Hal Leonard Paperback Songs. Folk. Difficulty: easy-medium. Fakebook (leadsheet notation). Vocal melody, lyrics, leadsheet notation and chord names. 255 pages. Published by Hal Leonard fakebook (leadsheet notation) Folk
$7.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Big Book of Flute Songs
Flute [Sheet music] Hal Leonard By Various. Instrumental
Folio. Softcover. 146
pages. Published by Hal
Leonard.
$17.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Easy Favorites for Tin Whistle or Irish Flute Pennywhistle [Sheet music + Audio access] - Intermediate Mel Bay
Saddle-stitched, Traditional. Folk. Book and online audio. 56 pages. Mel Bay ...(+)
Saddle-stitched, Traditional.
Folk. Book and online audio.
56 pages. Mel Bay
Publications, Inc #30789M.
Published by Mel Bay
Publications, Inc
$17.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| 101 Popular Songs Flute Hal Leonard
For Flute. By Various. Instrumental Folio. Pop. Softcover. 128 pages. Pub...(+)
For Flute. By Various. Instrumental Folio. Pop. Softcover. 128 pages. Published by Hal Leonard (HL.224722).
$18.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| World Favorites: Student Editions, 41 Easy Selections (1st-2nd year) Flute [Sheet music + CD] - Easy Music Minus One
For Flute. Classical (orchestral). Includes a high-quality printed music score a...(+)
For Flute. Classical (orchestral). Includes a high-quality printed music score and a compact disc with stereo accompaniments to each piece minus you, the soloist. Published by Music Minus One.
$14.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Fun with the Fife Pennywhistle [Sheet music + Audio access] - Beginner Mel Bay
Fife - Beginning SKU: MB.94811M Composed by Mizzy Mccaskill. Saddle-stitc...(+)
Fife - Beginning SKU: MB.94811M Composed by Mizzy Mccaskill. Saddle-stitched, Flute, Fife and Oboe, Flute, Fife, and Oboe, Children and Young Beginner, Solos, Method, Folk. Fun With. Style. Book and online audio. 32 pages. Mel Bay Publications, Inc #94811M. Published by Mel Bay Publications, Inc (MB.94811M). ISBN 9780786693337. 8.75 x 11.75 inches. An easy-to-understand, basic instructional text for the fife. Presents wonderful fife tunes and carefully written studies. Tunes include: Albina; Aldridges Allemande; All Through the Night; and many more fun titles. Includes access to online audio. $9.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Essential Elements Book 1 - Flute Flute Hal Leonard
Essential Elements Band Method. Size 9x12 inches. 32 pages. Published by Hal Leo...(+)
Essential Elements Band Method. Size 9x12 inches. 32 pages. Published by Hal Leonard.
$7.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Welsh Flautist Flute [Sheet music] - Intermediate Kevin Mayhew
by Douglas Townshend and Jeffrey Howard. For flute. solos. Kevin Mayhew Ltd. Bri...(+)
by Douglas Townshend and Jeffrey Howard. For flute. solos. Kevin Mayhew Ltd. British Isles. Level: Intermediate. Book. Size 9x12. 48 pages. Published by Kevin Mayhew Publications.
$10.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Americana Collection For Band - Flute Flute Hal Leonard
By Various. Band Folio. Size 6.8x5.3 inches. 32 pages. Published by Hal Leonard....(+)
By Various. Band Folio. Size 6.8x5.3 inches. 32 pages. Published by Hal Leonard.
(1)$4.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| VH1's 100 Greatest Songs of Rock and Roll Flute Hal Leonard
(for Flute). By Various. For Flute. Instrumental Solo. Softcover. 114 pages. Pub...(+)
(for Flute). By Various. For Flute. Instrumental Solo. Softcover. 114 pages. Published by Hal Leonard
$16.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Big Book of Folksongs Piano, Vocal and Guitar [Sheet music] Hal Leonard
By Various. For Piano/Vocal/Guitar. Piano/Vocal/Guitar Songbook. Softcover. 264 ...(+)
By Various. For Piano/Vocal/Guitar. Piano/Vocal/Guitar Songbook. Softcover. 264 pages. Published by Hal Leonard
$24.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Beatles: Best Of The Beatles
Flute [Sheet music] Hal Leonard
Performed by The Beatles. For C flute. Format: Solo Songbook. With solo part. Cl...(+)
Performed by The Beatles. For C flute. Format: Solo Songbook. With solo part. Classic rock, britpop and psychedelic rock. 96 pages.
(9)$17.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Favourite Celtic Melodies for Two Flutes [Book] Kevin Mayhew
Composed by Sarah Watts. For Flute. Flute. Celtic/Irish. Beginning-Intermediate....(+)
Composed by Sarah Watts. For Flute. Flute. Celtic/Irish. Beginning-Intermediate. Book. Published by Kevin Mayhew Publishers
$9.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Look, Listen and Learn - Play Musicals Flute [Sheet music + Audio access] - Easy De Haske Publications
Flute - easy SKU: BT.DHP-1185911-404 Flute. Arranged by Markus Sch...(+)
Flute - easy SKU: BT.DHP-1185911-404 Flute. Arranged by Markus Schenk. Look, Listen and Learn. TV-Film-Musical-Show. Book with Online Audio. Composed 2018. 33 pages. De Haske Publications #DHP 1185911-404. Published by De Haske Publications (BT.DHP-1185911-404). ISBN 9789043154710. English. Look, Listen and Learn has set the standard for contemporary brass and woodwind teaching. These exciting method book/CD packs for beginners engage students and develop their understanding of music and their instrument through songs, puzzles, games and lots of fun pieces to play. Three progressive method books form the basis of the series, enhanced by several corresponding supplementary volumes. Some of the most beautiful melodies from the world of music theatre over the last several decades are collected together in Play Musicals. They have been arranged in increasing order of difficulty in such a way that they can be used in conjunction with all three volumes ofLook, Listen and Learn. Students can also play along to the provided accompaniment tracks which are available to download or stream. $23.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| All Together - Easy Ensemble! Vol.1 Flexible Instrumentation - Easy Universal Edition
(Flexible Four-Part Concert Pieces). By James Rae. For Part 1: Flute / Oboe / Vi...(+)
(Flexible Four-Part Concert Pieces). By James Rae. For Part 1: Flute / Oboe / Violin / Bb Clarinet / Eb Saxophone, Part 2: Flute / Oboe / Violin / Bb Clarinet / Eb Saxophone, Part 3: Violin / Bb Clarinet / Bb Saxophone / Viola / French Horn, Part 4: Cello / Double Bass / Bassoon / Bb Bass Clarinet. 11 pages. Published by Universal Edition
$29.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| New Christmas Fake Book - C Edition Fake book [Fake Book] - Intermediate Alfred Publishing
Fake book for voice and C instrument. With vocal melody, lyrics and chord names....(+)
Fake book for voice and C instrument. With vocal melody, lyrics and chord names. 115 pages. Published by Alfred Publishing.
(1)$12.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Harmonica Songbook Harmonica [Sheet music] Mel Bay
by William Bay. For Harmonica (Diatonic). solos. All Styles. Level: Beginning-In...(+)
by William Bay. For Harmonica (Diatonic). solos. All Styles. Level: Beginning-Intermediate. Book. Size 8.75x11.75. 80 pages. Published by Mel Bay Publications, Inc
$19.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
Next page 1 31 61 |