| The Christian Children's Songbook
Piano, Vocal and Guitar [Sheet music] Hal Leonard
Songbook for voice, piano and guitar chords. 256 pages. Published by Hal Leonard...(+)
Songbook for voice, piano and guitar chords. 256 pages. Published by Hal Leonard.
(4)$27.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Irish Session Tune Book [Sheet music] Mel Bay
By Cari Fuchs. For acoustic instruments. Songbook. Celtic/Irish. Level: Beginnin...(+)
By Cari Fuchs. For acoustic instruments. Songbook. Celtic/Irish. Level: Beginning-Intermediate. Book. Size 8.75x11.75. 128 pages. Published by Mel Bay Publications, Inc.
$19.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Play Fifty Irish Ballads With Only Six Chords: Volume Two Guitar - Easy Music Sales
Guitar - Grade 2 SKU: HL.14025762 Volume Two. Composed by Various....(+)
Guitar - Grade 2 SKU: HL.14025762 Volume Two. Composed by Various. Music Sales America. Ballad. Book [Softcover]. 40 pages. Music Sales #OMB81. Published by Music Sales (HL.14025762). ISBN 9780946005628. 6.0x8.25x0.14 inches. English. The second book in this Duncle's Collection provides another 50 songs which can be addded to your repertoire. The book contains the words and music for some of Ireland's popular songs and ballads. Illustrated with period photographs from the 1920's and 1930's from the Father Brown collection. Play them all with only six chords! $9.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Romanze - Volume 11 Piano, Voice Ricordi
Voice and Piano. By Francesco Paolo Tosti. Vocal. Size 9x12 inches. 288 pages. P...(+)
Voice and Piano. By Francesco Paolo Tosti. Vocal. Size 9x12 inches. 288 pages. Published by Ricordi.
$42.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| 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 | | |
| Magnificats 71-92 Choral SATB Barenreiter
Mixed choir (Mixed choir) SKU: BA.BA04197 22 Magnificat settings from ...(+)
Mixed choir (Mixed choir) SKU: BA.BA04197 22 Magnificat settings from 1583-1585 from the Munich manuscripts. Compositions of 4 to 7 parts. Composed by Orlande De Lassus. Edited by James Erb. This edition: complete edition, urtext edition. Linen. Orlando di Lasso, Complete Works (Samtliche Werke - Neue Reihe), Volume 16. Complete edition, Score, anthology. Baerenreiter Verlag #BA04197_00. Published by Baerenreiter Verlag (BA.BA04197). ISBN 9790006444762. 27.5 x 19.5 cm inches. 22 Magnificat-Vertonungen der Jahre 1583-1585 aus Munchner Handschriften. Kompositionen zu 4 bis 7 Stimmen. About Barenreiter Urtext What can I expect from a Barenreiter Urtext edition? MUSICOLOGICALLY SOUND - A reliable musical text based on all available sources - A description of the sources - Information on the genesis and history of the work - Valuable notes on performance practice - Includes an introduction with critical commentary explaining source discrepancies and editorial decisions ... AND PRACTICAL - Page-turns, fold-out pages, and cues where you need them - A well-presented layout and a user-friendly format - Excellent print quality - Superior paper and binding
$306.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Rockschool Ukulele Grade 7 - (2020) Ukulele [Sheet music + Audio access] - Intermediate Rock School Limited (RSL)
Ukulele - late intermediate SKU: BT.RSK200132 Exam Material. Book with On...(+)
Ukulele - late intermediate SKU: BT.RSK200132 Exam Material. Book with Online Audio. Composed 2020. 68 pages. Rockschool #RSK200132. Published by Rockschool (BT.RSK200132). ISBN 9781789361186. English. The 2020 Ukulele syllabus extends Rockschool's offering to a full suite of grades. The syllabus has been designed in conjunction with their new Ukulele Method books, giving students a comprehensive pathway from absolute beginner stages through to entry into the graded system, and subsequently following a progressive pathway through to grade 8. The syllabus features six tracks for each grade that have been meticulously benchmarked to support students as they learn the instrument. At each grade, two of the pieces offer the students an opportunity to perform without full band backing, exploring the sound and resonance of their instrument. The remaining tracks are ‘session style’backing tracks, performed with full backing band and including vocal accompaniment which is also shown in the notation as a melody line and lyric over the main ukulele part.
Il sillabus 2020 Ukulele amplia l'offerta di Rockschool a tutti i livelli di studio. Il syllabus è stato pensato come complemento per il nuovo metodo di ukulele, offrendo così agli studenti un percorso strutturato a partire dal livello principiante assoluto fino al livello 8. I sei brani inclusi in ogni volume sono stati selezionati e arrangiati attentamente per consolidare l'appprendimento di ogni studente.
El Syllabus 2020 Ukulele expande la oferta de Rockschool en todos los niveles de estudio. El syllabus está pensado para complementar el nuevo método de ukelele, ofreciendo a los estudiantes un camino estructurado desde el nivel principiante hasta el nivel 8. Las seis piezas incluidas en cada volumen han sido cuidadosamente seleccionadas y arregladas para consolidar el aprendizaje de cada estudiante. $26.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Jazz Dream Theodore Presser Co.
Chamber Music Flute(s) SKU: PR.144407290 Composed by Ali Ryerson. Perform...(+)
Chamber Music Flute(s) SKU: PR.144407290 Composed by Ali Ryerson. Performance Score. 4 pages. Duration 4 minutes. Theodore Presser Company #144-40729. Published by Theodore Presser Company (PR.144407290). ISBN 9781491135150. UPC: 680160687008. Jazz luminary Ali Ryerson traces a unique and personal artistic path in this solo work. With an engaging form reminiscent of jazz charts (a dreamy introduction, a catchy, swinging head, and improvisatory-feeling 12-bar choruses), Ryerson’s music pays deeply-felt homage to Charlie Parker and other jazz greats, while maintaining an organic connection to the lineage of unaccompanied woodwind music in the classical tradition. Classical players will gain insight into jazz harmony, rhythm, and expression as they learn this knockout recital piece, while Ryerson fans in the jazz world gain an image of her musical mind in this fully-notated composition. Jazz Dream, a jazz-inspired solo flute piece, was commissioned by Claudia Anderson for her Glass Ceilings project. Claudia once told me that playing jazz flute has been one of her musical ambitions. I daresay her performance of JD could very well break a glass ceiling of her own!Moved by the events of 2020, composing Jazz Dream became my way of honoring my musical heroes from the Black community, namely the jazz musicians who created this music and truly broke glass ceilings. As jazz shares its origins with the blues, both genres having originated in the African-American community, I decided on a 12-bar blues form as the framework for the piece.The opening theme gently draws us into a dream-like state, with a melody in slow motion and lines that linger. When the REM cycle kicks into gear, there’s an abrupt rhythmic shift that leads straight into a swingin’ blues. Idiomatic jazz rhythms abound, with blue notes galore – the tension notes that virtually define the sound of both the blues and jazz (i.e. the flatted third, fifth, and seventh notes of a scale in place of the expected major intervals).After several groovin’ choruses of a 12-bar blues in B(, often played as if the soloist is improvising, the blues modulates to the key of E(, and as a tribute to the great Charlie Parker (AKA Bird), I harmonically suggest the more complex set of bebop changes that Parker introduced in his composition, Blues for Alice. Often referred to as Bird Changes or Bird Blues, instead of the basic I - IV – V chord progression commonly used in the blues, Parker used a series of sequential ii-V progressions (and secondary ii-V progressions). With the addition of some tritone substitutions, a chromatically descending bass line deftly replaces the original I-IV-V root movement. This is the harmonic background I was hearing as I wrote this particular chorus.After my 12-bar nod to Bird’s changes, the introductory dream theme returns, now in tempo and with a straight-ahead swing feel. Variations on this theme follow, again to be played as if improvising, with the soloist once again bringing their own personality into the performance. This section builds to a climax, the music pauses, then modulates to C, with a return to the original blues theme. The energy and groove increase through the final flourish, where a blues line ends on the idiomatic flatted fifth. $9.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Roger Quilter - Collected Songs Low voice, Piano Boosey and Hawkes
60 Songs - Low Voice. Composed by Roger Quilter (1877-1953). Boosey and Hawkes...(+)
60 Songs - Low Voice.
Composed by Roger Quilter
(1877-1953). Boosey and Hawkes
Voice. Softcover. 240 pages.
Boosey and Hawkes #M051934577.
Published by Boosey and Hawkes
$26.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Roger Quilter - Collected Songs High voice, Piano Boosey and Hawkes
60 Songs - High Voice. Composed by Roger Quilter (1877-1953). Boosey and Hawke...(+)
60 Songs - High Voice.
Composed by Roger Quilter
(1877-1953). Boosey and Hawkes
Voice. Softcover. 240 pages.
Boosey and Hawkes #M051934560.
Published by Boosey and Hawkes
$26.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Best of Irish Music Piano, Vocal and Guitar Creative Concepts
By Various. Creative Concepts Publishing. Size 9x12 inches. 192 pages. Published...(+)
By Various. Creative Concepts Publishing. Size 9x12 inches. 192 pages. Published by Creative Concepts.
$17.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Garden of Joy- Dan Damon Choral Unison Hope Publishing Company
Choir SKU: HP.8524 Composed by Daniel Damon. This edition: Complete. Auth...(+)
Choir SKU: HP.8524 Composed by Daniel Damon. This edition: Complete. Author Collections. General Worship, Sacred. Collection. 68 pages. Hope Publishing Company #8524. Published by Hope Publishing Company (HP.8524). UPC: 763628185244. Daniel Charles Damon. Dan Damon is known as one of a few persons who are gifted both in crafting texts and composing tunes, and he constantly strives to build on these gifts. In this collection of 35 new hymns and songs, Dan's texts continue to break new ground, exploring new themes. The tunes, also, have a modern tonality, with echoes of the jazz music Dan performs publicly. $11.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 business days | | |
| King Arthur Piano, Voice [Vocal Score] Novello & Co Ltd.
By Henry Purcell. Baroque, Opera. Sheet Music. 168 pages. Published by Novello a...(+)
By Henry Purcell. Baroque, Opera. Sheet Music. 168 pages. Published by Novello and Co Ltd.
$25.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Rubio: Polifonia Espanola Canciones Espirituales Polifonicas Vol.2 for Choir Music Sales | | |
| A Time for Healing GIA Publications
SKU: GI.G-1121 Composed by James Jordan, Roger Ames, and The Same Stream....(+)
SKU: GI.G-1121 Composed by James Jordan, Roger Ames, and The Same Stream. GIA ChoralWorks. Music Education. Choral score. GIA Publications #1121. Published by GIA Publications (GI.G-1121). UPC: 785147812128. On January 6, 2022, my friend Roger Ames passed after a battle with ALS. Throughout his illness, I dare say that work on this recording, selecting music and discussing scores, seemed to energize him every time we spoke. For musicians, I know our work gives our life purpose, but this recording seemed to give him a somewhat needed distraction. For me, this recording was one of the honors of my life. We all treated this music as sacred cargo. Roger heard a few tracks of the recording before he passed and wrote in a text the day before he passed that he “will listen from the other side.†For many years, I wanted to record an album of his music. In my mind, it was several projects ahead on our timetable. When Rog shared his diagnosis, I immediately said we would move the timeline for project to the summer of 2021. Rog selected all the music, much of which you will hear for the first time on this recording, which spans his entire career. The Same Stream met on hot days of an August summer in 2021 and recorded the music. Again, I am happy to say that Rog heard a few of the tracks before he passed. — James Jordan. $16.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| French Chanson Concert band - Beginner Alfred Publishing
Concert Band - Grade 1.5 SKU: AP.50866 Je Le Vous Dirai (I Dare Not Sa...(+)
Concert Band - Grade 1.5 SKU: AP.50866 Je Le Vous Dirai (I Dare Not Say It). Composed by Pierre Certon. Arranged by Steven J. Pyter. Concert Band; Performance Music Ensemble; Single Titles. Developing Band Series. Masterwork Arrangement; Multicultural. Score and Part(s). Duration 1:40. Alfred Music #00-50866. Published by Alfred Music (AP.50866). ISBN 9781470666781. UPC: 038081585390. English. French Chanson, arranged by Steven J. Pyter, is a rousing arrangement of a famous 16th-century choral work. The tuneful Renaissance art song tells a light-hearted story of gossip and rumor, with lyrics roughly translating to I will tell you! The story centers around a jealous husband suspicious of his beautiful wife. Like opera, the piece employs dramatic and whimsical characteristics to tell a passionate story. This arrangement alternates between tutti statements and short interludes to feature each instrument family in the band---woodwinds, brass, and percussion. The intensity and playfulness make for a great concert opener! (1:40). $55.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| French Chanson Concert band [Score] - Beginner Alfred Publishing
Concert Band - Grade 1.5 SKU: AP.50866S Je Le Vous Dirai (I Dare Not S...(+)
Concert Band - Grade 1.5 SKU: AP.50866S Je Le Vous Dirai (I Dare Not Say It). Composed by Pierre Certon. Arranged by Steven J. Pyter. Concert Band; Performance Music Ensemble; Single Titles. Developing Band Series. Masterwork Arrangement; Multicultural. Score. Duration 1:40. Alfred Music #00-50866S. Published by Alfred Music (AP.50866S). ISBN 9781470666798. UPC: 038081585406. English. French Chanson, arranged by Steven J. Pyter, is a rousing arrangement of a famous 16th-century choral work. The tuneful Renaissance art song tells a light-hearted story of gossip and rumor, with lyrics roughly translating to I will tell you! The story centers around a jealous husband suspicious of his beautiful wife. Like opera, the piece employs dramatic and whimsical characteristics to tell a passionate story. This arrangement alternates between tutti statements and short interludes to feature each instrument family in the band---woodwinds, brass, and percussion. The intensity and playfulness make for a great concert opener! (1:40). $10.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Children's Sacred Solos Children choir [Sheet music + Audio access] - Beginner Hal Leonard
Composed by Various. Vocal Collection. Children, Sacred. Softcover Audio Online....(+)
Composed by Various. Vocal Collection. Children, Sacred. Softcover Audio Online. 40 pages. Published by Hal Leonard
$16.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Riffology Music Sales | | |
| Top Hits of 2020 Easy Piano - Easy Hal Leonard
Easy Piano Songbook. By Various. Easy Piano Songbook. Pop. Softcover. 112 ...(+)
Easy Piano Songbook. By
Various. Easy Piano
Songbook. Pop. Softcover.
112 pages. Published by Hal
Leonard
$17.99 - See more - Buy onlinePre-shipment lead time: 3 to 5 business days | | |
| Top Hits of 2020 for Easy Guitar Guitar notes and tablatures - Easy Hal Leonard
By Various. Easy Guitar. Pop. Softcover. With guitar tablature. 64 pages. Pub...(+)
By Various. Easy Guitar.
Pop. Softcover. With guitar
tablature. 64 pages.
Published by Hal Leonard
$14.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Top Hits of 2020 Ukulele Hal Leonard
18 of the Hottest Songs. By Various. Ukulele. Pop. Softcover. 88 pages. Publi...(+)
18 of the Hottest Songs. By
Various. Ukulele. Pop.
Softcover. 88 pages.
Published by Hal Leonard
$14.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Curiosando Bach. Appunti di studio su alcune formule armoniche di Johann Sebastian Bach nella prassi compositiva dei Corali Ut Orpheus
Books and Journals; Early Music; Music Education SKU: UT.DM-21 Composed b...(+)
Books and Journals; Early Music; Music Education SKU: UT.DM-21 Composed by Vincenzo Corrao. Paperback (Soft Cover). Classical. Books and Journals; Early Music; Music Education. Ut Orpheus #DM 21. Published by Ut Orpheus (UT.DM-21). ISBN 9788881094523. 6.5 x 9.5 inches. Nel redigere questi appunti di studio, spero di comunicare la mia ‘curiosità’ verso la prassi compositiva di uno tra i più grandi maestri di tutti i tempi: Johann Sebastian Bach (1685-1750). Per comprendere (almeno in parte) lo stile bachiano, mi sono basato su alcune strutture armoniche riscontrabili con regolarità in fasi precadenzali. Ho potuto notare come una di queste strutture da me indagate (nello studio definita formula-tipo) venisse ulteriormente elaborata in tutti i suoi parametri musicali fondamentali (melodia, contrappunto, armonia e ritmo) per dare vita a ‘nuovi’ insiemi armonico-contrappuntistici. Tali formule derivate dimostrano come lo stile compositivo bachiano poggi soprattutto su tecniche di tipo artigianale. Ho potuto inoltre ammirare come il Maestro abbia saputo coniugare il contrappunto di origine modale rinascimentale con le proprie (geniali) invenzioni armoniche, basate sul ‘moderno’ funzionalismo tonale (vedi la formula tipo modale). Perciò è mia convinzione che, nello studio sui corali, per caratterizzare lo stile compositivo del Kantor bisogna innanzi tutto identificare i componenti essenziali del suo linguaggio armonico cadenzale (linguaggio ‘moderno’ ma nello stesso tempo derivato dalla tradizione dei maestri del ’500). Individuati gli elementi strutturali peculiari, possiamo riconoscerli, reiterati nei punti ‘chiave’ (cadenze) del discorso musicale tonale; in tal modo, essi concorrono a rendere unitaria ed organica la tipica armonizzazione a quattro voci di una forma musicale così ricca di varianti melodiche come il corale evangelico luterano. (Vincenzo Corrao). $21.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Ryan's Mammoth Collection of Fiddle Tunes Violin [Sheet music] Mel Bay
Edited by Patrick Sky. For fiddle. All styles. Level: Multiple Levels. Book. Son...(+)
Edited by Patrick Sky. For fiddle. All styles. Level: Multiple Levels. Book. Songbook. Size 8.75x11.75. 176 pages. Published by Mel Bay Pub., Inc.
$29.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Woman's Life and Love (Frauenliebe und Leben) High voice, Piano Schirmer
High Voice. By R Schumann. Vocal Large Works. Size 6.8x10.5 inches. 32 pages. Pu...(+)
High Voice. By R Schumann. Vocal Large Works. Size 6.8x10.5 inches. 32 pages. Published by Schirmer.
$10.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
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