| Crown Point March Concert band [Score and Parts] - Beginner Kjos Music Company
Composed by Bruce Pearson. For concert band. Grade 1. Score and set of parts. Pu...(+)
Composed by Bruce Pearson. For concert band. Grade 1. Score and set of parts. Published by Neil A. Kjos Music Company
$55.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Crown Point March - Score Concert band [Score] - Beginner Kjos Music Company
By Bruce Pearson. For concert band. Concert Band. Level: Grade 1. Score. Publish...(+)
By Bruce Pearson. For concert band. Concert Band. Level: Grade 1. Score. Published by Neil A. Kjos Music Company.
(4)$10.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Complete Music for the Fife and Drum Drums [Sheet music] Mel Bay
by Walter D. Sweet. For fife. Complete. All styles. Level: Multiple Levels. Book...(+)
by Walter D. Sweet. For fife. Complete. All styles. Level: Multiple Levels. Book. Solos. Size 8.75x11.75. 106 pages. Published by Mel Bay Pub., Inc.
(2)$23.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Instrumental Music [Score] Oxford University Press
Piano, organ, guitar (Solo; 2-5) SKU: OU.9780193683181 William Walton ...(+)
Piano, organ, guitar (Solo; 2-5) SKU: OU.9780193683181 William Walton Edition vol. 20. Composed by William Walton. Edited by Michael Aston. Piano (Solo). William Walton Edition. Full score. 184 pages. Oxford University Press #9780193683181. Published by Oxford University Press (OU.9780193683181). ISBN 9780193683181. 13 x 10 inches. The volume contains all the works for piano (solo, piano duet, two pianos), and works for organ and guitar. It includes an introduction, textual notes, and facsimiles. About William Walton Edition In March 2014 Oxford University Press published the last volume in its magnificent William Walton Edition, the only complete critical edition of a 20th-century British composer's oeuvre. All 24 volumes are handsomely printed and bound. Walton's entire output is now available to scholars and performers in a definitive and fully practical edition, based on the form in which the composer ultimately wished his music to be performed. The general editor, David Lloyd-Jones - the eminent conductor, English music specialist, and founder of Opera North - invited a world-class expert to edit each volume. Carefully researched introductory essays place the works in their historical context and in the composer's oeuvre, and there are full critical notes. $312.25 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| The Crown and the Glory Concert band [Score and Parts] - Easy Kjos Music Company
Band concert band - Grade 2.5 SKU: KJ.WB260 Composed by Barrie Gott. Stan...(+)
Band concert band - Grade 2.5 SKU: KJ.WB260 Composed by Barrie Gott. Standard of Excellence in Concert. Score and set of parts. Neil A. Kjos Music Company #WB260. Published by Neil A. Kjos Music Company (KJ.WB260). UPC: 8402700123. A delightful, opening fanfare followed by a grand march! About Standard of Excellence in Concert The Standard of Excellence In Concert series presents exceptional arrangements, transcriptions, and original concert and festival pieces for beginning and intermediate band. Each selection is correlated to a specific page in the Standard of Excellence Band Method, reinforcing and expanding skills and concepts introduced in the method up to that point. Exciting parts with extensive cross-cueing are presented for every player. Accessible ranges, appropriate rhythmic challenges, and creative percussion section writing enhance the pedagogical value of the series.
Sold individually, each In Concert selection includes a full Conductor Score and enough student parts for large symphonic bands. Each student part also includes correlated Warm-Up Studies. The Conductor Score comes complete with rehearsal suggestions, a composer biography, program notes, a rehearsal piano part, several ready-to-duplicate worksheets and a duplicable written quiz. $55.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Buskers Fake Book All Time Hit Piano solo Music Sales | | |
| Sacred Solos Piano solo [Sheet music + Audio access] - Intermediate Schaum Publications
Level 4 Piano - Intermediate SKU: HL.645924 Level Four. Arranged b...(+)
Level 4 Piano - Intermediate SKU: HL.645924 Level Four. Arranged by Wesley Schaum. Educational Piano. General Worship, Sacred. Softcover Audio Online. 24 pages. Duration 7200 seconds. Schaum Publications, Inc. #0954. Published by Schaum Publications, Inc. (HL.645924). ISBN 9781495082184. UPC: 008148009541. 9.0x12.0x0.091 inches. Book/Online Audio. This series of sacred solos includes favorite hymns, gospel songs, spirituals and sacred music from classical repertoire. The selections have been made to appeal to students of all ages and also with regard to popularity in many different churches. Some of the hymn tunes may be known with different titles and lyrics. Level Four includes: Ave Maria (Schubert) • Crown Him with Many Crowns • Hallelujah Chorus • How Great Thou Art • I Love to Tell the Story • Onward Christian Soldiers • Rock of Ages • Sheep May Safely Graze • Softly and Tenderly • Song of Joy • When the Saints Go Marching In. Audio is accessed online using the unique code inside the book and can be streamed or downloaded. The audio files include PLAYBACK+, a multi-functional audio player that allows you to slow down audio without changing pitch, set loop points, change keys, and pan left or right. $10.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Stabat Mater Op. 53 PWM (Polskie Wydawnictwo Muzyczne)
Vocal, Mixed Choir and Orchestra SKU: BT.PWM5447 For Soprano, Alto, Ba...(+)
Vocal, Mixed Choir and Orchestra SKU: BT.PWM5447 For Soprano, Alto, Baritone, Mixed Choir and Orchestra. Composed by Karol Szymanowski. Classical. Book Only. Composed 2000. 68 pages. Polskie Wydawnictwo Muzyczne #PWM5447. Published by Polskie Wydawnictwo Muzyczne (BT.PWM5447). ''Stabat Mater'' by Karol Szymanowski for solo voices, chorus and orchestra, Op. 53, is one of the most famous and, at the same time, most personal works of the composer, making its appeal to the audience through the depth of its expression and sheer artistry. The first sketches of the work were made in the spring of 1925, while work on the full score occupied the composer from 20 January to 2 March 1926. Józef Jankowskis Polish translation of the medieval sequence formed the basis of the composition. This text, which was simple in a folk-like way, devoid of pathos but full of religious zeal, harmonized perfectly from the poetic point of view with the composers creative design. In an interview for the monthly Muzyka Szymanowski stated: ''in its Polish vestments that eternal, naive hymn was filled for me with its own immediate expressive content; it became something painted in colours which were recognisable and comprehensible as distinct from the black and white of the archaic original'' (''A Footnote to Stabat Mater'', Muzyka 1926, Nos. 11/12). In the score, the Latin text is given beside the Polish text, making it possible for the work to be performed more easily by foreign performers. In this work, the universal tradition of the Christian church was fused with the Polish religious tradition. The composer creates the religious folk-like climate primarily through the character of the melodies which are akin to to the plainchant melodies to the text of Stabat Mater (the sequence, and especially the hymn) and their paraphrases in Polish religious songs (e.g. Sta a Matka Bole ciwa [The Dolorous Mother was standing]) as well as motifs from Polish Lenten songs and Gorzkie ale (Bitter Laments). Szymanowski did not introduce them as quotations, but intersperses the melodic lines, which are more fully developed and frequently highly chromatic, with diatonic phrases, based on modal scales. They appear in all the movements of the work determining its cohesion. In dividing the twenty-stanza text into separate segments, Szymanowski created a six- movement cantata. He took care to distinguish between the emotional shades of the various movements, varying his selection of solo voices (soprano, contralto, baritone), the voices of the chorus (female or mixed) and the orchestral forces. In the first and third movements the lyrical idiom prevails; the first movement, portraying the Mother of God at the foot of the cross, has a narrative character, whereas the third is a kind of prayer from a man who sympathizes with, and who wishes to be associated with Mater Dolorosas pain. In these movements only the female voices are used (soprano, contralto and female chorus), while the orchestra is employed in a chamber style, sometimes drawing on solo accompanying parts (e.g. the beginning of the third movement). The fourth movement, which continues the mood of prayerful contemplation, is designed for soprano and contralto solo as well as unaccompanied chorus. On the other hand, the second and fifth movements, involving the participation of solo baritone and the full chorus and orchestra, are similar with regard to forces and their dramatic character, which is austere in expression, harsh in tone, and markedly dissonant. Here grand climaxes appear with powerful orchestral tutti. The sixth movement crowns the whole. The lyrical, soft melody of the solo soprano at the beginning is gradually strengthened by the addition of the female chorus and the solo contralto, and in the final section, the solo baritone as well as the tutti of chorus and orchestra. The conclusion, subdued and full of concentration, suggests the introvert character of the experience as opposed to its dramatic pathos. Stabat Mater by Szymanowski is part of a long tradition of compositions based on the text of the medieval sequence - ranging from polyphonic works by Josquin des Prés and Palestrina to the romantic Stabat by Giuseppe Verdi and Anton n Dvo ák. And it was perhaps because of his consciousness of this tradition that Szymanowski used stylizing devices in the spirit of early music. The archaization manifests itself not only in the character of the melodies and their modal framework, but also in the harmonies (with their predominance of triads, open fourths and fifths chords and doubled thirds), the simple rhythms as well as the texture of the choruses (esp. the fourth movement). The composer does not, however, imitate the style of any specific historical epoch, but combines resources taken from early music with modern tonal and harmonic techniques. Archaization in Stabat Mater serves, moreover, a symbolic function; in evoking the many-centuries old tradition of church music, it emphasizes the universal nature of the idea contained in the text of the sequence, while the re-reading of the text by the composer gives the work its individual features. [Zofia Helman, translated by Ewa Cholewka]. $28.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
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