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Baroque Saxes: Book 8 (Duets/Trios Grade 8): Saxophone: Instrumental Album
2 Saxophones (duet)
[Sheet music]
-
Advanced
Spartan Press
These flexible pieces can be played as either Duets or Trios. Part 1: Bb Sopra...
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These flexible pieces can be played as either Duets or Trios. Part 1: Bb Soprano and/or Eb Alto Saxophone Part 2:Eb Alto and/or Bb Tenor Saxophone Part 3: (optional) Eb Baritone Saxophone and/or Bassoon
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Arcangelo Corelli: Baroque Saxes: Book 3: Saxophone: Instrumental Album
2 Saxophones (duet)
[Sheet music]
Spartan Press
These flexible pieces can be played as either Duets or Trios.PART 1: Bb Soprano ...
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These flexible pieces can be played as either Duets or Trios.PART 1: Bb Soprano and/or Eb Alto Saxophone PART 2:Eb Alto and/or Bb Tenor Saxophone PART 3: (optional) Eb Baritone Saxophone and/or Bassoon.
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Georg Friedrich Händel: Baroque Saxes: Book 7: Saxophone: Instrumental Album
2 Saxophones (duet)
[Sheet music]
Spartan Press
These flexible pieces can be played as either Duets or Trios.PART 1: Bb Soprano ...
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These flexible pieces can be played as either Duets or Trios.PART 1: Bb Soprano and/or Eb Alto SaxophonePART 2:Eb Alto and/or Bb Tenor SaxophonePART 3: (optional) Eb Baritone Saxophone and/or Bassoon.
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Progressive Solos - Book 2: Organ: Instrumental Album
Organ
Kenyon Publications
Contents: American Patrol • Ciribiribin • Dolores • The Marines H...
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Contents: American Patrol • Ciribiribin • Dolores • The Marines Hymn • Clementi: Andante in Bb (from Sonatina in F Op. 36 No. 4) • Hummel: Ecossaise • Purcell: Gavotte in G • Haydn:Glorious Things of Thee are Spoken • Marie: The Golden Wedding (La Cinquantaine) • Pleyel: Minuet and Trio in C • Chopin: Prelude Op. 28 No. 7 • Le Couppey: Rustic Dance • Handel: Sarabande • C.M.von Weber: Softly Now the Light of Day • Lehar: Vilia (from “Merry Widow”) • Brahms: Waltz Op. 39 No. 15.
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Organ Music for Communion
Organ
[Sheet music]
-
Intermediate
Barenreiter
This volume devised by Martin Weyer contains organ music of easy to medium techn...
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This volume devised by Martin Weyer contains organ music of easy to medium technical difficulty for use at communion. The broad range of styles encompasses Johann Sebastian Bach and early Classical works through to the late Romantic period.
The album contains original compositions and first publications as well as arrangements for organ and twelve pieces for communion in settings by Johann Sebastian Bach with melodies and texts appropriate to communion. Some of the pieces can also be performed with solo instruments (in C, Bb or F). Corresponding instrumental parts are included with the score.
- Organ music of easy to medium technical difficulty for use at communion
- Broad range of styles
- Includes first publications
- Original compositions and arrangements for organ, some which can be performed with solo instruments. / [Musique pour Communion] / Célébrations / Partition /
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Georg Friedrich Händel: Sonatas Complete Vol.2: Viola: Instrumental Album
Violin and Piano
[Sheet music]
Peters
Sonatas in G D G min F; Sonata cinque in Bb; Allegro in C min; Sonatina fro...
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Sonatas in G D G min F; Sonata cinque in Bb; Allegro in C min; Sonatina from 'Il trionfo del tempo'; Sonata Movement in A min; Fantasia in A; and Allegro in G for Solo Violin.
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Murail Tristan - Une Relecture Des Kinderszenen De Robert Schumann
Lemoine, Henry
MURAIL Tristan Une relecture des Kinderszenen de Robert Schumann Discipline...
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MURAIL Tristan Une relecture des Kinderszenen de Robert Schumann Discipline / Instrument : Relecture pour flûte, violoncelle et piano Création 03/03/2019 - Segry, Abbaye de La Prée - Samuel Bricault (flûte), Marie Ythier (violoncelle), Marie Vermeulin (piano) Notice [...] Enfin, pour bien illustrer cette rencontre qui est le thème de cet album, l'idée a germé, et s'est rapidement imposée, d'une réalisation que je ferais d'une oeuvre de Schumann, et qui constituerait le lien le plus évident entre les deux mondes sonores. Cette réalisation serait donc naturellement écrite pour les trois partenaires du disque, violoncelle, flûte et piano. L'idée m'est vite venue que les Kinderszenen (Scènes d'enfants) seraient parfaites pour ce projet. En effet, les Scènes d'enfants ont un potentiel musical, expressif, évocateur, qui dépasse de loin la réalisation pour piano de Schumann. Sans doute a-t-il voulu rester simple et facile - dans son esprit, les pièces devaient être jouables par des enfants. Je ne suis pas sûr que ce soit vraiment le cas... certaines pièces ne sont pas si faciles, d'autres supposent des écarts inaccessibles à une main d'enfant. Mais presque toutes sont de petits chefs-d'oeuvre, avec une grande puissance imaginative, reposant pourtant sur des idées simples et concises. Comment alors aborder cette réalisation, ou plutôt ce qui deviendra une relecturs : le regard d'un compositeur sur un autre compositeur ? J'ai vite écarté l'idée d'une instrumentation dans un style d'époque plausible - qui n'aurait presque rien apporté aux pièces originales, aussi bien que celle d'une trop profonde réécriture risquant d'aboutir à une trahison. J'ai cherché, finalement, à faire bénéficier les pièces de Schumann d'une mise en couleurs (comme on colorise de vieux films originellement en noir et blanc), d'une amplification des idées et des sentiments, tout en restant le plus fidèle à la lettre comme à l'esprit de la partition. J'ai repensé, toutes choses égales par ailleurs - car nous ne sommes là pas du tout à la même échelle -, à l'exemple magnifique des Tableaux d'une exposition orchestrés par Ravel. Ravel n'avait pas simplement orchestré le piano, il avait cherché à retrouver, cachée derrière la réalisation pianistique de Moussorgski, l'essence même des idées musicales qui avaient en fait préludé à la réalisation pour le piano, qui n'en était clairement qu'une des réalisations possibles. Fort de ces réflexions, je n'ai pas hésité, pour mon regard sur les Scènes d'enfants, à utiliser toute la moderne palette des techniques instrumentales, démultipliant ainsi les timbres disponibles et les effets acoustiques résultants de leurs combinaisons. Le flûtiste joue souvent la flûte alto, au timbre si chaud et expressif, au registre grave qui permet par endroit au violoncelle de chanter la voix supérieure. Le violoncelle est employé dans toutes ses possibilités d'articulations, de timbre, et de registre, changeant très vite d'un mode de jeu et d'une sonorité à l'autre. Réutilisant une approche de l'instrumentation que j'avais déjà mise en oeuvre dans des pièces telles que La Barque mystique, je fais rapidement changer de rôle chaque instrument, donnant ainsi l'illusion d'une orchestration bien plus nombreuse qu'un simple trio. J'ai donc cherché à accentuer le caractère de chacune des pièces, et à retrouver les intentions cachées derrière la simplicité du piano de Schumann, et j'ai ainsi obtenu des contrastes que la version originale ne permet pas - ou permet moins. Pour amplifier le côté enfantin ou féérique de la musique, je me suis autorisé quelques ajouts, que j'évoquerai plus loin ; néanmoins j'ai voulu respecter le texte intégralement, en ce sens que pas une note ne manque de la partition originale, que les harmonies tonales sont intégralement respectées, de même que l'écriture rythmique. En revanche, de concert avec les interprètes, nous n'avons pas toujours suivi les mouvements métronomiques indiqués par Schumann, qui paraissaient souvent trop rapides (il y a d'ailleurs parfois quelques contradictions entre les commentaires de Schumann sur ses pièces, et les tempi indiqués). Les pièces originales, probablement en raison des contraintes mentionnées plus haut, sont cantonnées dans les registres médium et médium-grave. J'ai décidé de les éclaircir par endroit, en ajoutant des résonances ou doublures aiguës, ou à l'inverse d'ajouter quelques notes plus graves pour donner plus de corps à la sonorité. C'est donc ainsi qu'une étrange sonorité (bisbigliando de flûte, trille d'harmoniques du violoncelle) introduit la première pièce, puis plane au-dessus d'elle (Von fremden Ländern und Menschen = Des Pays et des hommes étrangers - ou étranges), que Hasche-Mann (Colin-Maillard) deviendra encore plus furtif, tandis que le Cheval de bois (Ritter vom Steckenpferd) claquera, soufflera et hennira. Fürchtenmachen fera vraiment peur ! Dans l'ultra-célèbre Rêverie (Traümerei), après l'énoncé du thème dans ce registre si expressif de l'aigu du violoncelle, le piano prendra soudain la parole, comme dans un concerto romantique. Comme je le disais plus haut, quelques éléments enfantins viendront, à l'occasion, s'ajouter à la trame sonore : petite boîte à musique (dans l'aigu du piano) dans la première et la dernière pièce, sons percussifs col legno du violoncelle dans Wichtige Begebenheit (Evénement important) - transformé pour l'occasion en marche militaire pour soldats de plomb... Et finalement, l'enfant s'endormira (Kind im Einschlummern), bercé par le violoncelle se balançant entre ponticello et ordinario, et apaisé par les sons éoliens de la flûte... J'espère que les auditeurs partageront le plaisir que j'ai eu à imaginer cette relecture, et que nous avons eu à l'enregistrer ; un grand merci aux trois interprètes, Marie Ythier, Marie Vermeulin, et Samuel Bricault, pour leur participation enthousiaste à cette entreprise, et pour leurs nombreuses et judicieuses suggestions.
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Really Easy Jazzin' About
Flûte Traversière (Matériel Pédagogique)
I.M.P.
'Equipe bois ' est fermement établi que la série Best-seller de tuteurs de boi...
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'Equipe bois ' est fermement établi que la série Best-seller de tuteurs de bois. Il présente un cours flexible qui peuvent être adapté en fonction de chaque élève, idéal pour le groupe individuel et de frais de scolarité - y compris les médailles de musique ABRSM de la classe. Les livres de la série contiennent beaucoup de musique soigneusement classée dans un large éventail de styles, des époques Baroque et classique de film, de folk, de jazz et d'Amérique latine. La série encourage ensemble jouant avec un répertoire varié pour les deux orchestrale et instruments de la fanfare et développe des compétences aural liées à l'instrument, d'improvisation et de composition. Tous les livres de la série sont entièrement intégrés permettant aux étudiants à l'aide de ' Equipe bois ' à jouer dans les ensembles avec les élèves à l'aide de ' Equipe Brass ', ' Equipe percussions ', ' Equipe Recorder ' et ' Equipe chaînes '. Un livre/CD est également disponible comprenant plus de 70 choeurs de pistes pour rendre chaque élève à se sentir comme un interprète star. / Flûte Traversière (Matériel Pédagogique)
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ZZ Top: ZZ Top Guitar Classics: Guitar Solo: Instrumental Album
Guitar notes and tablatures
Hal Leonard
Transcriptions of Billy Gibbons' work on 16 hits from the Texan blues-rock trio:...
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Transcriptions of Billy Gibbons' work on 16 hits from the Texan blues-rock trio: Beer Drinkers
25.99 GBP - Sold by Musicroom UK
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Pop Trios For All Bb Trumpet - Baritone T.C. Revised And Updated
Trumpet
Alfred Publishing
Pop Trios for All is a versatile, educational, and fun series intended for like ...
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Pop Trios for All is a versatile, educational, and fun series intended for like or mixed instruments to perform in any size group or combination of instruments. All books are in score format with each line increasing in difficulty from Grade 1 to Grade 3-4. Alternate passages and notation are included to suit instrumental ranges. With no page turns required, the songs and measures are consistent which makes finding rehearsal points quick and convenient. Perfect for concerts with family and friends, recitals, auditions, and festivals. Available for brass, woodwinds, strings, and percussion. / Trompette
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Cracknell: Enjoy Playing Guitar Tutor Book 1: Guitar: Instrumental Tutor
Guitar
Oxford University Press
Accommodates one-to-one or group teaching Over 70 pieces in a range of styles ...
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Accommodates one-to-one or group teaching Over 70 pieces in a range of styles including originals plus arrangements of well-known tunes Supporting creative activities covering improvisation playing by ear and accompanying using basic chords and ostinatos Detailed illustrations showing best posture and hand/finger positions CD of play-alongs for school performance or practising at home This revised edition of Enjoy Playing Guitar: Tutor Book 1 is the ultimate resource for all beginner guitarists. It introduces the basics of classical guitar playing and musical concepts through an approach that is clear progressive and carefully paced. It includes tailored solos duets and trios in a range of styles and it develops musicianship through activities in improvisation playing by ear and the art of accompanying. To consolidate learning there are helpful reminders and quizzes covering musical knowledge plus a CD with over 70 play-along tracks. Encouraging self-directed learning outside as well as during lessons this is the perfect book for today's aspiring player. About The Author Debbie Cracknell studied guitar and piano at Trinity College of Music in London and graduated with licentiate diplomas in both instruments. Since then she has been teaching as a peripatetic guitar teacher for Buckinghamshire County Council. Her very successful series Enjoy Playing Guitar has been followed by many solo and ensemble works aimed mainly at beginners and those in the early grades.
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The Hovingham Sketches: Organ: Instrumental Work
Organ
Banks Music Publications
A collection of works written for Organ by various composers including Francis J...
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A collection of works written for Organ by various composers including Francis Jackson George Thalben-Ball and others. Contents include: 'An Interlude' (Harold Darke) 'A Scherzetto For The Flutes' (Eric Thiman) 'Edwardia' (George Thalben-Ball) 'The Sweet Rivelet' (Francis Jackson) 'Trio' (W S Lloyd Webber) 'Canzonetta' (Arthur J Pritchard) 'Chimes' (Bernard Rose) and 'Epilogue' (Herbert Howells).
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De Coudenhove Christophe : Soleil Noir
[Sheet music + CD]
Dhalmann
Pour vibraphone et Cd.'Soleil Noir veut essayer de rendre l'atmosphère qui se d...
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Pour vibraphone et Cd.'Soleil Noir veut essayer de rendre l'atmosphère qui se dégage des romans de l'immense écrivain des Etats Unis du Sud, William Faulkner : le comté fictif de Yoknapatawpha et ses vastes étendues de coton, la ville de Jefferson, son palais de justice et sa prison, ses maisons à galeries et colonnes blanches, ses chants d'esclaves, et ses personnages obscurs tels que la famille Snopes.Soleil Noir veut aussi évoquer par sa substance sonore la lumière intense d'un soleil d'été brûlant, un univers de chaleur et d'éblouissement violent dont la perception se matérialise par un voile obstruant la vision.Soleil Noir fouille aussi le domaine des relations entre l'instrument et la bande en essayant d'y apporter des solutions originales et riches, d'une signification et d'une analyse complexe.'Christophe de CoudenhoveSoleil Noir a été créée au festival Aujourd'hui Musiques à Perpignan le 17 novembre 2003 par Philippe Limoge.10 - 15 mnFourni avec cd comportant la bande de diffusion.Christophe de Coudenhove est né en 1963 à Sisteron (Alpes-de-Haute-Provence). Il fait ses premières études musicales au Conservatoire National de Région de Grenoble en classe de hautbois.En 1984, il entre au Conservatoire National Supérieur de Musique de Paris dans les classes d'Histoire de la Musique de Brigitte François-Sappé et d'électroacoustique de Guy Reibel - il suit également les cours de musique indienne de Patrick Moutal. Il entre ensuite dans la classe de composition où il reçoit l'enseignement de Laurent Cuniot, de Michel Philippot, d'Alain Bancquart, de Betsy Jolas, ainsi que dans la classe d'orchestration de Serge Nigg. Il suit également des cours d'harmonie et de contrepoint avec Jean-Claude Reynau. En 1989, il y obtient les prix de Composition et d'Orchestration.En 1990, il est en résidence au Centre Voix Nouvelle de l'Abbaye de Royaumont pour écrire et travailler une oeuvre avec l'Ensemble TM+ dirigé par Laurent Cuniot.En 1991, tout en enseignant la composition dans les C.F.M.I. des universités de Tours et de Poitiers, il est sélectionné pour suivre le Cursus de Composition et d'Informatique Musicale de l'I.R.C.A.M. Il y reçoit un enseignement de qualité, autant dans le domaine technique divulgué par les chercheurs de l'IRCAM, que musical avec les compositeurs Philippe Manoury et Tristan Murail. De 1992 à 1994, il est engagé dans l'institut en tant qu'assistant musical, et travaille avec les compositeurs Qigang Chen, Martin Matalon et Ivan Fedele.En 1994, Michel Decoust alors directeur du Conservatoire National de Musique de Montpellier lui demande de créer une classe de composition et d'informatique musicale. Il y dispense depuis un enseignement original qui a pour but de faire fusionner l'apprentissage de la composition instrumentale et celui des nouvelles technologies pour la musique.Il dirige cette même année les Choeurs de l'ADAC (Mairie de Paris).Christophe de Coudenhove se consacre autant à la musique instrumentale et vocale qu'aux oeuvres mixtes. Il a été joué par de nombreux solistes et ensembles, notamment les clarinettistes Philippe Berrot et Ghislain Hervé, le ténor Régis Oudot et la soprano Salima de Coudenhove, le vibraphoniste Philippe Limoge, l'Ensemble TM+ dirigé par Laurent Cuniot, l'Orchestre Poitou-Charentes dirigé par Ernst Schelle, l'Ensemble Résonances XXe dirigé par Franck Foncoubert, le Trio Controverse, l'Orchestre Colonne dirigé par Pei-Yu Chang, et l'Orchestre Philharmonique de Radio France dirigé par Kiril Karabit. / Vibraphone Solo
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Velde: Hymn Miniatures 2: Organ: Instrumental Album
Organ
Oxford University Press
Following the success of Hymn Miniatures 1 Rebecca Groom te Velde presents a se...
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Following the success of Hymn Miniatures 1 Rebecca Groom te Velde presents a second collection of twenty-eight practical arrangements for organ. These short pieces each based on a well-known hymn tune are ideal for use as service interludes hymn introductions communion meditations and short preludes offertories and postludes. Suitable for use throughout the year te Velde's accessible arrangements will prove invaluable to the church musician looking for fresh repertoire to enhance services.Austrian Hymn - TrioAbbot's Leigh - IntradaAsh Grove - DeclamationBesançon - DanceCarlisle - DeclamationCrucifer -FanfareDarwall's 148th - MeditationDivinum mysterium - MeditationEbenezer - TrioEngelberg - FanfareGelobt sei Gott - IntradaFoundation - MeditationGrande Isle - MusetteHanover - MeditationIn Babilone - PastoraleIn dulci jubilo - MusetteLaudate Dominum - MeditationLlangloffan - MeditationLyons - TrioMonkland - DuoMorning Hymn - DuoPuer nobis nascitur - PastoraleSt. Columba - MeditationSt. Denio - MeditationSt. George>'s Windsor - MeditationSt. Peter - MeditationTruro - IntradaUnser Herrscher - Meditation
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Vince Guaraldi: The Easy Peanuts Illustrated Songbook: Easy Piano: Instrumental
Easy Piano
[Sheet music]
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Easy
Hal Leonard
Fifty years. 350 million readers in 75 countries. 2 600 newspapers in 21 languag...
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Fifty years. 350 million readers in 75 countries. 2 600 newspapers in 21 languages. Four feature films and over 60 beloved TV specials. One cast of characters: Peanuts?. Lovingly rendered by the late Charles Schulz Peanuts is much more than a simple comic strip. Charlie Brown Linus Lucy and of course Snoopy have sneaked into our psyche and become international symbols of purity and happiness. Schulz created the characters but it was the music of Vince Guaraldi that gave them life. Pre-Peanuts Bay Area pianist and composer Guaraldi was best known for penning the standard ?Cast Your Fate to the Wind ? but his own fate would soon change; when producer LeeMendelson solicited him to score a documentary on Schulz and subsequent television specials Guaraldi's music became inextricably linked with Peanuts. Through the swinging beats of ?Linus & Lucy? on the soundtrack to A Boy Named Charlie Brown and the festive refrains on the holiday classic A Charlie Brown Christmas he and his trio introduced millions of people to jazz in the mid-'60s and far beyond. Now for the first time available with easy Piano arrangements this coffee-table quality songbook is a celebration of the art of Charles Schulz and the music of Vince Guaraldi. Within its stunning full-color high-gloss pages are: an introduction by veteran music journalist Hank Bordowitz which provides background on how the Schulz/Mendelson/Guaraldi collaboration came to be and reflections from fellow musicians influenced by Guaraldi's music; and Piano solo arrangements of 30 terrific tunes each featuring a Peanuts illustration by Schulz. The songs include: Baseball Theme Blue Charlie Brown The Christmas Song Christmas Time Is Here Frieda (With the Naturally Curly Hair) Great Pumpkin Waltz Happiness Theme Linus and Lucy Oh Good Grief The Pebble Beach Theme Peppermint Patty Red Baron Schroeder Skating and more. This book will be an absolute treasure for any Peanuts or jazz fan!
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Pathways To Artistry 2 Masterwork: Piano: Instrumental Album
Piano solo
Alfred Publishing
The 21 pieces in this collection represent some of the best miniature masterwork...
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The 21 pieces in this collection represent some of the best miniature masterworks in piano literature. These pieces were carefully selected not only for their overall quality and musicality but because they advance very logically from the five-finger position pieces that preceded them in Pathways to Artistry: Masterworks Book 1. For maximum benefit students should work through the skills that are comprehensively presented in Pathways to Artistry: Technique Book 2. Titles: Alpine Dance (Heinrich Wohlfahrt) * Bouree (Felix Le Couppey) * The Cuckoo (Eduard Horak) * English Gigue (Samuel Arnold) * Etude in A Minor (Ludvig Schytte) * Hopak (Alexander Goedicke)* The King's Fanfare (William Duncombe) * Little Scherzo (Ludvig Schytte) * A Lovely Day (Daniel Gottlob Turk) * Melodic Etude Op. 108 No. 12 (Ludvig Schytte) * Minuet in F Major K. 2 (Wolfgang Amadeus Mozart) * Playful Dances (Jacob Schmitt) * A Pleasant Morning (Jean Louis Streabbog) * Quadrille (Franz Joseph Haydn) * Rain (Nicolai Lyubarski) * Royal Trumpet March (Jeremiah Clarke) * The Shepherd's Song (Nicolai Lyubarski) * Sonatina in C Major (William Duncombe) * Song from For Children (Bela Bartok) * Song without Words (Louis Kohler) * Trio (Anton Diabelli).
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Faust (GOUNOD CHARLES)
Opera
[Sheet music]
Barenreiter
Opera with a Prologue and four Acts (First version) / Opera in five Acts (Second...
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Opera with a Prologue and four Acts (First version) / Opera in five Acts (Second version) Dialogue versions. Par GOUNOD CHARLES. Charles Gounod’s “Faust” secured its international recognition in the version as an entirely sung opera, which from thenceforth has largely obscured the fact that the work was originally composed with spoken dialogues. The early versions staged prior to the 1869 performance at the Paris Opéra containing substantial unknown material and with dialogues and melodramas are the subject of this new edition. (The third version “version opera” was published in a separate edition BA 8713 in 2016.) Even as the rehearsals were taking place at the Théâtre-Lyrique in 1858, during the first series of performances at the theatre in 1859, furthermore as the 1862 revival was approaching and during the performances on the smaller stage at the Place du Châtelet, there were constant changes and revisions. It is, thus, impossible to identify manifestly definitive versions. Nevertheless, by drawing on the entire source material now at hand (including fascinating material only recently discovered) and on the whole gamut of aspects communicated by the reception, Paul Prévost systematically presents us with a score laid out in two main versions in whose chronology constancy and change become transparent. With all the musical changes having been documented, the result is a practicable score for performances which reveals a still far too unknown “Faust” – a “Faust” that is rooted in the tradition of the opéra comique. Quite a few musical numbers are published as a score for the first time in this edition: the trio for Faust, Wagner and Siebel “À l’étude ô mon maître”, the duet of Valentin and Marguerite “Adieu, mon bon frère!”, Méphistophélès’ air “Maître Scarabée”, Siebel’s romance “Versez vos chagrins dans mon âme!”, Valentin’s air with chorus “Chaque jour, nouvelle affaire”, the chorus of witches “Un deux et trois”, and also seven melodramas whose missing or incomplete orchestration has been written for our edition. It was only recently that the long-lost second part of Faust’s original cavatina “Salut! demeure chaste et pure” was unearthed. Only in details of orchestration do other numbers differ from the well-known pieces./ Répertoire / Opéra
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Duncan Stubbs: Good Old Uncle Tom: Clarinet Ensemble: Instrumental Album
3 Clarinets (trio)
Spartan Press
Based on four English folk tunes including Widecome Fair and English Country Gar...
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Based on four English folk tunes including Widecome Fair and English Country Garden.
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Pam Wedgwood: RecorderWorld on Safari: Descant Recorder: Instrumental Tutor
Descant (Soprano) Recorder
Faber Music Limited
Recorderworld on Safari is a selection of funny solos and pieces of animal motiv...
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Recorderworld on Safari is a selection of funny solos and pieces of animal motives for flute . Perfect for school auditions or just for fun! This Bbook comprises favored melodies including the theme of Pink Panther The Bare Necessities (from the The Jungle Book) and Can You Feel The Love Tonight? (from The Lion King) as well as some innovative pieces fromPam Wedgwood. The presented solos duets and trios solidify and strengthen the skills. Furthermore Recorderworld on Safari includes prposals for percussions to play in bands.
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Favorite Festival Ensembles - Book 2: Piano: Instrumental Album
Piano solo
Willis Music
Later Elementary to Early Intermediate Level-This special collection features pa...
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Later Elementary to Early Intermediate Level-This special collection features past favorite NFMC duets and trios that have been newly engraved. Up-to-date performance notes from the composers also help to ensure a wonderful collaborative experience. Titles: The Chase (Miller/Engle) - Kibbutz Capers (Karp) - Oriental Bazaar (Gillock) - Petite Spanish Dance (Miller) - Pinwheels (Beard) - Polka (Karp) - Trepak (Tchaikovsky/Gillock) - Western Bolero (Karp).
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M.E. Van Ebbenhorst-Tengbergen: 8 Trios: Recorder Ensemble: Instrumental Work
Heuwekemeijer Muziekuitgeverij
8 Trios
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Barrientos C. - Mambo For Mo - Guitare
Guitar
Classical guitar
Editions Orphee
The composer says: Several musical threads led to my writing this piece of musi...
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The composer says: Several musical threads led to my writing this piece of music to celebrate my friend Matanya Ophee?s (AKA MO) 80th birthday - a life lived with the guitar. Jelly Roll Morton once asserted: ?In fact, if you can't manage to put tinges of Spanish in your tunes, you will never be able to get the right seasoning; I call it, for jazz.? Over the last couple of years I moved back to Jelly Roll Morton?s city: New Orleans, home of my adolescence and reacquainted myself with the tinges of Spanish in its rich musical heritage. One of these pieces was the Mardi Gras Mambo, an iconic song frequently played during Mardi Gras and, in David Newman?s reworking of the lyrics, at the New Orleans Saints football games as the Super Bowl Mambo. Uncited sources on both Wikipedia and Essortment say the word Mambo means ?conversation with the gods? in Kikongo, the language spoken by Central African slaves taken to Cuba where it became the name for a musical form and a dance style that developed originally in Cuba in the able hands of Cachao?s (Bassist Orestes Lopez) tune: Danzon Mambo. This rhythmic style became famous in the 1950?s following its use in dance bands in Mexico and through New Orleans to the United States. The infectiousness of the New Orleans re-interpretation of the Mambo?s ostinato bass line and the reaction of people who are readily moved to dance when they hear it spoke to me of dance and celebration. This led me to choose some of this piece?s characteristics and title for this piece: Mambo for MO. As we have progressed on the instrument, some of us may have encountered the four-chord descending minor chord progression known as the Andalusian cadence: i - VII - VI - V in many different genres and guises. After all, it appears in Ray Charles? Hit the Road, Jack, the verse on Good Vibrations by The Beach Boys, Walk, Don?t Run by The Ventures, Runaway by Del Shannon and in that great work arranged and embraced by the Guitar: J.S. Bach?s Chaconne from the Partita in D minor for solo violin, BWV 1004. This bass line derived from a Latin American musical style as reinterpreted in New Orleans, a chord progression that evokes the Flamenco Music of Spain, and my impressions of the sinuous lines of people dancing the Second Line in the streets of New Orleans at Mardi Gras led me to this synthesis as a tribute to a man who has contributed so much in his lifelong efforts for the guitar, its history and lore on the occasion of his birthday! Happy Birthday, Matanya! Carlos Barrientos was born on June 25, 1954 in Tela, Honduras. He began his formal music studies at the National Music Conservatory in Guatemala City, Guatemala C.A. His training with Maestro Elias Barreiro, Director of Guitar Studies at Tulane University, was supplemented with Master Classes with Manuel Barrueco, Leo Brouwer, Juan Mercadal, Michael Newman, Tommy Tedesco and Carlos Barbosa-Lima. He studied composition under the tutelage of Dr. Jerry Sieg, University of New Orleans, and Dr. Roy Johnson, Florida State University. He consulted with Michael D. Martin, Ph.D., Associate Professor of Music, Albany State University, Albany, GA in the creation of a recordings library that reflects Western Art Music and American Jazz for the students at Albany State University. The New York Premiere of the First Movement of his Second Guitar Sonata was dedicated to and performed by Classical Guitarist Maestro Carlos Barbosa-Lima in 2003 at Carnegie Hall. At the request of U.S. Senator Bob Graham one of his compositions, Si Tu Te Vas (If You Go Away), was included on a recording to promote The Everglades Trail. In 2004, at the American Church in Paris, France the World Premiere of his Romance for Flute and Guitar was performed by the award-winning Serenade Duo, flutist Michelle LaPorte and guitarist Gerry Saulter. He has performed with such legendary musicians as Herbie Mann, Donald Byrd and Debbie Reynolds, led an on stage Renaissance Trio in a University of New Orleans production of Shakespeare?s Twelfth Night, and played incidental music for their production of Bertold Brecht?s The Good Woman of Sichuan. He has performed Carulli?s Guitar Concerto in A, Leonard Bernstein?s West Side Story and Marvin Hamlish?s A Chorus Line with the Northwest Florida Symphony Orchestra and Okaloosa-Walton Community College, Niceville, FL, and with the Southern Art Music Ensemble, a Jazz/Latin Fusion Sextet, including an Honors Convocation in Atlanta for Mr. Ted Turner. He has been a guest performer with the Albany State University Jazz Ensemble at The Fletcher Henderson Jr., Macon and Atlanta Jazz Festivals, and played the banjo in the Albany State University /Albany Symphony?s co-production of George Gershwin?s Opera Porgy and Bess.
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Isabelle Aboulker: Myla And The Boat Tree- Myla et l’arbre bateau: Children's
Choral Unison
Unison, Piano
[Sheet music]
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Easy
Leduc, Alphonse
For Narrator Children's Choir And Instrumental Accompaniment (Piano Version)-Fo...
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For Narrator Children's Choir And Instrumental Accompaniment (Piano Version)-Following on the success of her two operatic works for children and teens – Douce et Barbe Bleue Les Fables Enchantées Little Thummie and Cendrillon (based on Perrault) as well as the adaptation of Maupassant’s short story The Dumpling (2014) – Isabelle Aboulker once again hits the bull’s eye with Myla And The Boat-Tree a commission from the Villecroze Music Academy. In 2015 this musical tale for Narrator Children’s Choir and Instrumental Accompaniment was awarded the “Music for Young Performers Prize” by the French Music Publishers Association. Both in the French version and MarciMeth’s excellent English translation it provides the material for an enthralling educational adventure in which children between the ages of five and eight are invited into their first experience of opera and choir singing. With her trademark finesse and sensitivity the composer tells the story of a little girl dealing with the death of a person she’d cherished above all: her grandfather. Written for choir in unison this tale wafts shimmering melodies over an instrumental accompaniment suffused in turn with gentle melancholy and light humour. An art that speaks from an open heart. The work was written in three versions: for Narrator Children’s Choir and Piano (AL30732) for Narrator Children’s Choir and Trio (Clarinet in Bb Cello and Piano: AL30733) for Narrator Children’s Choir and Instrumental Ensemble (Flute Oboe Clarinet in Bb Bassoon Horn Trumpet in C Trombone Percussion 2 Violins Alto Cello Bass: AL30734) Choral score: AL30743 Listen to Isabelle Aboulker talking about “Myla and the Boat-Tree”:
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Isabelle Aboulker: Myla And The Boat Tree- Myla et l’arbre bateau: Children's
Leduc, Alphonse
For Narrator Children's Choir And Instrumental Accompaniment (Choral Version)-F...
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For Narrator Children's Choir And Instrumental Accompaniment (Choral Version)-Following on the success of her two operatic works for children and teens – Douce et Barbe Bleue Les Fables Enchantées Little Thummie and Cendrillon (based on Perrault) as well as the adaptation of Maupassant’s short story The Dumpling (2014) – Isabelle Aboulker once again hits the bull’s eye with Myla And The Boat-Tree a commission from the Villecroze Music Academy. In 2015 this musical tale for Narrator Children’s Choir and Instrumental Accompaniment was awarded the “Music for Young Performers Prize” by the French Music Publishers Association. Both in the French version and MarciMeth’s excellent English translation it provides the material for an enthralling educational adventure in which children between the ages of five and eight are invited into their first experience of opera and choir singing. With her trademark finesse and sensitivity the composer tells the story of a little girl dealing with the death of a person she’d cherished above all: her grandfather. Written for choir in unison this tale wafts shimmering melodies over an instrumental accompaniment suffused in turn with gentle melancholy and light humour. An art that speaks from an open heart. The work was written in three versions: for Narrator Children’s Choir and Piano (AL30732) for Narrator Children’s Choir and Trio (Clarinet in Bb Cello and Piano: AL30733) for Narrator Children’s Choir and instrumental ensemble (Flute Oboe Clarinet in Bb Bassoon Horn Trumpet in C Trombone Percussion 2 Violins Alto Cello Bass: AL30734) Choral score: AL30743 Listen to Isabelle Aboulker talking about “Myla and the Boat-Tree”:
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Rock Philharmonic
Violin
[Sheet music + CD]
Alfred Publishing
This collection of nine 'classic' Rock tunes spans five decades of rock history....
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This collection of nine 'classic' Rock tunes spans five decades of rock history. The arrangements in Rock Philharmonic contain complete versions and lead sheets of original hit songs by top groups and artists: Jerry Lee Lewis, Bobby Day, Sonny and Cher, The Rolling Stones, The Eagles, Journey, and Green Day. Each piece includes a flexible arrangement that allows the melody, harmony, and bass parts to be played by all sections in the string orchestra, like or mixed instrument groups, quartets, or trios---allowing players to learn the component parts of rock and roll, play the classic arrangement, create their own arrangements, or perform the tunes solo. In addition to string orchestra, the arrangements are also set for electric strings with optional guitar/electric guitar, piano, and drumset. The student book contains a full-length, two-page play thru version of the melody, which follows closely the original recording and includes clearly labeled Intro, Verse, Chorus, Bridge, and Outro sections. The bass and harmony component parts are then presented in a lead sheet format, along with a flow chart that matches the order of the Melody Line Play Thru. The teacher's book contains a full score and reproducible piano and percussion parts. Guitar chords appear in all parts. For easy practice, the accompanying CD has two tracks for each piece---a complete track and a backing track---and TNT 2 software to mix the level of each instrument, change pitch, change tempo, and create loops. The CD can also serve as an aid to learning by ear. / Violon
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Flexible Christmas: Chamber Ensemble: Score & Parts
Fennica Gehrman
Trio arrangements for flexible instuments-Six warm-hearted arrangements for 3 fl...
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Trio arrangements for flexible instuments-Six warm-hearted arrangements for 3 flexible instruments ideal for home office or school use at Christmas time. Each part can be doubled and they are available in different transpositions so the ensemble combination is beyond limits! The package includes a full score parts 1 2 & 3 in C Bb and Eb transpositions the 2nd part also in viola clef and the 3rd part also in F.Contents: Collan: Sylvian joululaulu • Kotilainen: Varpunen jouluaamuna • Raala: Joulukirkkoon • Sibelius: We ask for Nothing Rich or Rare (En etsi valtaa loistoa) • Sibelius: The Shining Snows (On hanget korkeat nietokset) • Wartiovaara-Kallioniemi: Tonttu
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Franz Schubert: Thirty-three Dances: Piano: Instrumental Work
Piano solo
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Intermediate/advanced
ABRSM Publishing
Published within the ?Signature? Series a series of authoritative performing ed...
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Published within the ?Signature? Series a series of authoritative performing editions of standard keyboard works prepared from original sources by leading scholars including informative introductions and performance notes ?... a splendid teaching/recreational album.? Music Teacher
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