| E-Z Play Today #181. The Great American Country Songbook Easy Piano [Sheet music] - Beginner Hal Leonard
E-Z Play Today (Easy big-note right-hand-only arrangements for piano, organ, and...(+)
E-Z Play Today (Easy big-note right-hand-only arrangements for piano, organ, and electronic keyboard). Size 9x12 inches. 192 pages. Published by Hal Leonard.
$19.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| A Taste of Schubert for Medium Voice Medium voice, Piano Barenreiter
Voice-Med,Piano (Medium voice, Piano) SKU: BA.BA09139 Composed by Franz S...(+)
Voice-Med,Piano (Medium voice, Piano) SKU: BA.BA09139 Composed by Franz Schubert. Edited by Walther Durr. This edition: urtext edition. Stapled. Barenreiter Urtext. Compilation: Christine Martin. Singing Score, anthology. Baerenreiter Verlag #BA09139_00. Published by Baerenreiter Verlag (BA.BA09139). ISBN 9790006566686. 30 x 23 cm inches. Language: German. Preface: Christine Martin. Do you know our performing edition of Schubert Lieder? 13 volumes containing the complete Lieder for solo voice and piano in editions for high, medium and low voice are planned. Nine of these volumes have already been published and provide the basis for this special sampler at a very special price. “A Taste of Schubert†presents one to three pieces from each volume to create a cross-section of Schubert’s complete lieder uvre. Lieder from his famous cycles are included as well as “Sehnsuchtâ€, of which he wrote several settings.
Contrasting genres have also been taken into consideration, beginning with simple strophic songs, via the ballad “Der König von Thule†through to his long Ossian Lied “Cronnanâ€.
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
$7.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Caritas Abundat Carl Fischer
Choral Hand Clap, Hand Drum, Violin, alto 1, alto 2, soprano 1, soprano 2 SKU...(+)
Choral Hand Clap, Hand Drum, Violin, alto 1, alto 2, soprano 1, soprano 2 SKU: CF.CM9563 Great and Fiery Force. Composed by Michael John Trotta. Hidegard Von Bingen transcribed by Michael John Trotta. Mjts. With Standard notation. 24 pages. Duration 4 minutes, 41 seconds. Carl Fischer Music #CM9563. Published by Carl Fischer Music (CF.CM9563). ISBN 9781491153635. UPC: 680160911134. 6.75 x 10.5 inches. Key: G minor. Latin, English. Hidegard Von Bingen transcribed by Michael John Trotta. Trotta's composition is an energetic reimagining of timeless text and tune from the 12th century poet, composer, and philosopher Hildegard of Bingen. The marriage of the chant Caritas Abundat with a text taken from Liber Divinorum Operum (The Book of Divine Works) creates an entirely new work that expresses themes of empowerment. There is a reflective sense of the empowerment that comes from singing in a choir, especially the power of belonging to a group united for a purpose greater than oneself. This commissioned work for womens choir is an energetic reimagining of a timeless text and tune from the twelfth-century poet, composer and philosopher Hildegard of Bingen. The text was selected as a reflection of the students' desire to express the empowerment that comes from singing in a choir, especially the power of belonging to a group united for a purpose greater than oneself. This piece marries the chant Caritas Abundat with a text taken from Liber Divinorum Operum (The Book of Divine Works), creating an entirely new work that expresses themes of empowerment. An adapted quotation of the tune is introduced in the violin, then taken up by the choir, treated to a five-part canon in the more reflective middle section, and finally changes meter for an energetic finish. I am the great and fiery force, That breathes life into all things: I am what awakens and supports life And enkindles all living things I am the great and fiery force, That breathes life into all things: Everything in the cosmos Is encircled with my wisdom. I am the beauty in the fields, The force, that moves like a graceful wind I shine in the waters, and burn in the sun, Glimmering in the stars. Caritas abundat in omnia (Grace abounds for everyone) [Liber Divinorum Operum (The Book of Divine Works), I.I.2]. This commissioned work for womenas choir is an energetic reimagining of a timeless text and tune from the twelfth-century poet, composer and philosopher Hildegard of Bingen. The text was selected as a reflection of the students' desire to express the empowerment that comes from singing in a choir, especially the power of belonging to a group united for a purpose greater than oneself. This piece marries the chant Caritas Abundat with a text taken from Liber Divinorum Operum (The Book of Divine Works), creating an entirely new work that expresses themes of empowerment. An adapted quotation of the tune is introduced in the violin, then taken up by the choir, treated to a five-part canon in the more reflective middle section, and finally changes meter for an energetic finish. I am the great and fiery force, That breathes life into all things: I am what awakens and supports life And enkindles all living things I am the great and fiery force, That breathes life into all things: Everything in the cosmos Is encircled with my wisdom. I am the beauty in the fields, The force, that moves like a graceful wind I shine in the waters, and burn in the sun, Glimmering in the stars. Caritas abundat in omnia (Grace abounds for everyone) [Liber Divinorum Operum (The Book of Divine Works), I.I.2]. This commissioned work for womenas choir is an energetic reimagining of a timeless text and tune from the twelfth-century poet, composer and philosopher Hildegard of Bingen. The text was selected as a reflection of the students' desire to express the empowerment that comes from singing in a choir, especially the power of belonging to a group united for a purpose greater than oneself. This piece marries the chant Caritas Abundat with a text taken from Liber Divinorum Operum (The Book of Divine Works), creating an entirely new work that expresses themes of empowerment. An adapted quotation of the tune is introduced in the violin, then taken up by the choir, treated to a five-part canon in the more reflective middle section, and finally changes meter for an energetic finish. I am the great and fiery force, That breathes life into all things: I am what awakens and supports life And enkindles all living things I am the great and fiery force, That breathes life into all things: Everything in the cosmos Is encircled with my wisdom. I am the beauty in the fields, The force, that moves like a graceful wind I shine in the waters, and burn in the sun, Glimmering in the stars. Caritas abundat in omnia (Grace abounds for everyone) [Liber Divinorum Operum (The Book of Divine Works), I.I.2]. This commissioned work for women's choir is an energetic reimagining of a timeless text and tune from the twelfth-century poet, composer and philosopher Hildegard of Bingen. The text was selected as a reflection of the students' desire to express the empowerment that comes from singing in a choir, especially the power of belonging to a group united for a purpose greater than oneself. This piece marries the chant Caritas Abundat with a text taken from Liber Divinorum Operum (The Book of Divine Works), creating an entirely new work that expresses themes of empowerment. An adapted quotation of the tune is introduced in the violin, then taken up by the choir, treated to a five-part canon in the more reflective middle section, and finally changes meter for an energetic finish. I am the great and fiery force, That breathes life into all things: I am what awakens and supports life And enkindles all living things I am the great and fiery force, That breathes life into all things: Everything in the cosmos Is encircled with my wisdom. I am the beauty in the fields, The force, that moves like a graceful wind I shine in the waters, and burn in the sun, Glimmering in the stars. Caritas abundat in omnia (Grace abounds for everyone) [Liber Divinorum Operum (The Book of Divine Works), I.I.2]. This commissioned work for women's choir is an energetic reimagining of a timeless text and tune from the twelfth-century poet, composer and philosopher Hildegard of Bingen. The text was selected as a reflection of the students' desire to express the empowerment that comes from singing in a choir, especially the power of belonging to a group united for a purpose greater than oneself. This piece marries the chant Caritas Abundat with a text taken from Liber Divinorum Operum (The Book of Divine Works), creating an entirely new work that expresses themes of empowerment. An adapted quotation of the tune is introduced in the violin, then taken up by the choir, treated to a five-part canon in the more reflective middle section, and finally changes meter for an energetic finish. I am the great and fiery force, That breathes life into all things: I am what awakens and supports life And enkindles all living things I am the great and fiery force, That breathes life into all things: Everything in the cosmos Is encircled with my wisdom. I am the beauty in the fields, The force, that moves like a graceful wind I shine in the waters, and burn in the sun, Glimmering in the stars. Caritas abundat in omnia (Grace abounds for everyone) [Liber Divinorum Operum (The Book of Divine Works), I.I.2]. This commissioned work for women’s choir is an energetic reimagining of a timeless text and tune from the twelfth-century poet, composer and philosopher Hildegard of Bingen. The text was selected as a reflection of the students' desire to express the empowerment that comes from singing in a choir, especially the power of belonging to a group united for a purpose greater than oneself.This piece marries the chant Caritas Abundat with a text taken from Liber Divinorum Operum (The Book of Divine Works), creating an entirely new work that expresses themes of empowerment.An adapted quotation of the tune is introduced in the violin, then taken up by the choir, treated to a five-part canon in the more reflective middle section, and finally changes meter for an energetic finish.I am the great and fiery force,That breathes life into all things:I am what awakens and supports lifeAnd enkindles all living thingsI am the great and fiery force,That breathes life into all things:Everything in the cosmosIs encircled with my wisdom.I am the beauty in the fields,The force, that moves like a graceful windI shine in the waters, and burn in the sun,Glimmering in the stars.Caritas abundat in omnia (Grace abounds for everyone)[Liber Divinorum Operum (The Book of Divine Works), I.I.2]. $3.50 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Impressions from the Chinese Zodiac Theodore Presser Co.
Chamber Music Saxophone(s) SKU: PR.114423500 Composed by Chen Yi. Perform...(+)
Chamber Music Saxophone(s) SKU: PR.114423500 Composed by Chen Yi. Performance Score. Duration 3 minutes. Theodore Presser Company #114-42350. Published by Theodore Presser Company (PR.114423500). ISBN 9781491137758. UPC: 680160691531. Commissioned by The Juilliard School’s Music Advancement Program, IMPRESSIONS FROM THE CHINESE ZODIAC is a suite of three characteristic pieces within reach of advanced pre-college saxophonists, and introducing advanced techniques. The work is equally satisfying and impressive for top-level performers. The movements are titled:1. Rooster Singing Out in the Morning2. Monkey Jumping Around in the Forest3. Tiger Walking Down from the Mountain. Commissioned by The Juilliard School for Juilliard’s Music Advancement Program, Impressions from the Chinese Zodiac was composed for any size saxophone in 2022. It consists of three independent movements featuring different musical characteristics with various performing techniques. The inspiration for the music came from impressions of three animal signs (rooster, monkey, and tiger), from the twelve in the Chinese Zodiac.The first piece begins with a repeated phrase imitating a rooster’s loud singing in the morning; the pitch with fluttertongue sounds like the noise from the rooster’s throat), followed by phrases of a pentatonic melody drawn from The Sun Is Rising With Our Joy, a Chinese folk song from Sichuan province. There are descending passages, simulating the dropping-down sound of the singing. Each passage is different from others, each of which should be played accurately and smoothly. The melody is moved up a step with variation, followed by an echo of the rooster singing at the end of the piece. Now the sky is bright, so the rooster call returns up four scale steps!The second piece includes two Chinese folk songs: Thinking of My Darling (from Shanxi province) and Guessing (from Yunnan province). Both songs have large interval skips spanning different registers, as well as microtonal intervals in their original singing, which show the characteristics of the regional musical languages respectively. The tone colors should be matched when registers are changed. The microtonal pitches (quarter-tone flat or three-quarter-tone flat) may be done by bending the tone with one’s lips. The image is the monkey jumping around lively, and the music is played humorously. The high and long pitch with a yelling-down effect at the end of the piece brings the music to an exciting peak.The third piece features the strong and brave tiger, with accented tones in the lowest register. The first 3-pitch motive is developed throughout the piece, while peristaltic chromatic material is formed in various shapes and directions, to show the gestures of a mighty and fierce image.Getting accustomed to special fingerings for the chromatic passages and trills, along with precisely notated articulations, and the techniques of tongue slap and key clicks, are the basic goals to achieve in this piece. $12.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Oramos Cantando / We Pray in Song - Pew edition GIA Publications
Guitar, keyboard SKU: GI.G-7400 This edition: Pew edition. Hymnal. Oramos...(+)
Guitar, keyboard SKU: GI.G-7400 This edition: Pew edition. Hymnal. Oramos cantando series. Sacred. Book. GIA Publications #7400. Published by GIA Publications (GI.G-7400). ISBN 9781579999698. Intended especially for the growing number of multicultural, bilingual (Latino/Anglo) parishes and communities in the United States, Oramos Cantando / We Pray in Song is a hymnal and service book that is comprehensive enough to satisfy the liturgical needs of such communities, when they are worshipping in Spanish, in English, or bilingually. Bilingual from the first page to the last. Organized to reflect the liturgical life of the Church: morning, evening and night prayer from the Liturgy of the Hours, the sacramental rites of Christian initiation of adults, baptism of children, holy communion outside Mass, eucharistic exposition and benediction, reconciliation of penitents, anointing of the sick, marriage, and funerals, the Order of Mass, service music, hymns and songs, lectionary responsorial psalms. All ritual texts are from the English- and Spanish-language liturgical books approved for use in the dioceses of the United States of America Seventy settings of psalms and biblical canticles in a variety of styles, for use in the Liturgy of the Hours, at Mass, and in other liturgical rites. Many employ Gelineau, Guimont, or Conception Abbey tones. Standards from the “Celebration-style†repertoire by Haugen, Joncas, Haas, and others. All with Spanish and English texts ICEL chants for the Order of Mass, accompanied by the complementary plainsong chants in Spanish. Five bilingual settings of the ordinary of the Mass, along with one Latin and two English-only Mass settings, plus a number of additional service music items to serve the liturgical needs of Anglo/Latino parishes for many years to come A broad and stylistically diverse collection of nearly 550 hymns, psalms, and inspired songs, containing the best and most beloved traditional and contemporary music of Latino and Anglo communities, with more than 300 items newly translated according to guidelines for preserving meaning, rhyme, and meter Music from around the world, encompassing plainsong chants, classical hymnody, contemporary scripture-based songs, Taizé chants, and world music from Asia and Africa. Settings originally with Spanish texts are from the United States, Spain, Mexico, Central and South America, and the Caribbean Lectionary psalms with USCCB-approved refrains in both English and Spanish and verses from The Revised Grail Psalms and the salterio of Spain’s Conferencia Episcopal Española (CEE). These bilingual lectionary psalms have been included in the Sacred Song missalette program of The Liturgical Press since 2005 Eleven indexes: liturgical, topical, psalms and canticles, service music, scripture references in hymns, hymn tunes, tune meters, musical settings using languages other than Spanish and English, psalm refrains set to music, common titles and first lines, and hymnal contributors (composers, authors, translators, sources) A hymnal which not only addresses the liturgical experience of today, but also opens the door to new possibilities in the future. Fulfilling the statement of the American bishops: Liturgical music today must reflect the multicultural diversity and intercultural relationships of the members of the gathered liturgical assembly. The varied use of musical forms such as ostinato refrains, call and response, song translations, and bilingual or multilingual repertoire can assist in weaving the diverse languages and ethnicities of the liturgical assembly into a tapestry of sung praise. Sing to the Lord, 60 Destinado especialmente para el creciente número de parroquias y comunidades multiculturales, bilingües (Latinas/Anglas) en los Estados Unidos, Oramos Cantando / We Pray in Song es un himnario y ceremonial lo suficientemente completo para satisfacer las necesidades litúrgicas de tales comunidades, cuando oran en español, en inglés, o de una manera bilingüe. Bilingüe desde la primera página hasta la última. Organizado para reflejar la vida litúrgica de la Iglesia: oración matutina, vespertina y nocturna tomada de la Liturgia de las Horas, los ritos sacramentales de la iniciación cristiana de adultos, del bautismo de niños, para la sagrada comunión fuera de la Misa, para la exposición y bendición eucarÃstica, para la reconciliación de varios penitentes, para la unción de los enfermos, el matrimonio, y las exequias, el Ordinario de la Misa, música para las ceremonias, himnos y cantos, salmos responsoriales del leccionario. Todos los textos de los ritos están tomados de los libros litúrgicos en inglés y en español aprobados para su uso en las diócesis de los Estados Unidos de América. Setenta arreglos de salmos y cánticos en una variedad de estilos, para usarlos en la Liturgia de las Horas, en la Misa, y en otros ritos litúrgicos. Muchos emplean los tonos de Gelineau, Guimont, o Conception Abbey. Normas del repertorio del “estilo-de-celebración†por Haugen, Joncas, Haas, y otros. Todos con el texto en español y en inglés. Cantos de ICEL para el Ordinario de la Misa, acompañados por los cantos llanos complementarios en español. Cinco arreglos bilingües para el ordinario de la Misa, junto con uno en latÃn y dos arreglos para la Misa sólo en inglés, además de un número de cantos adicionales para responder a las necesidades litúrgicas de las parroquias anglas/latinas por muchos años en el futuro Una colección amplia y de diversos estilos de casi 550 himnos, salmos y cantos inspirados, que contienen lo mejor y lo más apreciado de la música tradicional y contemporánea de las comunidades latinas y anglas, con más de 300 composiciones recientemente traducidas según las normas para la preservación del significado, del ritmo, y del metro Música de todo el mundo, incluyendo cantos llanos, himnos clásicos, cantos contemporáneos basados en la biblia, cantos de Taizé, y música mundial de Asia y Ãfrica. Arreglos originales con textos en español que vienen de los Estados Unidos, de España, de México, de Centro y Sud América, y del Caribe. Salmos del Leccionario con estribillos aprobados por la Conferencia Episcopal de Estados Unidos (USCCB) tanto en inglés como en español y versos del salterio: The Revised Grail Psalms y del salterio de la Conferencia Episcopal Española (CEE) de España. Estos salmos bilingües del leccionario se han incluido en el programa del misalito Sacred Song de la editorial: The Liturgical Press desde 2005 Once Ãndices: litúrgico, temático, salmos y cánticos, música para celebraciones, referencias bÃblicas en himnos, tonadas de himnos, metros de himnos, arreglos con idiomas además de español e inglés, antÃfonas musicalizadas para los salmos, tÃtulos comunes y primeras frases, y contribuyentes al himnario (compositores, autores, traductores, fuentes) Un himnario que no sólo responde a la experiencia litúrgica de hoy, sino también abre la puerta a nuevas posibilidades en el futuro. Cumple la declaración de los obispos americanos: “La música litúrgica de hoy debe reflejar la diversidad multicultural y las relaciones interculturales de los miembros de la asamblea litúrgica reunida. El uso variado de formas musicales como estribillos en ostinato, llamado y respuesta, traducción de cantos, y el repertorio bilingüe o multilingüe puede ayudar a entretejer los diferentes idiomas y etnias de la asamblea litúrgica en un tapiz de alabanza cantada.†Cantemos al Señor, 60 There is no doubt that the goal of singing each other's liturgical music as an expression of the catholicity of our faith embodied in this volume, does in fact allow bilingual and multicultural parishes through the United States—and beyond—to respond to the liturgical needs of today while opening the door to new possibilities. — Becca Whitla The Hymn Society Journal. Volume 66, No. 4. $22.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| The Gospel Songs Book - Easy Guitar Melody line, Lyrics and Chords [Sheet music] - Easy Hal Leonard
For voice and guitar. Format: easy guitar/vocal songbook. With leadsheet notatio...(+)
For voice and guitar. Format: easy guitar/vocal songbook. With leadsheet notation (chords and melody), lyrics, strum and pick patterns and chord names. Gospel. 128 pages. 9x12 inches. Published by Hal Leonard.
(1)$19.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Bel Canto for Trombone Trombone [Sheet music + CD] - Intermediate De Haske Publications
Trombone BC - intermediate SKU: BT.DHP-1084522-400 For Trombone and Pi...(+)
Trombone BC - intermediate SKU: BT.DHP-1084522-400 For Trombone and Piano. By Bertrand Moren. Arranged by Robert van Beringen. Book with CD. Composed 2008. 68 pages. De Haske Publications #DHP 1084522-400. Published by De Haske Publications (BT.DHP-1084522-400). ISBN 9789043130219. 9x12 inches. English-German-French-Dutch. This book contains 20 vocalises originally intended for the development and training of the singing voice, but which will also encourage many aspects of performance for trombone players, such as tone quality and phrasing. These attractive pieces are not only useful as studies, but also work well as performance pieces - either with a piano accompaniment using the printed score, or playing along with the CD. On the CD Ian Bousfield, principal trombonist of the Vienna Philharmonic, plays all the vocalises. In addition, the CD contains the piano accompaniments to play along with.
Dit boek bevat twintig vocalises - die oorspronkelijk zijn ontwikkeld voor de scholing en training van de zangstem, maar ook veel aspecten van het spel van trombonisten zullen bevorderen, zoals toonvorming en frasering. Deze fraaiestukken zijn nietalleen nuttig als etudes, maar doen het ook goed bij optredens - met pianobegeleiding (die is meegeleverd) of met de cd. Naast de meespeeltracks staan op de cd ook de complete vocalises, ingespeeld door Ian Bousfield, solotrombonist van het WienerPhilharmoniker.
Dieses Buch enthält 20 Vokalisen, die ursprünglich für die Entwicklung und das Training von Singstimmen gedacht waren, aber auch viele Aspekte des Posaunenspiels, wie z. B. Tonqualität und Phrasierung fördern. Die reizvollen Stücke eignen sich nicht nur zum �ben, sondern können auch sehr gut aufgeführt werden - mit einem Pianisten, der aus den Klaviernoten im Buch spielt oder mit der beiliegenden CD. Auf der CD spielt Ian Bousfield, Soloposaunist der Wiener Philharmoniker, alle Vokalisen vor. Au�erdem enthält die CD alle Klavierbegleitungen.
Belcanto for Trombone contient vingt vocalises écrites lâ??origine pour le travail et le développement de la voix chantée. Ces études mélodiques, qui contribuent particulièrement au développement du phrasé et de la musicalité, sont parfaitement adaptées pour le trombone. Plus que de simples exercices, elles constituent dâ??excellentes pièces de récital que lâ??on peut interpréter soit avec un pianiste accompagnateur (accompagnements de piano joints au recueil) soit avec lâ??accompagnement de piano enregistré sur le compact disc. Sur le compact disc inclus, vous trouverez une version intégrale de chaque vocalise, dont lâ??interprétation a été confiée Ian Bousfield,trombone solo de lâ??Orchestre Philharmonique de Vienne.
Bel Canto for Trombone racchiude 20 studi melodici scritti originariamente per la voce. Nel CD incluso è presentata sia la versione integrale di tutti i brani che quella col solo accompagnamento (play-along). Gli spartiti del piano sono inclusi nel libro. $27.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Singing in Irish Gaelic Voice solo [Sheet music + Audio access] Mel Bay
A Phonetic Approach Suitable for non-Irish Speakers. Composed by Mary McL...(+)
A Phonetic Approach Suitable for non-Irish Speakers. Composed by Mary McLaughlin. Perfect binding. Book and online audio. Published by Mel Bay Publications, Inc (MB.98549M).
$19.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| The Wind Won't Listen Theodore Presser Co.
Bassoon, Viola, Violin 1, Violin 2, Violoncello SKU: PR.16400261S Compose...(+)
Bassoon, Viola, Violin 1, Violin 2, Violoncello SKU: PR.16400261S Composed by Dan Welcher. With Standard notation. Duration 15 minutes. Theodore Presser Company #164-00261S. Published by Theodore Presser Company (PR.16400261S). UPC: 680160038411. Since the bassoon is my own instrument, many people have asked me why I've written so little for the instrument. Beyond my early Concerto Da Camera for bassoon and small orchestra, written for Leonard Sharrow in 1975, I've not written a single piece that features the bassoon as a solo vehicle (though I have written three woodwind quintets). When I first began composing seriously, critics were quick to point out that my orchestral writing revealed nothing of my roots as a woodwind player--and bassoonists asked why my pieces didn't have more bassoon solos. Perhaps I was so aware that people were looking at me as a bassoonist/composer that I was determined to remove that stigma. Now that my transformation from performer to composer is complete, however, it's time to re-address my instrument. I wanted this new piece to be serious rather than whimsical. The Wind Won't Listen represents my return to the bassoon as the highly expressive, poetic soul that it is. As such, it shouldn't come as a surprise that the piece is based on a poem, and that the title of the piece as well as both its movement titles come from lines in that poem. I first read Beth Gylys' poem Split at the MacDowell Colony in the summer of 2001, and it made a big impression on me. My personal life had been ruptured by divorce in the preceding year. This poem, with its dry insistence on observation rather than feeling, expressed the wrung-out state of my emotions at the time better than any I had seen. I set it to music, as a song, immediately. In this format, for voice and piano, I was able to put a musical note to every word of the poem. The first lines of the poem, Everyone I know is crying, or should be crying, became a melody that haunted me even without the words. The work for bassoon and string quartet is an outgrowth of the song. The first movement is labeled Romanza, and has a loose formal arch structure of A-B-C-B-A, with B and C being fast sections framed by the lamenting A music. In addition to hearing the bassoon's first notes attached to the lines Everyone I know is crying, there's a sense of agitation, of loss, of longing, and at times of desperation in the music. At one point, the opening theme from Tristan even appears in the strings. The second movement follows, without a real pause--the pizzicato final chords of the first movement becoming the increasingly aggressive opening chords of the second. The recitative is actually a foreshadowing of the basic theme that will be varied, again to the words of the song: Life makes itself without us. Don't let me tell you how it is. Go out. Look. The recitative begins in an anguished state, but subsides into more gentle singing by the end, when it simply falls into an ostinato 5/8-3/4 pattern to begin the variations. Marked Very steady tempo; Dancing, this set of variations consists of three dances, each faster than the previous. The first, in the aforementioned 5/8-3/4 meter, gives way to a 3/8 scherzo, which in turn takes on a furious 2/4 scurrying motion. The music becomes breathless, almost pulse-less, and an ethereal theme appears in the violins while the rushing music continues, sotto voce in the bassoon. This new theme is also from the song: Why do I do this? The wind won't listen. The bassoon re-states its Everyone I know is crying melody from the first movement, and at length the 5/8-3/4 music returns, more subdued this time. The piece ends on a major-minor chord, suspended. The Wind Won't Listen is dedicated to the man who commissioned it, bassoonist Steven Dibner--who shares my passion for poetry and language. --Dan Welcher. $41.99 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Violin Mastery Violin SATB, Orchestra Dover Publications
Violin SKU: AP.6-450414 Interviews with Heifetz, Auer, Kreisler, and o...(+)
Violin SKU: AP.6-450414 Interviews with Heifetz, Auer, Kreisler, and others. Edited by Frederick H. Martens. Reference Textbooks; Textbook - Instrumental. Dover Edition. Instructional and Music Appreciation. Biographical book. 178 pages. Dover Publications #06-450414. Published by Dover Publications (AP.6-450414). ISBN 9780486450414. UPC: 9780486450414. 9x12 inches. English. How long should I practice? Which pieces should I study? How can I develop a singing tone? All violinists ponder these questions, striving to make the most of their practice and performances. This enlightening and encouraging book holds the answers, offering a series of interviews with the most celebrated violin teachers and performers of the nineteenth and early twentieth centuries.Twenty-four famous violinists reveal the secrets of their success, sharing the lessons of their artistry and experience. In addition to aesthetic and technical aspects of playing, they discuss their personal conceptions of violin mastery. Eugene Ysaye reminisces about his studies with Vieuxtemps and Wieniawski, and Leopold Auer emphasizes the importance of fostering students' individual talents. Maud Powell describes her pioneering role as a female orchestral musician, and Jascha Heifetz voices his views on technical mastery and temperament. Hints and advice from other masters include tips on efficient practice, immproving bow technique, and refining intonation. A rare find in musical literature, this book is essential reading for every serious violinist.Dover (2006) unabridged republication of the work originally published by Frederick A. Stokes, New York, 1919. $11.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| The Complete Guitar Player: Acoustic Songbook Guitar Amsco Wise Publications
Guitar SKU: BT.MUSAM1008029 By Toby Knowles. The Complete Guitar Player. ...(+)
Guitar SKU: BT.MUSAM1008029 By Toby Knowles. The Complete Guitar Player. Pop & Rock. Book Only. Composed 2015. 146 pages. Wise Publications #MUSAM1008029. Published by Wise Publications (BT.MUSAM1008029). ISBN 9781783055364. English. The Complete Guitar Player Acoustic Songbook features a huge collection of 50 acoustic hits from all genres for Guitar. Each song includes full lyrics and Guitar chords as well as strumming and picking patterns, making this perfect for the aspiring acoustic Guitarist. Every song included in this Guitar songbook is a bona fide acoustic classic, perfect for singalongs at parties or just a strum on a summer's day in the park. Songs like Hey, Soul Sister by Train, Wonderwall by Oasis and Ho Hey by The Lumineers represent the best in unplugged and fun chill-out music. 'The book is designed to be accessible and enjoyable, showcasing the best songs by the best songwriters like Bob Dylan, Mumford & Sons, The Beatles and Adele. Songs from the past and the present are included, so there will be something for everyone in this acoustic songbook. Each song has been carefully arranged for Guitar and Voice, including the melody, lyrics and Guitar chord shapes. Not only this, but there are also suggested strumming or picking patterns to help you nail the exact sound of the song straight away. This acoustic Guitar songbook is ideal for beginners and intermediate Guitarists looking to expand their repertoire with acoustic songs new and old, whereas absolute beginnersnew to the Guitar might find that the four books of the famous Complete Guitar Player series by Russ Shipton will help them out with the basics. With these 50 acoustic Guitar songs, you'll be singing, strumming andfingerpicking your way through the folk, pop and rock canon in no time at all. The Complete Guitar Player Acoustic Songbook would make a stellar addition to any guitarist's bookshelf, and every one of these great songs will make sure that everyone is singing along. $29.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| 15 Easy Folksong Arrangements (Low Voice) Low voice, Piano [Sheet music + Audio access] Hal Leonard
Low Voice Introduction by Joan Frey Boytim. Composed by Various. Vocal Collectio...(+)
Low Voice Introduction by Joan Frey Boytim. Composed by Various. Vocal Collection. Folk. Softcover Audio Online. 64 pages. Published by Hal Leonard
(1)$17.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Texas Fingerstyle Blues Guitar Guitar notes and tablatures [Sheet music + Audio access] - Intermediate Mel Bay
Composed by John Miller. Squareback saddle stitch, Technique. Grossman Audio. ...(+)
Composed by John Miller.
Squareback saddle stitch,
Technique. Grossman Audio.
Blues. Book and online audio.
Mel Bay Publications, Inc
#30887M. Published by Mel Bay
Publications, Inc
$24.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| The Real Country Book C Instruments [Fake Book] Hal Leonard
(C Instruments). By Various. For C Instruments. Fake Book. Softcover. 520 pages....(+)
(C Instruments). By Various. For C Instruments. Fake Book. Softcover. 520 pages. Published by Hal Leonard
$49.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Mass in B flat major Soli, Mixted choir and accompaniment satb (soli), SATB (choir), Orchestra Carus Verlag
Orchestra SATB vocal soli, SATB choir, 2 oboes, 2 bassoons, 2 trumpets, timpani,...(+)
Orchestra SATB vocal soli, SATB choir, 2 oboes, 2 bassoons, 2 trumpets, timpani, 2 violins, viola, cello/contrabass, organ, [2 horns, 3 trombones] SKU: CA.4065714 Composed by Franz Schubert. Edited by Manuela Jahrmarker. This edition: urtext. Stuttgart Urtext Edition: Schubert. German title: Messe In B Rev.2001. Sacred vocal music, Masses, Latin. Single Part, Cello/Double Bass. Composed 1815. D 324. 8 pages. Duration 30 minutes. Carus Verlag #CV 40.657/14. Published by Carus Verlag (CA.4065714). ISBN 9790007085315. Key: B flat major. Language: Latin. With a total duration of about 30 minutes, Schubert's Mass in B flat major (D 324), written in 1815, is considerably longer than Mozart's and Haydn's classical Brevis masses, and its large instrumental ensemble with strings, woodwinds, brass and timpani even gives it a clearly solemn character. Overall, Schubert was inspired by the late Haydn style of the symphonic mass (e.g., the division into six large movements, the omission of arias for the vocal soloists who are instead juxtaposed with the choir, singing short passages either singly or as a group) without, of course, achieving its temporal expansion. This is a representative, musically appealing work that excels with its multi-layered, detailed text treatment. It is, therefore, suitable for special occasions and the high feasts of the church year and can be mastered well by experienced church choirs. Score and part available separately - see item CA.4065700. $8.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Mass in B flat major Soli, Mixted choir and accompaniment satb (soli), SATB (choir), Orchestra [Score and Parts] Carus Verlag
Orchestra SATB vocal soli, SATB choir, 2 oboes, 2 bassoons, 2 trumpets, timpani,...(+)
Orchestra SATB vocal soli, SATB choir, 2 oboes, 2 bassoons, 2 trumpets, timpani, 2 violins, viola, cello/contrabass, organ, [2 horns, 3 trombones] SKU: CA.4065709 Composed by Franz Schubert. Edited by Manuela Jahrmarker. This edition: urtext. 1x 40.657/21 oboe 1, 1x 40.657/22 oboe 2, 1x 40.657/23 bassoon 1, 1x 40.657/24 bassoon 2, 1x 40.657/31 trumpet 1, 1x 40.657/32 trumpet 2, 1x 40.657/41 timpani. Stuttgart Urtext Edition: Schubert. German title: Messe In B Rev.2001. Sacred vocal music, Masses, Latin. Set of Orchestra Parts. Composed 1815. D 324. 60 pages. Duration 30 minutes. Carus Verlag #CV 40.657/09. Published by Carus Verlag (CA.4065709). ISBN 9790007085278. Key: B flat major. Language: Latin. With a total duration of about 30 minutes, Schubert's Mass in B flat major (D 324), written in 1815, is considerably longer than Mozart's and Haydn's classical Brevis masses, and its large instrumental ensemble with strings, woodwinds, brass and timpani even gives it a clearly solemn character. Overall, Schubert was inspired by the late Haydn style of the symphonic mass (e.g., the division into six large movements, the omission of arias for the vocal soloists who are instead juxtaposed with the choir, singing short passages either singly or as a group) without, of course, achieving its temporal expansion. This is a representative, musically appealing work that excels with its multi-layered, detailed text treatment. It is, therefore, suitable for special occasions and the high feasts of the church year and can be mastered well by experienced church choirs. Score and parts available separately - see item CA.4065700. $28.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Buoso's Ghost (Piano/Vocal Score) Piano, Voice [Score] Schirmer
Composed by Michael Ching. One Act/Chamber Opera. 20th Century. Score. Publi...(+)
Composed by Michael Ching.
One Act/Chamber Opera. 20th
Century. Score. Published by
E.C. Schirmer Publishing
$27.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| 14 Characteristic Studies Trumpet Carl Fischer
Chamber Music Trumpet SKU: CF.W2686 For Trumpet in B-flat. Compose...(+)
Chamber Music Trumpet SKU: CF.W2686 For Trumpet in B-flat. Composed by Jean-Baptiste Arban. Edited by Thomas Hooten Jennifer Marotta. SWS. Collection - Performance. With Standard notation. 32 pages. Carl Fischer Music #W2686. Published by Carl Fischer Music (CF.W2686). ISBN 9781491150948. UPC: 680160908448. 9x12 inches. This new edition of Jean Baptiste Arban's Fourteen Characteristic Studies for Trumpet in Bb, edited by Thomas Hooten and Jennifer Marotta, was specifically written to provide the student with suitable material with which to test his powers of endurance, according to Arban himself. The following fourteen studies have been specifically written to provide the student withsuitable material with which to test his powers of endurance. In taking up these studies, he willdoubtless be fatigued, especially at the outset, by those numbers requiring an unusual length ofbreath. However, through careful study and experience he will learn to overcome the difficultiesand will acquire the resources which will enable him to master this particular phase of playingwith ease. As a means to this end, attention is drawn to cantabile passages in particular, whichshould be played with the utmost expression, yet at the same time with as much modified toneas possible. On the cornet, as with the voice, clear tones may be obtained by widening thelips and veiled tones by contracting them. This happy circumstance allows the performer anopportunity to rest while still continuing to play, and at the same time enables him to introduceeffective contrasts into the execution. It should be noted that by little artifices of this kind, andby skillfully conserving his resources, the player will reach the end of the longest and mostfatiguing pieces, not only without difficulty, but even with a reserve of strength and power,which, when brought to bear on the final measures of a performance, never fails to impress anaudience.At this point my task as professor (using the written instead of the spoken word) will end.There are things which appear clear enough when stated verbally but which when written downon paper cause confusion, seem obscure, and even sometimes appear trivial.There are other things of such an elevated and subtle nature that neither speech nor wordcan clearly explain them. They are felt, they are conceived, but they are not to be explained;and yet these things constitute the elevated style, the grand ecole, which it is my ambition toestablish for the cornet, just as they already exist for singing and for the various kinds of otherinstruments.Those of my readers who are ambitious and who want to attain this high level of perfection,should above all things, always try to hear good music well interpreted. They must seek out,among singers and instrumentalists, the most illustrious models, and by doing this purifytheir taste, develop their sentiments, and bring themselves as near as possible to that which isbeautiful. Perhaps then the innate spark which may someday be destined to demonstrate theirown talent, will reveal itself and render them worthy of being, in their turn, cited and imitatedin the future. $12.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| The Big Book of Folksongs Piano, Vocal and Guitar [Sheet music] Hal Leonard
By Various. For Piano/Vocal/Guitar. Piano/Vocal/Guitar Songbook. Softcover. 264 ...(+)
By Various. For Piano/Vocal/Guitar. Piano/Vocal/Guitar Songbook. Softcover. 264 pages. Published by Hal Leonard
$24.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Not Alone Theodore Presser Co.
Chamber Music Saxophone Quartet SKU: PR.114417130 & Happy Birthday to ...(+)
Chamber Music Saxophone Quartet SKU: PR.114417130 & Happy Birthday to Prism. Composed by Chen Yi. Sws each. Contemporary. Set of Score and Parts. With Standard notation. Composed 2014. 24+12+12+12+8 pages. Duration 14 minutes. Theodore Presser Company #114-41713. Published by Theodore Presser Company (PR.114417130). ISBN 9781491110409. UPC: 680160626687. 9x12 inches. A recipient of the New Music USA 2013 Live Music For Dance Award commissioning grant, Not Alone is inspired by the ancient Chinese poet Li Bai's poem Drinking Alone under the Moon with the Shadow. The premiere was given on April 26, 2014 by the PRISM Quartet with the Nai-Ni Chen Dance Company, which commissioned the work to celebrate its 25th Anniversary NYC Season. From the Program Note by Matthew Levy (The PRISM Quartet), Not Alone (2014) is an interdisciplinary work...but it stands alone in a chamber music setting. The work spans a stunning range of textures, from introspective solos for each of the four saxophones to majestic hyper-active gestures. The PRISM Quartet recorded Not Alone for a 2017 release on XAS Records titled Paradigm Lost. But we're excited for a wider community of saxophonists to embrace the work, and share it with their own audiences. Not Alone is published together with Happy Birthday to PRISM, a brief miniature that Chen Yi wrote for the quartet's 20th anniversary celebration in 2004. For advanced performers._________________________Text from the scanned back cover:NOT ALONE for Saxophone QuartetHAPPY BIRTHDAY TO PRISM for Saxophone QuartetNot Alone is a 14-minute saxophone quartet and dance score inspired by the ancient Chinese poet Li Bai’s “Drinking Alone under the Moon with the Shadow.†The expansively-textured sax quartet matches the exploratory and dramatic movements and gestures in the dance. NOT ALONE was commissioned by the Nai-Ni Chen Dance Company which premiered the work in collaboration with the PRISM Quartet. Also included in this publication is Chen Yi’s fascinating take on “Happy Birthday to You,†composed in celebration of Prism’s 25th anniversary season. A recipient of the New Music USA 2013 Live Music For Dance Award commissioning grant, Not Alone is inspiredby the ancient Chinese poet Li Bai’s poem “Drinking Alone under the Moon with the Shadow.†The premierewas given on April 26, 2014 by the PRISM Quartet with the Nai-Ni Chen Dance Company, which commissioned thework to celebrate its 25th Anniversary NYC Season. Program Note by composer Chen YiThe original inspiration for this work for both the choreographer and the composer came from the Tang Dynasty poem - Alone Under the Moon by Li Bai. The poem describes the poet being alone in a garden. The moon and his shadow became his companions that night. The choreographer brings this idea to modern life in an urban setting. She created a series of “mindscapes†which are the result of the exploration of the different mental and physical states of being alone.Through self-examination, the choreographer raises the question: are we ever really alone? Our physical being may be standing by itself, but what about our introspective self? When we are still, we let our thoughts pass by like flowing water. If we could engage with our shadows, what would it be like?Program Note by Matthew Levy, The PRISM QuartetThe PRISM Quartet has commissioned a great many composers since our founding days in 1984. Chen Yi is among ahandful of our very favorites, and one to whom we’ve returned time and time again. Her music is powerful, expansive,intimate, and draws connections between Eastern and Western, ancient and modern traditions in a voice all her own.Chen Yi has written or adapted four works for the PRISM Quartet. She penned a wonderful miniature called HappyBirth day to PRISM to celebrate the ensemble’s 20th anniversary back in 2004 (Dedication, Innova Recordings).We subsequently commissioned her to compose Septet (2008) for Erhu, Pipa, Percussion, and Saxophone Quartet(2008), premiered and recorded with the New York ensemble Music From China (Antiphony, Innova Recordings 2010).In 2015, the PRISM Quartet performed and recorded (XAS Records) a new version of her saxophone quartet concerto,BA YIN, with the University of Missouri-Kansas City Wind Ensemble under the baton of Steven Davis (originally writtenfor the Rascher Quartet and scored for saxophones and string orchestra.).Finally, Not Alone (2014) is an interdisciplinary work written for the Nai-Ni Chen Dance Company with the PRISMQuartet, but it stands alone in a chamber music setting. The work spans a stunning range of textures, from introspectivesolos for each of the four saxophones to majestic hyper-active gestures. The PRISM Quartet recorded Not Alonefor a 2017 release on XAS Records titled Paradigm Lost. But we’re excited for a wider community of saxophonists toembrace the work, and share it with their own audiences.In his liner notes for the recording, WNYC’s John Schaefer writes: “As with much of her music, Chen employs percussiveeffects and glissandi; in Chinese music these are not considered “extended techniques†or special effects, but animportant part of the performer’s arsenal. Here, they help create the twilit mood of the opening moments. The piecesoon becomes more dramatic, suggesting the arrival of the drinker’s companions (real or imagined) and his or herincreasingly garrulous outbursts. Passages of consonance and discord can easily be heard as companionable singingand bouts of drunken argument. The piece bustles along on a kind of restless energy, until, finally, that restlessnesssubsides, giving way to a gently humorous ending where a short falling phrase signals the drinker falling asleep.â€. $39.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| American Folksongs For Easy Guitar Guitar notes and tablatures [Sheet music] - Easy Hal Leonard
For guitar and voice. Format: easy guitar tablature songbook. With vocal melody,...(+)
For guitar and voice. Format: easy guitar tablature songbook. With vocal melody, lyrics, chord names, guitar chord diagrams and strum and pick patterns. Americana and folk. 63 pages. 9x12 inches. Published by Hal Leonard.
(1)$15.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Christmas Carols Fake book [Fake Book] Hal Leonard
Fake book for voice and C instrument. With vocal melody, lyrics, chord names and...(+)
Fake book for voice and C instrument. With vocal melody, lyrics, chord names and guitar chord diagrams. Series: Hal Leonard Paperback Songs. 255 pages. Published by Hal Leonard.
(1)$7.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| How to Sight Sing Voice solo [Sheet music + Audio access] Hal Leonard
Vocal Instruction. Instruction, Sightsinging. Softcover Audio Online. 168 pages...(+)
Vocal Instruction. Instruction, Sightsinging. Softcover Audio Online. 168 pages. Published by Hal Leonard (HL.156132).
$16.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Mass in B flat major Soli, Mixted choir and accompaniment satb (soli), SATB (choir), Orchestra Carus Verlag
Orchestra SATB vocal soli, SATB choir, 2 oboes, 2 bassoons, 2 trumpets, timpani,...(+)
Orchestra SATB vocal soli, SATB choir, 2 oboes, 2 bassoons, 2 trumpets, timpani, 2 violins, viola, cello/contrabass, organ, [2 horns, 3 trombones] SKU: CA.4065712 Composed by Franz Schubert. Edited by Manuela Jahrmarker. This edition: urtext. Stuttgart Urtext Edition: Schubert. German title: Messe In B Rev.2001. Sacred vocal music, Masses, Latin. Single Part, Violin 2. Composed 1815. D 324. 16 pages. Duration 30 minutes. Carus Verlag #CV 40.657/12. Published by Carus Verlag (CA.4065712). ISBN 9790007085292. Key: B flat major. Language: Latin. With a total duration of about 30 minutes, Schubert's Mass in B flat major (D 324), written in 1815, is considerably longer than Mozart's and Haydn's classical Brevis masses, and its large instrumental ensemble with strings, woodwinds, brass and timpani even gives it a clearly solemn character. Overall, Schubert was inspired by the late Haydn style of the symphonic mass (e.g., the division into six large movements, the omission of arias for the vocal soloists who are instead juxtaposed with the choir, singing short passages either singly or as a group) without, of course, achieving its temporal expansion. This is a representative, musically appealing work that excels with its multi-layered, detailed text treatment. It is, therefore, suitable for special occasions and the high feasts of the church year and can be mastered well by experienced church choirs. Score and part available separately - see item CA.4065700. $8.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
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