| Gospel's Greatest
Melody line, Lyrics and Chords [Fake Book] - Intermediate Hal Leonard
For voice and C instrument. Format: fakebook. With vocal melody, lyrics, chord n...(+)
For voice and C instrument. Format: fakebook. With vocal melody, lyrics, chord names and guitar chord chart. Gospel and worship. Series: Hal Leonard Fake Books. 295 pages. 9x12 inches. Published by Hal Leonard.
(26)$37.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Real Bluegrass Book
Guitar [Fake Book] Hal Leonard
(C Instruments). By Various. Fake Book. Softcover. 432 pages. Published by Hal L...(+)
(C Instruments). By Various. Fake Book. Softcover. 432 pages. Published by Hal Leonard
(1)$44.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Real Book - Bass Clef Edition [Fake Book] Hal Leonard
(Sixth Edition) Fakebook (spiral bound) for bass clef instrument. With melody, s...(+)
(Sixth Edition) Fakebook (spiral bound) for bass clef instrument. With melody, standard notation and chord names. Series: Hal Leonard Instrumental Fake Books. 462 pages. Published by Hal Leonard.
(3)$49.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Irving Berlin: Irving Berlin Fake Book - C Edition
Fake Book [Fake Book] - Intermediate Hal Leonard
Composed by Irving Berlin. For voice and C instrument. Format: fakebook (spiral ...(+)
Composed by Irving Berlin. For voice and C instrument. Format: fakebook (spiral bound). With vocal melody, lyrics and chord names. Standards and vocal standards. Series: Hal Leonard Fake Books. 183 pages. 9x12 inches. Published by Hal Leonard.
(2)$24.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Greater Acoustic Guitar White Pages Guitar notes and tablatures [Sheet music] - Intermediate Warner Brothers
Edited by Aaron Stang. Fretted instrument mixed folio (guitar). Published by Wa...(+)
Edited by Aaron Stang. Fretted instrument mixed folio (guitar). Published by Warner Brothers.
(4)$19.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| The Real Book - Volume 1 Piano solo [Sheet music + Audio access] Hal Leonard
(Book/USB Flash Drive Play-Along Pack). By Various. For C Instruments. Real Book...(+)
(Book/USB Flash Drive Play-Along Pack). By Various. For C Instruments. Real Book Play-Along. USB Flash Drive. 462 pages. Published by Hal Leonard
$85.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Real Book - Volume I - Sixth Edition French horn [Fake Book] Hal Leonard
F Instruments. Composed by Various. Fake Book. Jazz. Softcover. 464 pages. Pu...(+)
F Instruments. Composed by
Various. Fake Book. Jazz.
Softcover. 464 pages.
Published by Hal
$39.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| This present moment used to be the unimaginable future... String Quartet: 2 violins, viola, cello Breitkopf & Härtel
Composed by Christian Mason. World premiere: Paris, Cite de la musique, Januar...(+)
Composed by Christian Mason.
World premiere: Paris, Cite
de la musique, January 14,
2020. Breitkopf and Haertel
#EB 9377. Published by
Breitkopf and Haertel
$46.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Chicago: The Chicago Fake Book Fake Book [Fake Book] - Intermediate Hal Leonard
(C Edition) Performed by Chicago. For C instrument. Format: fakebook. With leads...(+)
(C Edition) Performed by Chicago. For C instrument. Format: fakebook. With leadsheet notation (includes melody line and chords) and lyrics. Pop rock and soft rock. Series: Hal Leonard Fake Books. 232 pages. 9x12 inches. Published by Hal Leonard.
(2)$34.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| This present moment used to be the unimaginable future... Breitkopf & Härtel
SKU: BR.EB-9387 Composed by Christian Mason. Edition Breitkopf. New music...(+)
SKU: BR.EB-9387 Composed by Christian Mason. Edition Breitkopf. New music (post-2000); Music post-1945. Set of parts. Composed 2019. Duration 20'. Breitkopf and Haertel #EB 9387. Published by Breitkopf and Haertel (BR.EB-9387). ISBN 9790004188576. 0 x 0 inches. Commissioned by the Kolner Philharmonie (KolnMusik) for the non bthvn projekt 2020 and the Cite de la musique / Philharmonie de Paris Dedicated to Arditti Quartet Each movement of this quartet explores a single state, its lights and its shadows. Each movement, you could say, is a moment . And these moments could last for more or less time without compromising their essential nature. The processes could be extended or compressed, repeated or reversed, but the core ideas - if they are ideas, but maybe they are simply experiences? - are what they are. Despite this, the precise sequence of movements matters a great deal. Heard together they do articulate some kind of linear narrative, maybe even a metaphorical journey (albeit a circular one where the arrival might, who knows, prove to be a new departure). One situation gives way to another and instrumental relationships within the quartet vary, but ultimately the imaginative impulse behind the piece preferences states of unity. Whether or not this unity is expressed texturally - sometimes literal unisons pervade, but not always - there is generally a sense that even seemingly diverse aspects relate to a fundamental condition of concord: a conscious limitation in the pitch structure to spectral emanations of the root notes E-flat and C. At the opening this is unambiguously audible in the perpetual alternation of these two notes in the low cello register. Later the two spectra are woven into a micro-tonal 'double-spectral-mode' (derived from the first 24 partials of the C and E-flat fundamentals), which defines the subtle melodic inflection of the second movement, and the never-quite-chromatic ascending scales of the third. For now this feels like a rich source of melodic possibility, so far only just glimpsed... And why the insistence on E-flat? Probably by way of historical anecdote. Apparently Karl Holz (a member of the Schuppanzigh Quartet) said to Beethoven: We performed your Quartet in E-flat Op. 127 in his [Weber's] honour; he found the Adagio too long; but I told him: Beethoven also has a longer feeling and a longer imagination than anyone standing or not standing today. - Since then, even Linke (another member of the quartet) can no longer stand him: we cannot forgive him for this. Listening again to Op. 127, in light of these comments, I was struck by the opening moment: the unfolding of an E-flat 7th chord over the course of a few bars. Every time I hear it I find myself wishing that Beethoven would have lingered longer there, without resolution or progression, just enjoying that sonority. And maybe - why not? - tune the 7th naturally. And what would it be to stretch that moment into an entire piece? What would Weber think of that?! In the end I was not so extreme in my self-limitation, and other concerns took over, but it was from these thoughts that the composition process began... Lastly, about the title: it comes from a book called 'The Clock of the Long Now' by Stewart Brand, published at the turn of the millennium. It's about the creation of a thousand-year clock to embody the aspiration to thinking in terms of longer time-spans than are presently habitual. If the music of Beethoven embodied a 'longer' feeling and imagination than some of his contemporaries were able to appreciate, what is our relation to time now? Longer or shorter? Maybe it depends who you ask... It's probably more extreme in both directions: attention spans might be diminishing in the digital world, but conversely there is an awareness of distant pasts and potential futures which would have been inconceivable at the time of Beethoven. In any case, the interesting thing is to ponder how societal conditions, assumptions and expectations might - whether consciously or unconsciously - influence the time of art, for listeners and creators alike. And what if time is running out? (Christian Mason)
World premiere: Paris, Cite de la musique, January 14, 2020. $53.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| The Best Chord Changes For The Most Requested Standards [fakebook] Hal Leonard
Edited by Dr Baker. Arranged by Frank Mantooth. For voice and C instrument. Hal ...(+)
Edited by Dr Baker. Arranged by Frank Mantooth. For voice and C instrument. Hal Leonard Fake Books. Vocal Standards and Standards. Difficulty: medium. Fakebook. Vocal melody, lyrics, chord names and chord substitutions. 212 pages. Published by Hal Leonard fakebook Vocal Standards and Standards
$24.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Jazzer's Cookbook GIA Publications
SKU: GI.G-114424 Creative Recipes for Players and Teachers. Music ...(+)
SKU: GI.G-114424 Creative Recipes for Players and Teachers. Music Education. Book. 168 pages. GIA Publications #114424. Published by GIA Publications (GI.G-114424). ISBN 9781574631586. UPC: 884088872311. A must have exciting collection of favorite tips from 57 of today's most outstanding educators, performers, and industry pros in the jazz education world. This is an ideal source that contains proven successful suggestions that will not only aid the teacher/director from junior high school to university levels, but the conductor and performer - novice to professional! Performance tips on instrument technique, rehearsals, programming, technology, improvisation and much more! Enjoy this quick-to-read enjoyable book that will inform and inspire creativity and improvement at all levels. Sample recipes include: Jamey Abersold, legendary jazz educator and publisher, NEW Jazz Master and LeJENd of Jazz Education Honoree Advanced Jazz Improve, How to Cook! John Clayton, Grammy award winning Bassist and composer, JEN Vice-President Left Hand Bass-ics Dennis DiBlasio, jazz saxophonist with Maynard Ferguson and others, arranger, composer, educator Get Started Improvising by Using a Single Scale-Heat, Simmer, Boil! Diane Downs, founder and artistic director of the renowned Louisville Leopard Percussionists All About the Blues! Dr. Lou Fischer, co-founder/past president of the Jazz Education Network, performer, composer, author Big Band Shake 'n Bake-Successful Performance Tips Dan Haerle, faculty/Regents professor in Jazz studies at the UNT 25 years, LeJENds of Jazz Education recipient Expand Your Palette-a taste of Voicings Dave Liebman, NEA Jazz Master, LeJENd of Jazz Education, award winning performer, lecturer, author Beyond the Music-Jazz Education in the Century of Change Darmon Meader, distinguished vocalist, arranger, and saxophonist, founder/performer New York Voices Stir, Don't Shake-Recipe for Vocal Improv Bob Mintzer, 23-year member of Yellowjackets, Grammy award-winning big band leader and composer of big band music performed globally Spice Up your Life with Music-words from one who knows! Dr. Gary Motley, recognized by National Endowment for the Arts, Great American Jazz Piano Competition, and American Composers Forum Jazz and the iPad - Add this to your Menu! Dr. Larry Ridley, educator, performer, authors and is founder/executive director for the African-American Jazz Caucus, Inc., (AAJC) Jazz Gumbo, sage advice Paris Rutherford, Regents Professor Emeritus of Jazz, Univ. of North Texas 30 years, author, arranger, LeJENds of Jazz Education recipient Recipe for Arranging Amazing Vocal Jazz Goodies. $24.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| The Future of the Wind Band Concert band GIA Publications
SKU: GI.G-10580 Philosopher and Practitioner in Dialogue. Composed...(+)
SKU: GI.G-10580 Philosopher and Practitioner in Dialogue. Composed by William Perrine. Music Education. 430 pages. GIA Publications #10580. Published by GIA Publications (GI.G-10580). ISBN 9781622776375. Contributors: Travis J. Cross (University of California–Los Angeles) • David J. Elliott (New York University) • Marissa Silverman (Montclair State University) • Jacob Wallace (South Dakota State University) • Randall Everett Allsup (Teachers College, Columbia University) • Cynthia Johnston Turner (Wilfrid Laurier University) • Carolyn Barber (University of Nebraska-Lincoln) • John Kratus (Independent Scholar) • Vincent C. Bates (Weber State University) • Thomas G. Warner, Jr. (North Carolina Agricultural and Technical State University) • Ben Hawkins (Transylvania University) • Thomas A. Regelski (SUNY Fredonia School of Music, Helsinki University of Finland) • Paul Woodford (Western University) • Charles Peltz (New England Conservatory of Music) In the wind band profession—as in every great discipline—it is critical to take stock in the big questions about where we are heading, and why, as we move through the twenty-first century. This thought-provoking book contains seven high-level exchanges between a leading wind band practitioner and a music education philosopher. Each section of The Future of the Wind Band grapples with the most profound issues facing the music education profession and the path of instrumental music education in our schools: Relevance: What relevance, if any, does the wind band have both to today’s students and to culture more broadly in the twenty-first century? What relevance does the band experience hold for students’ everyday life? Repertoire: What is the relationship between the repertoire performed by wind ensembles and the larger musical world? Pedagogy: What constitutes best practice in terms of musical pedagogy and rehearsal technique within the large-ensemble experience? Creativity: Can the wind band function as a vehicle for enhancing the individual creativity of its members? Economic Justice: How do issues of social class and the distribution of wealth relate to broader questions of social justice within the context of instrumental music education? Professional Ethics: What are the primary ethical responsibilities of the wind band conductor? Democratic Citizenship: What relationship, if any, can be drawn between membership in the wind band and citizen participation in democracy? Such exchanges can only strengthen our profession and pay rich dividends in our musical and educational work with the students we serve. Editor of this book, William (Bill) M. Perrine is Associate Professor of Music and Director of Instrumental Activities at Concordia University in Ann Arbor, Michigan, where he directs the wind ensemble, marching band, and community orchestra. $42.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
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