| Focus on Melody Volume 1 Piano solo [Sheet music] FJH
Edited by Guy/Mcarthur. For Piano. Contents include: Minuet in G Major, Minuet i...(+)
Edited by Guy/Mcarthur. For Piano. Contents include: Minuet in G Major, Minuet in G Minor, Prelude in C Major (Bach); Peasant's Flute Song (Bartok); Ode to Joy (Beethoven); Sonatina in A Minor (Benda); Melody (Bloch); Ballade Op. 100 No. 15 (Burgmuller); Waltz in A Minor Op. Posth. (Chopin); King William's March (Clarke); Le Petit Negre (Debussy); Sonatina in G Major Op. 168 No. 2 (Diabelli); The Evening Bell (Granados); Andantino Hob. I:85/2 (Haydn); The Avalanche Op. 45 No. 2 (Heller); Tolling Bell OP. 125 No. 8 (Heller); Bourree (Krieger); Autumn (Maykapar); Minuet in F Major K. 6 (Mozart); Little Fugue in C Major (Pachelbel); Minuet in G Minor (Pezold); In the Forest (Rebikov); Playing Soldiers Op. 31 No. 4 (Rebikov); Gymnopedie No. 1 (Satie); Sonata K. 34, L.S. 7 (Scarlatti); Minuet and Trio, D. 336 (Schubert); Echoes from the Theatre O
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| Focus on Melody, Volume 2 Piano solo [Sheet music] FJH
Edited by Guy/Mcarthur. For Piano. The second installment of this exceptional pi...(+)
Edited by Guy/Mcarthur. For Piano. The second installment of this exceptional piano literature series continues to strengthen a student's ability to find and project melody. The music represents a variety of keys, tempi, meters, and style. Includes technical exercises for melodic expression, descriptive summaries for each piece, and composer biographies. Contents include: Fantasia in G major Wq. 117:8 (C.P.E. Bach); Concerto in D Minor BWV 974 2nd mvt (J.S. Bach); Gavotte from French Suite #5 (J.S. Bach); Buciumeana from Romanian Dances No. 4 (Bartok); Bagatelle in F Major Op. 33 No. 3 (Beethoven); Sonata in C# Major Op. 27 No. 2 1st mvt (Beethoven); Dream (Bloch); Waltz in G# Minor Op. 39 No. 3 (Brahms); Mazurka in G Minor Op. 67 No. 2 (Chopin); Prelude in C Minor Op. 28 No. 20 (Chopin
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| Plectrum Banjo Melody Chord Playing System Banjo Mel Bay
Banjo (plectrum) - Beginning; Intermediate; Advanced SKU: MB.93628 Chords...(+)
Banjo (plectrum) - Beginning; Intermediate; Advanced SKU: MB.93628 Chords, Saddle-stitched. All Styles. Book. 112 pages. Mel Bay Publications, Inc #93628. Published by Mel Bay Publications, Inc (MB.93628). ISBN 9781562223328. UPC: 796279002530. 8.75x11.75 inches. By Mel Bay. For plectrum or five-string banjo C tuning , this text is the famed Mel Bay system for melody chord performance. In standard notation and tablature. $19.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Mass in C Major Soli, Mixted choir and accompaniment [Study Score / Miniature] Carus Verlag
Composed by Franz Schubert (1797-1828). Edited by Manuela Jahrmarker. This editi...(+)
Composed by Franz Schubert (1797-1828). Edited by Manuela Jahrmarker. This edition: urtext. Stuttgart Urtext Edition: Schubert. German title: Messe In C Rev.2000. Innovative practice aids, Sacred vocal music, Masses, Latin. Study score. Composed 1816. D 452. 72 pages. Duration 25 minutes. Carus Verlag #CV 40.658/07. Published by Carus Verlag (CA.4065807).
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| Melody Bober: Pikes Peak Rag Piano solo [Singles] - Intermediate FJH
By Melody Bober. For Piano. Written For You. Sheet. Published by The FJH Music C...(+)
By Melody Bober. For Piano. Written For You. Sheet. Published by The FJH Music Company Inc. Level: Early Intermediate.
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| The Easy G Major Fake Book C Instruments [Fake Book] - Easy Hal Leonard
Composed by Various. For C Instruments. Easy Fake Book. Softcover. 216 pages. Pu...(+)
Composed by Various. For C Instruments. Easy Fake Book. Softcover. 216 pages. Published by Hal Leonard
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| Classical Fake Book - 2nd Edition
Fake Book [Fake Book] - Easy Hal Leonard
(Over 850 Classical Themes and Melodies in the Original Keys) For C instrument. ...(+)
(Over 850 Classical Themes and Melodies in the Original Keys) For C instrument. Format: fakebook (spiral bound). With vocal melody (excerpts) and chord names. Lassical. Series: Hal Leonard Fake Books. 646 pages. 9x12 inches. Published by Hal Leonard.
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| Quintet in F Major, K. 497 Carl Fischer
Chamber Music Cello, Flute, Viola 1, Viola 2, Violin SKU: CF.MXE219 Compo...(+)
Chamber Music Cello, Flute, Viola 1, Viola 2, Violin SKU: CF.MXE219 Composed by Wolfgang Amadeus Mozart. Arranged by Robert Stallman. Sws. 56+16+16+16+16+12 pages. Carl Fischer Music #MXE219. Published by Carl Fischer Music (CF.MXE219). ISBN 9781491157794. UPC: 680160916399. 9 x 12 inches. Preface In 1990, during an intense rehearsal of a Mozart Quartet transcription for flute and strings by Franz Anton Hoffmeister, at the Marblehead Summer Music Festival, a disgruntled violist friend complained about HoffmeisterAs awkward string writing, suddenly daring me to create my own arrangement. I balked. But the following winterA3despite scruples about treading on hallowed groundA3I grew curious and began to experiment. Soon I was hooked on the challenge of learning to speak MozartAs language with conviction. This fascination, encouraged by pianist Richard Goode and other Mozarteans, would eventually generate a total of thirty-nine recreations of Mozart piano sonatas as works for flute and strings. With zero tolerance for alteration of melodic or harmonic materialA3MozartAs friend Hoffmeister had regrettably attempted such A!improvementsA(r)A3I always tried to envision what Mozart himself would have desired. Many of the sonatas can be heard as if they were MozartAs A!blueprintsA(r) of imagined chamber works. Hence my task was to A!flesh outA(r) the keyboard versions as Mozart might have done, had a commission or performance opportunity arisen. I spent hours pondering how Mozart might have set these sonatas in four- or five-part form, providing the needed textural or contrapuntal enhancements. With immersion in the composerAs dialect, various apt solutions presented themselves. The search for the A!rightA(r) one then became a most absorbing study. On the eve of releasing my BognerAs CafA recording of Mozart-Stallman New Quintets (2006), I discovered to my delight that a prominent scholar had long before endorsed such an effort. Eric Blom (1888A+-1959), author of Mozart (1935), had taken note of the four-hand piano works as A!a kind of keyboard chamber music.A(r) Regarding Sonata, K. 497, Mr. Blom had observed that Mozart is often dealing with, not the expected four voices (one to a hand), but five. Blom states: A!The F major Sonata (K. 497) removes us to another worldA3the world of the great chamber music, especially of the string quintets. Indeed an arrangement of some sort for a combination of instruments would make a magnificent concert work of this almost uncomfortably great piece of domestic music.A(r) That Mozart was in 1786 writing for piano duo from a quintet perspective makes sense, as we find him returning to the quintet form with keen interest in his last years, writing four String Quintets, the Clarinet Quintet, rearranging a wind serenade for String Quintet, and leaving several other quintets incomplete. My arrangement presented here is made for flute and strings but is also intended for string quintet. Quintet in F Major for Flute and Strings, K. 497, was completed in 1999 and performed with the Martin Quartet in the Czech Republic prior to recording it in 2004. Mozart had finished the original Sonata in F Major for Piano, Four-Hands, K. 497, on August 1, 1786. It shows the unmistakable influence of Figaro, completed and premiered exactly three months prior. As signaled by the imposing introductory Adagio, the conception is on a grand symphonic scale, all three movements being richly developed with contrapuntal episodes and an abundance of marvelously contrasting textures and themes throughout. Called A!the crowning work of its kindA(r) by Alfred Einstein, the Sonata is laden with examples of MozartAs mercurial originality. Here we have a perfect synthesis of concertante brilliance, operatic intensity and intimate dialogue. The work opens in unison with a probing, minor-tinged Adagio, whose question comes to a pause on the dominant, before being answered with jaunty certainty by the opening theme of the Allegro di moltoA3an F-major tune as sunny and confident as an aria from Figaro itself. This movementAs declamatory A!opera chorusA(r) persistently intones its rhythmic motto over a swirling scale figure. The amorous second theme (initially presented in the first viola) also seems to be plucked from Figaro. The Andante opens with a heavenly melody, which takes as its springboard the Romanza theme from the Horn Concerto in E Major, K. 495, written only five weeks before. The A!love duetA(r) between flute and first viola seems to anticipate the impassioned A!duettingA(r) between violin and viola in the Andante of the String Quintet in C Major, K. 515, written about nine months later. The ingenious stretto canon of the AndanteAs middle section requires the precision of a Swiss clock (which its chiming thirds recall). Affecting bucolic codettas close each of the main sections of the movement. In the final Allegro, a rondo in 6/8a time, the puckish, yet aristocratic character of the opening theme contrasts with the bumptious, popular tune used for the second theme (heard first in the violin and then the flute, over pizzicato cello). Lilting hymn-like episodes in three, four- and finally five-part counterpoint are repeatedly interrupted by startling scale figures that rise up in furioso episodes throughout the movement. As in the A!Swiss clockA(r) section of the Andante, Mozart uses a stretto imitation treatment with this tempest theme, thereby heightening both intensity and sense of instability. I am most grateful to the adventuresome Martin Quartet for their warm support and collaboration over the years with several of my arrangements, and to my friend Edwin Swanborn for the original typesetting of this score. Gratitude is also due Weekend Edition, Performance Today and innumerable classical stations across the United States for their enthusiastic and repeated airings of my A!newA(r) Mozart Quintet endeavorsA3and most of all, to violist Katherine Murdock for that dare in 1990. A3Compiled from the writings of Robert Stallman by Hannah Woods Stallman, February 2, 2020. Preface In 1990, during an intense rehearsal of a Mozart Quartet transcription for flute and strings by Franz Anton Hoffmeister, at the Marblehead Summer Music Festival, a disgruntled violist friend complained about Hoffmeisteris awkward string writing, suddenly daring me to create my own arrangement. I balked. But the following winterodespite scruples about treading on hallowed groundoI grew curious and began to experiment. Soon I was hooked on the challenge of learning to speak Mozartis language with conviction. This fascination, encouraged by pianist Richard Goode and other Mozarteans, would eventually generate a total of thirty-nine recreations of Mozart piano sonatas as works for flute and strings. With zero tolerance for alteration of melodic or harmonic materialoMozartis friend Hoffmeister had regrettably attempted such iimprovementsioI always tried to envision what Mozart himself would have desired. Many of the sonatas can be heard as if they were Mozartis iblueprintsi of imagined chamber works. Hence my task was to iflesh outi the keyboard versions as Mozart might have done, had a commission or performance opportunity arisen. I spent hours pondering how Mozart might have set these sonatas in four- or five-part form, providing the needed textural or contrapuntal enhancements. With immersion in the composeris dialect, various apt solutions presented themselves. The search for the irighti one then became a most absorbing study. On the eve of releasing my Bogneris CafE recording of Mozart-Stallman New Quintets (2006), I discovered to my delight that a prominent scholar had long before endorsed such an effort. Eric Blom (1888n1959), author of Mozart (1935), had taken note of the four-hand piano works as ia kind of keyboard chamber music.i Regarding Sonata, K. 497, Mr. Blom had observed that Mozart is often dealing with, not the expected four voices (one to a hand), but five. Blom states: iThe F major Sonata (K. 497) removes us to another worldothe world of the great chamber music, especially of the string quintets. Indeed an arrangement of some sort for a combination of instruments would make a magnificent concert work of this almost uncomfortably great piece of domestic music.i That Mozart was in 1786 writing for piano duo from a quintet perspective makes sense, as we find him returning to the quintet form with keen interest in his last years, writing four String Quintets, the Clarinet Quintet, rearranging a wind serenade for String Quintet, and leaving several other quintets incomplete. My arrangement presented here is made for flute and strings but is also intended for string quintet. Quintet in F Major for Flute and Strings, K. 497, was completed in 1999 and performed with the Martin Quartet in the Czech Republic prior to recording it in 2004. Mozart had finished the original Sonata in F Major for Piano, Four-Hands, K. 497, on August 1, 1786. It shows the unmistakable influence of Figaro, completed and premiered exactly three months prior. As signaled by the imposing introductory Adagio, the conception is on a grand symphonic scale, all three movements being richly developed with contrapuntal episodes and an abundance of marvelously contrasting textures and themes throughout. Called ithe crowning work of its kindi by Alfred Einstein, the Sonata is laden with examples of Mozartis mercurial originality. Here we have a perfect synthesis of concertante brilliance, operatic intensity and intimate dialogue. The work opens in unison with a probing, minor-tinged Adagio, whose question comes to a pause on the dominant, before being answered with jaunty certainty by the opening theme of the Allegro di moltooan F-major tune as sunny and confident as an aria from Figaro itself. This movementis declamatory iopera chorusi persistently intones its rhythmic motto over a swirling scale figure. The amorous second theme (initially presented in the first viola) also seems to be plucked from Figaro. The Andante opens with a heavenly melody, which takes as its springboard the Romanza theme from the Horn Concerto in E Major, K. 495, written only five weeks before. The ilove dueti between flute and first viola seems to anticipate the impassioned iduettingi between violin and viola in the Andante of the String Quintet in C Major, K. 515, written about nine months later. The ingenious stretto canon of the Andanteis middle section requires the precision of a Swiss clock (which its chiming thirds recall). Affecting bucolic codettas close each of the main sections of the movement. In the final Allegro, a rondo in 6/8+time, the puckish, yet aristocratic character of the opening theme contrasts with the bumptious, popular tune used for the second theme (heard first in the violin and then the flute, over pizzicato cello). Lilting hymn-like episodes in three, four- and finally five-part counterpoint are repeatedly interrupted by startling scale figures that rise up in furioso episodes throughout the movement. As in the iSwiss clocki section of the Andante, Mozart uses a stretto imitation treatment with this tempest theme, thereby heightening both intensity and sense of instability. I am most grateful to the adventuresome Martin Quartet for their warm support and collaboration over the years with several of my arrangements, and to my friend Edwin Swanborn for the original typesetting of this score. Gratitude is also due Weekend Edition, Performance Today and innumerable classical stations across the United States for their enthusiastic and repeated airings of my inewi Mozart Quintet endeavorsoand most of all, to violist Katherine Murdock for that dare in 1990. oCompiled from the writings of Robert Stallman by Hannah Woods Stallman, February 2, 2020. Preface In 1990, during an intense rehearsal of a Mozart Quartet transcription for flute and strings by Franz Anton Hoffmeister, at the Marblehead Summer Music Festival, a disgruntled violist friend complained about Hoffmeister's awkward string writing, suddenly daring me to create my own arrangement. I balked. But the following winter--despite scruples about treading on hallowed ground--I grew curious and began to experiment. Soon I was hooked on the challenge of learning to speak Mozart's language with conviction. This fascination, encouraged by pianist Richard Goode and other Mozarteans, would eventually generate a total of thirty-nine recreations of Mozart piano sonatas as works for flute and strings. With zero tolerance for alteration of melodic or harmonic material--Mozart's friend Hoffmeister had regrettably attempted such improvements--I always tried to envision what Mozart himself would have desired. Many of the sonatas can be heard as if they were Mozart's blueprints of imagined chamber works. Hence my task was to flesh out the keyboard versions as Mozart might have done, had a commission or performance opportunity arisen. I spent hours pondering how Mozart might have set these sonatas in four- or five-part form, providing the needed textural or contrapuntal enhancements. With immersion in the composer's dialect, various apt solutions presented themselves. The search for the right one then became a most absorbing study. On the eve of releasing my Bogner's Cafe recording of Mozart-Stallman New Quintets (2006), I discovered to my delight that a prominent scholar had long before endorsed such an effort. Eric Blom (1888-1959), author of Mozart (1935), had taken note of the four-hand piano works as a kind of keyboard chamber music. Regarding Sonata, K. 497, Mr. Blom had observed that Mozart is often dealing with, not the expected four voices (one to a hand), but five. Blom states: The F major Sonata (K. 497) removes us to another world--the world of the great chamber music, especially of the string quintets. Indeed an arrangement of some sort for a combination of instruments would make a magnificent concert work of this almost uncomfortably great piece of domestic music. That Mozart was in 1786 writing for piano duo from a quintet perspective makes sense, as we find him returning to the quintet form with keen interest in his last years, writing four String Quintets, the Clarinet Quintet, rearranging a wind serenade for String Quintet, and leaving several other quintets incomplete. My arrangement presented here is made for flute and strings but is also intended for string quintet. Quintet in F Major for Flute and Strings, K. 497, was completed in 1999 and performed with the Martinu Quartet in the Czech Republic prior to recording it in 2004. Mozart had finished the original Sonata in F Major for Piano, Four-Hands, K. 497, on August 1, 1786. It shows the unmistakable influence of Figaro, completed and premiered exactly three months prior. As signaled by the imposing introductory Adagio, the conception is on a grand symphonic scale, all three movements being richly developed with contrapuntal episodes and an abundance of marvelously contrasting textures and themes throughout. Called the crowning work of its kind by Alfred Einstein, the Sonata is laden with examples of Mozart's mercurial originality. Here we have a perfect synthesis of concertante brilliance, operatic intensity and intimate dialogue. The work opens in unison with a probing, minor-tinged Adagio, whose question comes to a pause on the dominant, before being answered with jaunty certainty by the opening theme of the Allegro di molto--an F-major tune as sunny and confident as an aria from Figaro itself. This movement's declamatory opera chorus persistently intones its rhythmic motto over a swirling scale figure. The amorous second theme (initially presented in the first viola) also seems to be plucked from Figaro. The Andante opens with a heavenly melody, which takes as its springboard the Romanza theme from the Horn Concerto in E<= Major, K. 495, written only five weeks before. The love duet between flute and first viola seems to anticipate the impassioned duetting between violin and viola in the Andante of the String Quintet in C Major, K. 515, written about nine months later. The ingenious stretto canon of the Andante's middle section requires the precision of a Swiss clock (which its chiming thirds recall). Affecting bucolic codettas close each of the main sections of the movement. In the final Allegro, a rondo in 6/8 time, the puckish, yet aristocratic character of the opening theme contrasts with the bumptious, popular tune used for the second theme (heard first in the violin and then the flute, over pizzicato cello). Lilting hymn-like episodes in three, four- and finally five-part counterpoint are repeatedly interrupted by startling scale figures that rise up in furioso episodes throughout the movement. As in the Swiss clock section of the Andante, Mozart uses a stretto imitation treatment with this tempest theme, thereby heightening both intensity and sense of instability. I am most grateful to the adventuresome Martinu Quartet for their warm support and collaboration over the years with several of my arrangements, and to my friend Edwin Swanborn for the original typesetting of this score. Gratitude is also due Weekend Edition, Performance Today and innumerable classical stations across the United States for their enthusiastic and repeated airings of my new Mozart Quintet endeavors--and most of all, to violist Katherine Murdock for that dare in 1990. --Compiled from the writings of Robert Stallman by Hannah Woods Stallman, February 2, 2020. PrefaceIn 1990, during an intense rehearsal of a Mozart Quartet transcription for flute and strings by Franz Anton Hoffmeister, at the Marblehead Summer Music Festival, a disgruntled violist friend complained about Hoffmeister’s awkward string writing, suddenly daring me to create my own arrangement. I balked. But the following winter—despite scruples about treading on hallowed ground—I grew curious and began to experiment. Soon I was hooked on the challenge of learning to speak Mozart’s language with conviction. This fascination, encouraged by pianist Richard Goode and other Mozarteans, would eventually generate a total of thirty-nine recreations of Mozart piano sonatas as works for flute and strings.With zero tolerance for alteration of melodic or harmonic material—Mozart’s friend Hoffmeister had regrettably attempted such “improvementsâ€â€”I always tried to envision what Mozart himself would have desired. Many of the sonatas can be heard as if they were Mozart’s “blueprints†of imagined chamber works. Hence my task was to “flesh out†the keyboard versions as Mozart might have done, had a commission or performance opportunity arisen. I spent hours pondering how Mozart might have set these sonatas in four- or five-part form, providing the needed textural or contrapuntal enhancements. With immersion in the composer’s dialect, various apt solutions presented themselves. The search for the “right†one then became a most absorbing study.On the eve of releasing my Bogner’s Café recording of Mozart-Stallman New Quintets (2006), I discovered to my delight that a prominent scholar had long before endorsed such an effort. Eric Blom (1888–1959), author of Mozart (1935), had taken note of the four-hand piano works as “a kind of keyboard chamber music.†Regarding Sonata, K. 497, Mr. Blom had observed that Mozart is often dealing with, not the expected four voices (one to a hand), but five. Blom states: “The F major Sonata (K. 497) removes us to another world—the world of the great chamber music, especially of the string quintets. Indeed an arrangement of some sort for a combination of instruments would make a magnificent concert work of this almost uncomfortably great piece of domestic music.†That Mozart was in 1786 writing for piano duo from a quintet perspective makes sense, as we find him returning to the quintet form with keen interest in his last years, writing four String Quintets, the Clarinet Quintet, rearranging a wind serenade for String Quintet, and leaving several other quintets incomplete. My arrangement presented here is made for flute and strings but is also intended for string quintet.Quintet in F Major for Flute and Strings, K. 497, was completed in 1999 and performed with the Martinů Quartet in the Czech Republic prior to recording it in 2004. Mozart had finished the original Sonata in F Major for Piano, Four-Hands, K. 497, on August 1, 1786. It shows the unmistakable influence of Figaro, completed and premiered exactly three months prior. As signaled by the imposing introductory Adagio, the conception is on a grand symphonic scale, all three movements being richly developed with contrapuntal episodes and an abundance of marvelously contrasting textures and themes throughout. Called “the crowning work of its kind†by Alfred Einstein, the Sonata is laden with examples of Mozart’s mercurial originality. Here we have a perfect synthesis of concertante brilliance, operatic intensity and intimate dialogue.The work opens in unison with a probing, minor-tinged Adagio, whose question comes to a pause on the dominant, before being answered with jaunty certainty by the opening theme of the Allegro di molto—an F-major tune as sunny and confident as an aria from Figaro itself. This movement’s declamatory “opera chorus†persistently intones its rhythmic motto over a swirling scale figure. The amorous second theme (initially presented in the first viola) also seems to be plucked from Figaro.The Andante opens with a heavenly melody, which takes as its springboard the Romanza theme from the Horn Concerto in E≤ Major, K. 495, written only five weeks before. The “love duet†between flute and first viola seems to anticipate the impassioned “duetting†between violin and viola in the Andante of the String Quintet in C Major, K. 515, written about nine months later. The ingenious stretto canon of the Andante’s middle section requires the precision of a Swiss clock (which its chiming thirds recall). Affecting bucolic codettas close each of the main sections of the movement.In the final Allegro, a rondo in 6/8 time, the puckish, yet aristocratic character of the opening theme contrasts with the bumptious, popular tune used for the second theme (heard first in the violin and then the flute, over pizzicato cello). Lilting hymn-like episodes in three, four- and finally five-part counterpoint are repeatedly interrupted by startling scale figures that rise up in furioso episodes throughout the movement. As in the “Swiss clock†section of the Andante, Mozart uses a stretto imitation treatment with this tempest theme, thereby heightening both intensity and sense of instability.I am most grateful to the adventuresome Martinů Quartet for their warm support and collaboration over the years with several of my arrangements, and to my friend Edwin Swanborn for the original typesetting of this score. Gratitude is also due Weekend Edition, Performance Today and innumerable classical stations across the United States for their enthusiastic and repeated airings of my “new†Mozart Quintet endeavors—and most of all, to violist Katherine Murdock for that dare in 1990.—Compiled from the writings of Robert Stallmanby Hannah Woods Stallman,February 2, 2020. $42.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| In All Keys -- Sharp Keys, Book 1 Piano solo - Intermediate Alfred Publishing
(Intermediate to Late Intermediate Piano Solos in All Major and Minor Sharp ...(+)
(Intermediate to Late
Intermediate Piano Solos in
All Major and Minor Sharp
Keys). Composed by Melody
Bober. For Piano. Book;
Graded Standard Repertoire;
Piano Collection; Piano
Supplemental. In All Keys.
Recital. Intermediate; Late
Intermediate. 52 pages.
Published by Alfred Music
$12.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| In All Keys -- Flat Keys, Book 2 Piano solo - Intermediate Alfred Publishing
(Intermediate to Late Intermediate Piano Solos in All Major and Minor Flat ...(+)
(Intermediate to Late
Intermediate Piano Solos in
All Major and Minor Flat
Keys). Composed by Melody
Bober. For Piano. Book;
Graded Standard Repertoire;
Piano Collection; Piano
Supplemental. In All Keys.
Recital. Intermediate; Late
Intermediate. 52 pages.
Published by Alfred Music
$12.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Real Little Classical Fake Book - 2nd Edition Piano solo - Intermediate Hal Leonard
Composed by Various. For Piano/Keyboard. Hal Leonard Fake Books. Classical. Diff...(+)
Composed by Various. For Piano/Keyboard. Hal Leonard Fake Books. Classical. Difficulty: medium to medium-difficult. Fakebook. Melody line, chord names and lyrics (on some songs). 413 pages. Published by Hal Leonard
$27.50 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Tenor Banjo Melody Chord Playing System Tenor Banjo [Sheet music] Mel Bay
By Mel Bay. For Banjo (Tenor). Methods. All Styles. Level: Multiple Levels. Book...(+)
By Mel Bay. For Banjo (Tenor). Methods. All Styles. Level: Multiple Levels. Book. Size 8.5x11. 116 pages. Published by Mel Bay Publications, Inc.
(1)$19.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Giraffe Piano Volume 1 Piano solo - Easy EMB (Editio Musica Budapest)
Piano - easy SKU: BT.EMBZ14967 Essential Sonatinas for Music Education...(+)
Piano - easy SKU: BT.EMBZ14967 Essential Sonatinas for Music Education - Ausgewählte Sonatinen für die Musikausbildung. By Jozsef Sarmai. Educational Tool. Book Only. Composed 2016. 44 pages. Editio Musica Budapest #EMBZ14967. Published by Editio Musica Budapest (BT.EMBZ14967). Hungarian-English-German-French. Sonatinas form a vital part of the teaching material for beginner and intermediate piano students. Compared to the great classical piano sonatas, they are technically and musically simpler and typically shorter. However, they still convey the basic elements of Classical style: the relation of melody to accompaniment, articulation, stylistically authentic playing, and correct interpretation. For the two volumes of Giraffe Piano, the most favoured and instructive of the sonatinas have been chosen. Volume 1 contains simpler pieces and Volume 2 is compromised of moderately difficult ones. Correct interpretation of the pieces is facilitated by added performance and fingeringmarks. Learning is helped along by clear presentation of the score, carefully placed page turns, and by inspiration from colour images showing the keyboard instruments of the 1720-1820 period for which the pieces were written. The most notable of them is the giraffe piano, after which the collection is named.
Im Lehrstoff für Anfänger und fortgeschrittene Klavierschüler auf Mittelstufenniveau sind Sonatinen unverzichtbar. Sie sind technisch und musikalisch einfacher und vor allem kürzer als die großen klassischen Klaviersonaten, zugleich kann man an ihnengut die Grundelemente des klassischen Stils, das Verhältnis von Melodie und Begleitung, eine klare, stilgetreue Vortragsweise und die richtige Formgebung üben. In den zwei Bänden des Giraffenklaviers haben wir die beliebtesten und auch für den Unterricht am meisten geeigneten Sonatinen zusammengestellt. Im 1. Band befinden sich leichte, im 2. mittelschwere Stücke. Den richtigen Vortrag der Stücke unterstützt der Herausgeber mit HIlfe von Artikulations- und Vortragszeichen sowie Fingersätzen. Über das klare Notenbild und die sorgsam gewählten Stellen zum Umblättern hinaus machen farbige Bilder von zeitgenössischen, zwischen 1720 und1820 gebauten Tasteninstrumenten, für die auch Stücke des Bandes geschrieben wurden, ihre Aneignung zu einem besonderen Erlebnis. Das eigentümlichste unter ihnen war das auf dem Umschlag abgebildete Giraffenklavier, das dem Album auch seinen Namen gab. $19.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Pentascale Pro, Book 1 Piano solo [Sheet music] Alfred Publishing
An Introduction to Major and Minor 5-Finger Patterns. By Melody Bober, Gayle Kow...(+)
An Introduction to Major and Minor 5-Finger Patterns. By Melody Bober, Gayle Kowalchyk, And E. L. Lancaster. For Piano. Piano Technique. Lesson Enhancement Series. Level: Elementary. Book. 44 pages. Published by Alfred Publishing.
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| Welcome To The Majors Jazz Ensemble [Score and Parts] - Easy C.L. Barnhouse
Grade 3 SKU: CL.032-4658-00 Composed by Jr. Vuono. Jazz Ensemble. Jazz Fe...(+)
Grade 3 SKU: CL.032-4658-00 Composed by Jr. Vuono. Jazz Ensemble. Jazz Festival. Score and set of parts. Composed 2018. Duration 4 minutes, 41 seconds. C.L. Barnhouse #032-4658-00. Published by C.L. Barnhouse (CL.032-4658-00). This Bigâ€League chart spotlights all of the sections of the jazz ensemble with highâ€energy and verve. Opening with an effective piano solo/rhythm section soli, Welcome to the Majors features a driving, liteâ€shuffle beat that propels the breezy melody and crisp ensembles over a set of slightly altered blues changes. A 4â€bar kickâ€off leads to a tenor sax solo, and this solo section may be opened up for other players as desired. An 8 bar trombone soli leads way to the incisive and biting shout chorus that builds and builds. Fresh, spirited, and lots of fun for concert and contest alike. A real home run! $55.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Welcome To The Majors [Score] - Easy C.L. Barnhouse
Grade 3 SKU: CL.032-4658-01 Composed by Jr. Vuono. Jazz Ensemble. Jazz Fe...(+)
Grade 3 SKU: CL.032-4658-01 Composed by Jr. Vuono. Jazz Ensemble. Jazz Festival. Extra full score. Composed 2018. Duration 4 minutes, 41 seconds. C.L. Barnhouse #032-4658-01. Published by C.L. Barnhouse (CL.032-4658-01). This Bigâ€League chart spotlights all of the sections of the jazz ensemble with highâ€energy and verve. Opening with an effective piano solo/rhythm section soli, Welcome to the Majors features a driving, liteâ€shuffle beat that propels the breezy melody and crisp ensembles over a set of slightly altered blues changes. A 4â€bar kickâ€off leads to a tenor sax solo, and this solo section may be opened up for other players as desired. An 8 bar trombone soli leads way to the incisive and biting shout chorus that builds and builds. Fresh, spirited, and lots of fun for concert and contest alike. A real home run! $8.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Mike Springer : Dynamo Rag Piano solo [Singles] - Intermediate Alfred Publishing
Composed by Mike Springer. Single piece for piano solo. Level: Early Intermediat...(+)
Composed by Mike Springer. Single piece for piano solo. Level: Early Intermediate. C Major. 4 pages. Published by Alfred Publishing.
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| A Perfect 10, Book 5 Piano solo - Intermediate Alfred Publishing
(10 Piano Solos in 10 Styles). By Melody Bober. For Piano. Book; Piano Collectio...(+)
(10 Piano Solos in 10 Styles). By Melody Bober. For Piano. Book; Piano Collection; Piano Supplemental. A Perfect 10. Blues; Jazz; Traditional. Late Intermediate. 40 pages. Published by Alfred Music
$9.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Prairie Sunrise Piano solo - Intermediate Alfred Publishing
By Melody Bober. For Piano. Piano Solo; Sheet; Solo. Signature Series. Intermedi...(+)
By Melody Bober. For Piano. Piano Solo; Sheet; Solo. Signature Series. Intermediate. 4 pages. Published by Alfred Music Publishing
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| The Classical Music Fake Book
C Instruments [Fake Book] Music Sales
Composed by Various. Arranged by Peter Lavender. Music Sales America. Baroque an...(+)
Composed by Various. Arranged by Peter Lavender. Music Sales America. Baroque and Classical Period. Fake book (softcover). With melody line (no accompaniment included) and chord names. 128 pages. Music Sales #AM92350. Published by Music Sales
(7)$19.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Una Limosnita por Amor de Dios Marimba C. Alan Publications
Composed by Nathan Daughtrey. Percussion Ensemble. For Marimba (4-mallet) (marim...(+)
Composed by Nathan Daughtrey. Percussion Ensemble. For Marimba (4-mallet) (marimba (5-octave)). Medium. Duration 3:00. Published by C. Alan Publications
$12.00 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Mass in C Major Carus Verlag
SATB vocal soli, SATB choir , 2 violins, cello/contrabass, organ, [2 oboes (clar...(+)
SATB vocal soli, SATB choir , 2 violins, cello/contrabass, organ, [2 oboes (clarinet), 2 trumpets, timpani] SKU: CA.4065809 Composed by Franz Schubert. Edited by Manuela Jahrmarker. This edition: urtext. 1x 40.658/21 oboe 1, 1x 40.658/22 oboe 2, 1x 40.658/31 trumpet 1, 1x 40.658/32 trumpet 2, 1x 40.658/41 timpani. Stuttgart Urtext Edition: Schubert. German title: Messe In C Rev.2000. Innovative practice aids, Sacred vocal music, Masses, Latin. Set of Orchestra Parts. Composed 1816. D 452. 28 pages. Duration 25 minutes. Carus Verlag #CV 40.658/09. Published by Carus Verlag (CA.4065809). ISBN 9790007085360. Key: C major. Language: Latin. Ensembles which are not large enough to tackle the great masses by Schubert will find a suitable alternative in this compact Mass of 1816, scored for small forces. In size and length (c. 25 minutes) it is like a Missa brevis. The compositional structure is comparatively simple, but without lacking any of the typically Schubertian style in harmony or melody. The wind parts added later by the composer can be regarded as optional, as the work was originally scored for just the south German-Austrian church trio of 2 violins and organ. This work is now available in carus music, the choir app! Score and parts available separately - see item CA.4065800. $21.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Mass in C Major Carus Verlag
SATB vocal soli, SATB choir , 2 violins, cello/contrabass, organ, [2 oboes (clar...(+)
SATB vocal soli, SATB choir , 2 violins, cello/contrabass, organ, [2 oboes (clarinet), 2 trumpets, timpani] SKU: CA.4065819 Composed by Franz Schubert. Edited by Manuela Jahrmarker. This edition: urtext. Stuttgart Urtext Edition: Schubert. German title: Messe In C Rev.2000. Innovative practice aids, Sacred vocal music, Masses, Latin. Set of Orchestra Parts. Composed 1816. D 452. Duration 25 minutes. Carus Verlag #CV 40.658/19. Published by Carus Verlag (CA.4065819). ISBN 9790007133412. Key: C major. Language: Latin. Ensembles which are not large enough to tackle the great masses by Schubert will find a suitable alternative in this compact Mass of 1816, scored for small forces. In size and length (c. 25 minutes) it is like a Missa brevis. The compositional structure is comparatively simple, but without lacking any of the typically Schubertian style in harmony or melody. The wind parts added later by the composer can be regarded as optional, as the work was originally scored for just the south German-Austrian church trio of 2 violins and organ. This work is now available in carus music, the choir app! Score and parts available separately - see item CA.4065800. $125.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Mass in C Major [Score] Carus Verlag
SATB vocal soli, SATB choir , 2 violins, cello/contrabass, organ, [2 oboes (clar...(+)
SATB vocal soli, SATB choir , 2 violins, cello/contrabass, organ, [2 oboes (clarinet), 2 trumpets, timpani] SKU: CA.4065800 Composed by Franz Schubert. Edited by Manuela Jahrmarker. This edition: urtext. Stuttgart Urtext Edition: Schubert. German title: Messe In C Rev.2000. Innovative practice aids, Sacred vocal music, Masses, Latin. Full score. Composed 1816. D 452. 72 pages. Duration 25 minutes. Carus Verlag #CV 40.658/00. Published by Carus Verlag (CA.4065800). ISBN 9790007085339. Key: C major. Language: Latin. Ensembles which are not large enough to tackle the great masses by Schubert will find a suitable alternative in this compact Mass of 1816, scored for small forces. In size and length (c. 25 minutes) it is like a Missa brevis. The compositional structure is comparatively simple, but without lacking any of the typically Schubertian style in harmony or melody. The wind parts added later by the composer can be regarded as optional, as the work was originally scored for just the south German-Austrian church trio of 2 violins and organ. This work is now available in carus music, the choir app! $46.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Etude-Tableau in C Major, Op. 33 No. 2 Piano solo G. Henle
Piano solo (Piano Solo) - Henle Level 7 SKU: HL.51481279 Piano Solo(+)
Piano solo (Piano Solo) - Henle Level 7 SKU: HL.51481279 Piano Solo. Composed by Sergei Rachmaninoff. Edited by Dominik Rahmer. Sheet Music. Paperbound. Henle Music Folios. Classical. Softcover. 11 pages. G. Henle #HN1279. Published by G. Henle (HL.51481279). ISBN 9790201812793. UPC: 888680625603. 9.25x12.25x0.06 inches. Alongside HN 1264 (the Etude in e flat minor op. 39,5), we are now offering the Etude in C major in a single edition, taken from our much-loved complete edition of the 17 Études-Tableaux. Rachmaninoff greatly valued this work, often included it in his concert programmes and also recorded it. A longing melody unfolds over a simple accompaniment. This charming piece that alternates between major and minor is a good technical exercise for the crossing over of the hands, but does not contain nearly as many difficulties as Rachmaninoff's other etudes and is thus also manageable by advanced amateurs. They will be aided in the Henle Urtext edition by the helpful fingerings provided by the virtuoso Marc-André Hamelin. About Henle Urtext What I can expect from Henle Urtext editions: - error-free, reliable musical texts based on meticulous musicological research - fingerings and bowings by famous artists and pedagogues
- preface in 3 languages with information on the genesis and history of the work
- Critical Commentary in 1 – 3 languages with a description and evaluation of the sources and explaining all source discrepancies and editorial decisions
- most beautiful music engraving
- page-turns, fold-out pages, and cues where you need them
- excellent print quality and binding
- largest Urtext catalogue world-wide
- longest Urtext experience (founded 1948 exclusively for Urtext editions)
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| Sonatina In C Piano solo - Beginner Willis Music
Later Elementary Level. By Claudette Hudelson. Willis. 8 pages. Published by Wil...(+)
Later Elementary Level. By Claudette Hudelson. Willis. 8 pages. Published by Willis Music.
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| Hugh Martin, John Fricke, Ralph Blane: Have Yourself A Merry Little Christmas Piano, Voice [Singles] - Intermediate Alfred Publishing
Composed by Hugh Martin, John Fricke, Ralph Blane. For voice and piano. Format: ...(+)
Composed by Hugh Martin, John Fricke, Ralph Blane. For voice and piano. Format: piano/vocal/chords single. With vocal melody, piano accompaniment, lyrics and chord names. Christmas and holiday. C Major. Series: Original Sheet Music. 5 pages. 9x12 inches
(2)$3.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Andante In C Major For Flute K. 315 Handelsware
Solo flute, 7 melody instruments, percussion - intermediate to advanced SKU: ...(+)
Solo flute, 7 melody instruments, percussion - intermediate to advanced SKU: M7.NOR-2617052-33 Composed by Wolfgang Amadeus Mozart. Arranged by Haakon Esplo. Sheet music. Score and parts, Flex 7 Solist. Duration 5'. Handelsware #NOR 2617052-33. Published by Handelsware (M7.NOR-2617052-33). ISBN 9790261705233. English. Wolfgang Amadeus Mozart wrote music in many genres. The most famous of his works are written in opera, piano concertos and sonatas, symphonies and string quartets and string quintets. Mozart wrote in addition many instrumental solo works. Andante for Flute and Orchestra in C major, K. 315 (1778) is part of the standard repertoire for any flutist. With flexible parts in the accompaniment it should be even easier to play this music with your band. $104.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
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