| Hallow's Eve Sky Piano solo [Score] - Intermediate FJH
Piano - Intermediate SKU: FJ.W9457 Composed by Jeanne Costello. Piano Sol...(+)
Piano - Intermediate SKU: FJ.W9457 Composed by Jeanne Costello. Piano Solo; Piano Supplemental. Written For You. Halloween. Score. The FJH Music Company Inc #98-W9457. Published by The FJH Music Company Inc (FJ.W9457). UPC: 241444394274. English. This tantalizing, two-page tarantella in E minor has the pedagogical purpose of reinforcing chromatic patterns and it's so much fun to play! The coloristic R.H. chromaticism is balanced by easier L.H. broken triads. It's a great recital piece for All Hallows' Eve (Halloween)¦the audience will be spellbound! About FJH Written For You Piano Solos Sparkling and lyrical pieces which promote musical expression. $2.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| The Hymn Fake Book - C Edition
Melody line, Lyrics and Chords [Fake Book] - Easy Hal Leonard
For voice and C instrument. Format: fakebook (spiral bound). With vocal melody, ...(+)
For voice and C instrument. Format: fakebook (spiral bound). With vocal melody, lyrics, piano accompaniment, chord names and leadsheet notation. Hymn. Series: Hal Leonard Fake Books. 494 pages. 9x12 inches. Published by Hal Leonard.
(3)$39.99 - 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 | | |
| The Easy Movie Fake Book – 2nd Edition Hal Leonard
Melody, Lyrics and Simplified Chords C Instruments; Melody/Lyrics/Chords SKU:...(+)
Melody, Lyrics and Simplified Chords C Instruments; Melody/Lyrics/Chords SKU: HL.298905 100 Songs in the Key of C. Composed by Various. Easy Fake Book. Movies. Softcover. 232 pages. Published by Hal Leonard (HL.298905). ISBN 9781540059901. UPC: 888680955274. 9.0x12.0x0.556 inches. This updated second edition features 100 songs from the silver screen in larger-than-usual fake book notation and all in the key of C. Songs include: Born Free • Chariots of Fire • City of Stars (from La La Land) • Endless Love • Footloose • Ghostbusters • Happy (from Despicable Me 2) • I Will Always Love You (from The Bodyguard) • Theme from Jaws • Let It Go (from Frozen) • A Million Dreams (from The Greatest Showman) • My Heart Will Go On (Love Theme from Titanic) • Nine to Five • Over the Rainbow (from The Wizard of Oz) • Shallow (from A Star Is Born) • Singin' in the Rain • Summer Nights (from Grease) • (I've Had) The Time of My Life (from Dirty Dancing) • The Wind Beneath My Wings (from Beaches) • Yellow Submarine • and more. $29.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Relaxing Piano Ballads Piano solo - Intermediate Hal Leonard
Piano/Keyboard - Intermediate to Early Advanced SKU: HL.1303099 Arranged by Phi...(+)
Piano/Keyboard - Intermediate to Early Advanced
SKU: HL.1303099
Arranged by Phillip Keveren. Piano Solo Songbook. Movies, New Age, Pop. Softcover. Published by Hal Leonard (HL.1303099).
ISBN 9798350108439. UPC: 196288172833. 9.0x12.0 inches.
16 gorgeous piano solos, each arranged in a way intended to soothe the soul and spirit. Phillip writes in the preface how he finds practicing the piano in itself relaxing, and how the joy really is in the journey.
$16.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Sacred and hallowed fire Organ Oxford University Press
Composed by Cecilia McDowall. For organ. 12 pages. Duration 6.5 minutes. Publish...(+)
Composed by Cecilia McDowall. For organ. 12 pages. Duration 6.5 minutes. Published by Oxford University Press
$16.50 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Four Piedmont Choruses Choral SATB SATB divisi, A Cappella Hal Leonard
Choral (SATB divisi) SKU: HL.8752173 Composed by William Bolcom. Choral. ...(+)
Choral (SATB divisi) SKU: HL.8752173 Composed by William Bolcom. Choral. Collection, Contemporary, Poetry. 52 pages. Published by Hal Leonard (HL.8752173). UPC: 884088518431. 6.75x10.5x0.12 inches. Commissioned by the Piedmont Chamber Singers of Winston-Salem, NC in honor of its 30th anniversary, “Four Piedmont Choruses†are settings of the four moody poems by North Carolina poet laureate Kathryn Stripling Byer for SATB chorus and piano. I) Black Road, II) All Hallows Eve, III) Dusk, and IV) The Ballad Singers. Available for SATB. $5.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Shallow Easy Piano - Easy Alfred Publishing
From A Star Is Born. Composed by Words, Music by Lady Gaga, Mark Ronson, Antho...(+)
From A Star Is Born. Composed
by Words, Music by Lady Gaga,
Mark Ronson, Anthony
Rossomando, and Andrew Wyatt.
Arranged by Tom Gerou. Sheet;
Solo; Solo Small Ensembles.
Original Sheet Music Edition.
Movie; Pop. Sheet. 4 pages.
Alfred Music #00-47844.
Published by Alfred Music
$3.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Allan Holdsworth - Reaching for the Uncommon Chord* Guitar notes and tablatures Hal Leonard
Performed by Allan Holdsworth. Transcribed Score (Authentic transcriptions of al...(+)
Performed by Allan Holdsworth. Transcribed Score (Authentic transcriptions of all instruments). With notes and tablature. Size 9x12 inches. 112 pages. Published by Hal Leonard.
(3)$24.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Top Hits - Really Easy Guitar Lyrics and Chords - Easy Hal Leonard
22 Songs with Chords, Lyrics and Basic Tab. By Various. Really Easy Guitar. Po...(+)
22 Songs with Chords, Lyrics
and Basic Tab. By Various.
Really Easy Guitar. Pop.
Softcover. With guitar
tablature. 48 pages.
Published by Hal Leonard
$10.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Shallow Choral CD Hal Leonard
Choral (ShowTrax CD) SKU: HL.287332 From A Star Is Born. By Bradle...(+)
Choral (ShowTrax CD) SKU: HL.287332 From A Star Is Born. By Bradley Cooper and Lady Gaga. By Lady Gaga and Mark Ronson. Arranged by Mac Huff. Pop Choral Series. Country, Duet, Movies, Pop, Pop/Rock, Rock, Show Choir, Southern Rock. CD. Duration 210 seconds. Published by Hal Leonard (HL.287332). UPC: 888680903671. 5.0x5.0x0.16 inches. A pivotal moment in the 2018 remake of A Star Is Born, Shallow marks the moment at which Lady Gaga's Ally is thrust into the spotlight and the title of the film is fulfilled. Marked by a beautiful and conversational opening passage with opportunities for soloists, the back half of the arrangement stays true to the original melody with effective harmonies, country rock phrasing and a musical assuredness that juxtaposes phenomenally with the hardship and all-or-nothing rhetoric that the text presents. $26.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Shallow (from A Star Is Born) Orchestra [Score and Parts] - Intermediate Alfred Publishing
As Performed by Lady Gaga and Bradley Cooper. Composed by Lady Gaga, Mark Rons...(+)
As Performed by Lady Gaga and
Bradley Cooper. Composed by
Lady Gaga, Mark Ronson,
Anthony Rossomando, and
Andrew Wyatt. Arranged by
Victor Lopez. Full Orchestra;
Performance Music Ensemble;
Single Titles. Pop Concert
Full Orchestra. Movie. Score
and Parts. 166 pages. Alfred
Music #00-47451. Published by
Alfred Music
$85.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Shallow (from A Star Is Born) Orchestra [Score] - Intermediate Alfred Publishing
As Performed by Lady Gaga and Bradley Cooper. Composed by Lady Gaga, Mark Rons...(+)
As Performed by Lady Gaga and
Bradley Cooper. Composed by
Lady Gaga, Mark Ronson,
Anthony Rossomando, and
Andrew Wyatt. Arranged by
Victor Lopez. Full Orchestra;
Performance Music Ensemble;
Single Titles. Pop Concert
Full Orchestra. Movie. Score.
16 pages. Alfred Music #00-
47451S. Published by Alfred
Music
$9.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Rockschool Acoustic Guitar Level 2 [Sheet music + Audio access] - Easy Rock School Limited (RSL)
Level 2 Acoustic Guitar; Guitar SKU: HL.360467 Guitar. Instruction. Softc...(+)
Level 2 Acoustic Guitar; Guitar SKU: HL.360467 Guitar. Instruction. Softcover Audio Online. Rockschool #RSK200112US. Published by Rockschool (HL.360467). ISBN 9781789361858. UPC: 840126990553. 9.0x12.0x0.205 inches. Learn to play rock and pop with Rockschool. These specially written arrangements develop the skills and techniques you need to help you achieve your musical goals. Rockschool has commissioned arrangements of titles reflecting popular music's rich heritage in all its forms and have tailored each piece to make it exactly right for the grade. You can also use titles from Rockschool's Classics series as part of the syllabus. The arrangements have been written and performed by top session musicians who have worked with some of the biggest names in rock, metal and pop. The tracks were recorded at Real World's acclaimed recording studios and feature live instruments and first rate performances for an unrivalled level of feel, authenticity and musicianship. Featuring: Everybody Hurts (R.E.M.) • Let Her Go (Passenger) • Other Side of the World (KT Tunstall) • Shallow (Lady Gaga & Bradley Cooper) • (Sittin' on) The Dock of the Bay (Otis Redding) • We Are Never Ever Getting Back Together (Taylor Swift) • and six Rockschool originals. Plus: • Band and artist fact files with recommended listening • In-depth walkthroughs of every track • Easy-access downloadable audio • Example tests and exercises. $22.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Southern Gospel Piano - Devotion Piano solo - Intermediate Mel Bay
Piano - Intermediate SKU: MB.31086 Saddle-stitched. Gospel. Book. Mel Bay...(+)
Piano - Intermediate SKU: MB.31086 Saddle-stitched. Gospel. Book. Mel Bay Publications, Inc #31086. Published by Mel Bay Publications, Inc (MB.31086). ISBN 9781513477763. 8.75X11.75 inches. We all have experienced devotion at varying levels of intensity within our lives. Sometimes it is temporary, but in other cases it is lasting and perhaps even permanent.Devotion can be directed toward an idea, a purpose, plan, pet or person, a concept, a sport or hobby, a philosophy, or a feeling or relationship, but we all have known it in some measure.It can be so pathetically shallow as devotion to an object or possession, but its highest expression is found in devotion to the most noble of lasting and eternal values and in pursuit of knowing the awesome Creator of the universe- - - God himself. Hopefully, these piano pieces will inspire a greater measure of devotion from each of us. $17.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| All the Best Songs for Easy Guitar Guitar Lillenas Publishing Co.
(75 Hymns and Choruses). By David Winkler. String ensemble. For medium voice, gu...(+)
(75 Hymns and Choruses). By David Winkler. String ensemble. For medium voice, guitar. Easy. Published by Lillenas Publishing Company
$14.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Shallow Easy Piano - Easy Alfred Publishing
From A Star Is Born. Composed by Words, Music by Lady Gaga, Mark Ronson, Antho...(+)
From A Star Is Born. Composed
by Words, Music by Lady Gaga,
Mark Ronson, Anthony
Rossomando, and Andrew Wyatt.
Arranged by Tom Gerou. This
edition: Piano. Sheet; Solo;
Solo Small Ensembles. Movie;
Pop. Sheet. 8 pages. Alfred
Music #00-47843. Published by
Alfred Music
$3.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| The Top 300 Contemporary Christian Songs Voice solo Lillenas Publishing Co.
(Leadsheets for Performance and Personal Enjoyment). Composed by David Mcdonald....(+)
(Leadsheets for Performance and Personal Enjoyment). Composed by David Mcdonald. For voice solo. Sacred Vocal. Published by Lillenas Publishing Company
$34.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| 100 Most Beautiful Christmas Songs Hal Leonard
Electronic Keyboard; Piano/Keyboard SKU: HL.348318 E-Z Play Today #53<...(+)
Electronic Keyboard; Piano/Keyboard SKU: HL.348318 E-Z Play Today #53. Composed by Various. E-Z Play Today. Christmas. Softcover. 352 pages. Published by Hal Leonard (HL.348318). ISBN 9781540097347. UPC: 840126930009. 9.0x12.0x0.731 inches. A giant Christmas collection with easy-to-read and play arrangements for all keyboardists! E-Z Play Today songbooks feature simple arrangements with authentic-sounding chords and melody lines with a minimum number of page turns. The books also include lyrics for ultimate playing and sing-along enjoyment. This collection features a variety of holiday favorites, including: Baby, It's Cold Outside • The Christmas Shoes • The Christmas Song (Chestnuts Roasting on an Open Fire) • Christmas Time Is Here • Do You Hear What I Hear • Have Yourself a Merry Little Christmas • I'll Be Home for Christmas • The Little Drummer Boy • Mary, Did You Know? • Merry Christmas, Darling • O Holy Night • Silver Bells • Ukrainian Bell Carol • White Christmas • and many more! Over 300 pages! About Hal Leonard E-Z Play Today For organs, pianos, and electronic keyboards. E-Z Play Today is the shortest distance between beginning music and playing fun. Now there are more than 300 reasons why you should play E-Z Play Today. * World's largest series of music folios * Full-size books - large 9 x 12 format features easy-to-read, easy-to-play music * Accurate arrangements... simple enough for the beginner, but accurate chords and melody lines are maintained * Eye-catching, full-color covers * Lyrics... most arrangements include words and music * Most up-to-date registrations - books in the series contain a general registration guide, as well as individual song rhythm suggestions * Guitar Chord Chart - all songs in the series can also be played on guitar. $27.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Shallow (from a Star Is Born) Jazz Ensemble [Score and Parts] - Intermediate Hal Leonard
Key: F. By Bradley Cooper and Lady Gaga. By Andrew Wyatt, Anthony Rossomando, ...(+)
Key: F. By Bradley Cooper
and Lady Gaga. By Andrew
Wyatt, Anthony Rossomando,
Mark Ronson, and Stefani
Germanotta. Arranged by Rick
Stitzel. Vocal Solo/Jazz
Ensemble Series. Ballad.
Softcover. Published by Hal
Leonard
$55.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Really Easy Piano - Movie Musicals Piano solo - Easy Hal Leonard
Composed by Various. Really Easy Piano. Movies, Musicals. Softcover. 56 pages....(+)
Composed by Various. Really
Easy Piano. Movies, Musicals.
Softcover. 56 pages.
Published by Hal Leonard
$12.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Lily's Theme (Main Theme from Harry Potter and the Deathly Hallows, Part 2) Easy Piano [Singles] - Easy Alfred Publishing
http://www.sheetmusicplus .com/title/Lily-s-Theme-M ain-Theme-from-Harry-Pott er...(+)
http://www.sheetmusicplus.com/title/Lily-s-Theme-Main-Theme-from-Harry-Potter-and-the-Deathly-Hallows-Part-2/19581887
$4.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Laudate, Volume 5 Organ Concordia Publishing House
By Kosnik. For organ. General, sacred. Published by Concordia Publishing House. ...(+)
By Kosnik. For organ. General, sacred. Published by Concordia Publishing House. Level: Moderately Easy.
$24.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Bach: Chorals. Awake my heart Choral [Sheet music] Carus Verlag
By Johann Sebastian / Herman Bach. Edited by Klaus Hofmann. Hymn settings, Mass ...(+)
By Johann Sebastian / Herman Bach. Edited by Klaus Hofmann. Hymn settings, Mass Sections; Choral Collections, Mixed Choir; Occasions: Peace and Justice, Morning, Midday, Evening; Use during church year: Advent, Special Days, Epiphany, Lent and Passiontide, Holy Week, Easter and Eastertide, Ascension, Christmas. Choral collection. 80 pages. Published by Carus Verlag (German import).
$15.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Within These Hallowed Halls Concert band - Easy Opus III Wind Orchestra Publications
Grade 3 SKU: CL.012-3326-99 Concert Band. Heritage of the March Series. A...(+)
Grade 3 SKU: CL.012-3326-99 Concert Band. Heritage of the March Series. Audio recording available separately (items CL.WFR337, CL.WFR331 & CL.WFR343). String score and parts set. Composed 2004. Duration 4 minutes, 44 seconds. Opus III Wind Orchestra Publications #012-3326-99. Published by Opus III Wind Orchestra Publications (CL.012-3326-99). For band with optional choir, strings, narrator and audience sing-a-long. This glorious setting of two of America's favorite hymns, Amazing Grace and Battle Hymn of The Republic, is destined to be the work of choice when selecting that special number for your program's grand finale. Playable by band alone, this patriotic arrangement also offers the creative option of adding choir, strings, narrator, bagpiper and even a group sing-a-long. Musically appealing for bands of varied levels, this spectacular production number will offer grateful audiences, young and old alike, a wonderful opportunity to experience the ultimate in listening pleasure. A guaranteed winner! About Heritage of the March Full-sized concert band editions of the greatest marches of all time. Each has been faithfully re-scored to accommodate modern instrumentation and incorporate performance practices of classic march style $40.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Emmanuel (Hallowed Manger Ground) (Orchestration) Choral SATB Lillenas Publishing Co.
SATB choir - Moderate SKU: LP.765762174207 Composed by Chris Tomlin & Ed ...(+)
SATB choir - Moderate SKU: LP.765762174207 Composed by Chris Tomlin & Ed Cash. Arranged by Gary Rhodes & Tim Cates. Anthems. Praise & Worship and Sacred. CD-ROM orchestration. Published by Lillenas Publishing Company (LP.765762174207). UPC: 765762174207. Easy-to-learn melody and accessible choral writing make this new offering from popular solo artist Chris Tomlin and arranger Gary Rhodes a perfect addition to the Christmas choral repertoire of any church. Gentle and reverent with a sensitive artistic touch this new classic is sure to carry listeners to a place of worship at that hallowed manger ground. Instrumentation: Flute 1 & 2 Oboe Clarinet Horn 1 & 2 Trumpet 1 Trumpet 2 & 3 Trombone 1 & 2 Trombone 3/Tuba Percussion Rhythm Harp Violin 1 & 2 Viola Cello String Bass Substitute Instrumentation: Keyboard String Reduction; Soprano Sax (sub for Oboe); Alto Sax 1 & 2 (sub for Horn 1 & 2); Baritone T.C./Tenor Sax (sub for Trombone 1 & 2); Baritone Sax (sub for Trombone 3/Tuba); Bassoon/Bass Clarinet (sub for Cello). $74.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
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