| 150 of the Most Beautiful Songs Ever Ukulele Hal Leonard
By Various. For Ukulele. Ukulele Chord Songbook. Softcover. 320 pages. Published...(+)
By Various. For Ukulele. Ukulele Chord Songbook. Softcover. 320 pages. Published by Hal Leonard
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| Dan Coates - Complete Advanced Piano Solos
Piano solo [Sheet music] - Intermediate Alfred Publishing
The Greatest Love Of All Composed by Michael Masser, Linda Creed Homecoming Com...(+)
The Greatest Love Of All Composed by Michael Masser, Linda Creed
Homecoming Composed by Hagood Hardy
Weve Got Tonight Composed by Bob Seger
Song From M*a*s*h (Suicide Is Painless) Composed by Johnny Mandel, Mike Altman
Misty Composed by Erroll Garner, Johnny Burke
Other Side Of Midnight Composed by Michel Legrand
The Rose Composed by Amanda Mc Broom
Tears In Heaven Composed by Eric Clapton, Will Jennings
Theme From New York, New York Composed by Fred Ebb, John Kander
Heart Composed by Richard Adler, Jerry Ross
Hey There Composed by Richard Adler, Jerry Ross
Colors Of My Life Composed by Cy Coleman, Michael Stewart
Over The Rainbow Composed by Harold Arlen, E.y. Harburg
Separate Lives Love Theme From "white Nights"
Theme From Ice Castles Composed by Marvin Hamlisch, Carole Bayer Sager
Tonight I Celebrate My Love Composed by Michael Masser, Gerry Goffin
In This Life Composed by Mike Reid, Allen Shamblin
Up Where We Belong Composed by W Jennings, B Sainte, Marie, J Nitzsche
From A Distance Composed by Julie Gold
I Will Always Love You Composed by Dolly Parton
Oh! What It Seemed To Be Composed by Bennie Benjamin, George David Weiss, Frankie
I Believe I Can Fly Composed by R. Kelly
Valentine Composed by Jim Brickman, Jack Kugell
How Do I Live Composed by Diane Warren
Colors Of The Wind Composed by Stephen Schwartz, Alan Menken
A Dream Is A Wish Your Heart Makes Composed by Mack David, Al Hoffman, Jerry Livingston
see less... Tell Him Composed by Linda Thompson, David Foster
Con Te Patiro / Time To Say Goodbye Composed by Lucio Quarantotto, Francesco Sartori
Karen's Theme Composed by Richard Carpenter
The Prayer Composed by Carole Bayer Sager, David "babyface" Foster
My One True Friend Composed by Carole Bayer Sager, Carole King
Love Solo Composed by Dan Coates
I Don't Want To Miss A Thing Composed by Diane Warren
As Time Goes By Composed by Herman Hupfeld
La Vie En Rose Composed by Louiguy, Piaf (French), David (Eng.)
What's New? Composed by Bob Haggart, Johnny Burke
Summer Me, Winter Me Composed by Michel Legrand, Alan, Marilyn Bergman
Evergreen Composed by Barbra Streisand, Paul Williams
Arthur's Theme (Best That You Can Do) Composed by Burt Bacharach, Carole Bayer Sager
Can You Read My Mind Composed by John Williams, Leslie Bricusse
Love And Marriage Composed by Jimmy Van Heusen, Sammy Cahn
Desperado Composed by Don Henley, Glenn Frey
The Wind Beneath My Wings Composed by Jeff Silbar, Larry Henley
How Do You Keep The Music Playing? Composed by Michel Legrand, Alan Bergman
Anywhere The Heart Goes Composed by Henry Mancini, Will Jennings
Once Before I Go Composed by Dean Pitchford, Peter Allen
Star Wars - Main Theme Composed by John Williams
Open Arms Composed by Steve Perry, Jonathan Cain
Canon In D Composed by Johann Pachelbel
That's What Friends Are For Composed by Burt Bacharach, Carole Bayer Sager
Friends Or Lovers Both To Each Composed by Paul Gordon, Jay Gruska
Forever Composed by Kenny Loggins, Eva Loggins, David Foster
Saving All My Love For You Composed by Gerry Goffin, Michael Masser
Miss Celie's Blues Composed by Quincy Jones, Rod Temperton, And
Anne's Theme Composed by Hagood Hardy
One Moment In Time Composed by Albert Hammond, John Bettis
Kei's Song Composed by David Benoit
I Say A Little Prayer Composed by Burt Bacharach, Hal David
Happy Birthday To You Composed by Mildred J. Hill, Patty S. Hill
May You Always Composed by Larry Marks, Dick Charles
If My Friends Could See Me Now Composed by Cy Coleman, Dorothy Fields
You Can Always Count On Me Composed by Cy Coleman, David Zippel
Ashokan Farewell Composed by Jay Ungar
Everything I Do I Do It For You Composed by Bryan Adams, Robert Lange, Michael Kamen
Send In The Clowns Composed by Stephen Sondheim
She Loves Me Composed by Sheldon Harnick, Jerry Bock
How Could I Ever Know? Composed by Marsha Norman, Lucy Simon
My Unknown Someone Composed by Cy Coleman, Adolph Green, Betty Comden
Favorite Son Composed by Cy Coleman, Adolph Green, Betty Comden
I Swear Composed by Gary Baker, Frank Myers
I Can Love You Like That Composed by S Diamond, M Derry, J Kimball
Beauty And The Beast Composed by Howard Ashman, Alan Menken
Angel Eyes Composed by Jim Brickman
If You Believe Composed by Jim Brickman
Because You Loved Me Composed by Diane Warren
Un-break My Heart Composed by Diane Warren
Ragtime Composed by Stephen Flaherty, Lynn Ahrens
Complete Advanced Piano Solos (Music for All Occasions). Arranged by Dan Coates. For solo piano. Piano - Intermediate / Advanced Collection; Piano Supplemental. The Professional Touch Series. Contemporary Instrumental and Pop. SMP Level 9 (Advanced). Collection. Standard notation (does not include words to the songs). 304 pages. Published by Alfred Music Publishing
(80)$24.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Big Book of Disney Songs French horn [Sheet music] Hal Leonard
(Horn). By Various. Instrumental Folio. Softcover. 80 pages. Published by Ha...(+)
(Horn). By Various.
Instrumental Folio. Softcover.
80 pages. Published by Hal
Leonard
$14.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Big Book of Disney Songs Flute [Sheet music] Hal Leonard
(Flute). By Various. Instrumental Folio. Softcover. 80 pages. Published by H...(+)
(Flute). By Various.
Instrumental Folio. Softcover.
80 pages. Published by Hal
Leonard
$14.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Big Book of Disney Songs Violin [Sheet music] Hal Leonard
(Violin). By Various. Instrumental Folio. Softcover. 80 pages. Published by ...(+)
(Violin). By Various.
Instrumental Folio. Softcover.
80 pages. Published by Hal
Leonard
$15.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Big Book of Disney Songs Trombone [Sheet music] Hal Leonard
(Trombone). By Various. Instrumental Folio. Softcover. 80 pages. Published b...(+)
(Trombone). By Various.
Instrumental Folio. Softcover.
80 pages. Published by Hal
Leonard
$14.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Big Book of Disney Songs Viola [Sheet music] Hal Leonard
(Viola). By Various. Instrumental Folio. Softcover. 80 pages. Published by H...(+)
(Viola). By Various.
Instrumental Folio. Softcover.
80 pages. Published by Hal
Leonard
$14.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Big Book of Disney Songs Clarinet [Sheet music] Hal Leonard
(Clarinet). By Various. Instrumental Folio. Softcover. 80 pages. Published b...(+)
(Clarinet). By Various.
Instrumental Folio. Softcover.
80 pages. Published by Hal
Leonard
(1)$15.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Big Book of Disney Songs Tenor Saxophone [Sheet music] Hal Leonard
(Tenor Saxophone). By Various. Instrumental Folio. Softcover. 80 pages. Publ...(+)
(Tenor Saxophone). By Various.
Instrumental Folio. Softcover.
80 pages. Published by Hal
Leonard
$14.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Big Book of Disney Songs Cello [Sheet music] Hal Leonard
(Cello). By Various. Instrumental Folio. Softcover. 80 pages. Published by H...(+)
(Cello). By Various.
Instrumental Folio. Softcover.
80 pages. Published by Hal
Leonard
$15.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Big Book of Disney Songs Trumpet [Sheet music] Hal Leonard
(Trumpet). By Various. Instrumental Folio. Softcover. 80 pages. Published by...(+)
(Trumpet). By Various.
Instrumental Folio. Softcover.
80 pages. Published by Hal
Leonard
$15.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Big Book of Disney Songs Alto Saxophone [Sheet music] Hal Leonard
(Alto Saxophone). By Various. Instrumental Folio. Softcover. 80 pages. Publi...(+)
(Alto Saxophone). By Various.
Instrumental Folio. Softcover.
80 pages. Published by Hal
Leonard
$15.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Disney Songs Book Guitar - Easy Hal Leonard
By Various Composers. Easy Guitar (Simplified arrangements for guitar). Size 9x1...(+)
By Various Composers. Easy Guitar (Simplified arrangements for guitar). Size 9x12 inches. 112 pages. Published by Hal Leonard.
$26.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| 150 of the Most Beautiful Songs Ever (4th Edition)
Piano, Vocal and Guitar [Sheet music] - Intermediate Hal Leonard
Composed by Various. Traditional Pop, Broadway and Vocal Standards. Songbook (so...(+)
Composed by Various. Traditional Pop, Broadway and Vocal Standards. Songbook (softcover). With vocal melody, piano accompaniment, lyrics, chord names and guitar chord diagrams. 576 pages. Published by Hal Leonard
(137)$39.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Disney Collection Easy Piano - Easy Hal Leonard
By Various. For Piano/Keyboard. Easy Piano Songbook. Softcover. 304 pages. Publi...(+)
By Various. For Piano/Keyboard. Easy Piano Songbook. Softcover. 304 pages. Published by Hal Leonard
$29.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Animation Collection Piano, Vocal and Guitar [Sheet music] Hal Leonard
By Various. Piano/Vocal/Guitar Songbook. Softcover. 306 pages. Published by Hal ...(+)
By Various. Piano/Vocal/Guitar Songbook. Softcover. 306 pages. Published by Hal Leonard
$22.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Disney 100 Songs
Melody line, (Lyrics) and Chords Hal Leonard
Celebrating the 100th Anniversary of Disney. Composed by Various. Lead Sheets...(+)
Celebrating the 100th
Anniversary of Disney.
Composed by Various. Lead
Sheets: Melody line, lyrics
and chord symbols. Disney,
Movies, Musicals. Hardcover.
Published by Hal Leonard
$69.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Concerto - Piano And Orchestra - Solo Part Schott
Piano and orchestra - difficult SKU: HL.49046544 For piano and orchest...(+)
Piano and orchestra - difficult SKU: HL.49046544 For piano and orchestra. Composed by Gyorgy Ligeti. This edition: Saddle stitching. Sheet music. Edition Schott. Softcover. Composed 1985-1988. Duration 24'. Schott Music #ED23178. Published by Schott Music (HL.49046544). ISBN 9781705122655. UPC: 842819108726. 9.0x12.0x0.224 inches. I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. The markings of the movements are the following: 1. Vivace molto ritmico e preciso 2. Lento e deserto 3. Vivace cantabile 4. Allegro risoluto 5. Presto luminoso.The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale; my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. In the Piano Concerto I realized new concepts of harmony and rhythm. The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time 'rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form; later in the fourth movement it will be considerably developed. The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement; however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly; they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales; in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting; illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated; the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus; indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. (Gyorgy Ligeti). $34.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| First 50 Disney Songs You Should Play on the Piano Piano solo - Easy Hal Leonard
Composed by Various. Easy Piano Songbook. Movies, Children, Disney. Softcover....(+)
Composed by Various. Easy
Piano Songbook. Movies,
Children, Disney. Softcover.
208 pages. Published by Hal
Leonard
$25.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| 101 Disney Songs Recorder - Beginner Hal Leonard
For Recorder. Composed by Various. Instrumental Folio. Children, Disney, Movie...(+)
For Recorder. Composed by
Various. Instrumental Folio.
Children, Disney, Movies.
Softcover. Published by Hal
Leonard
$19.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| 101 Disney Songs Alto Saxophone - Easy Hal Leonard
For Alto Sax. Composed by Various. Instrumental Folio. Softcover. 112 pages. ...(+)
For Alto Sax. Composed by
Various. Instrumental Folio.
Softcover. 112 pages.
Published by Hal Leonard
$18.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| 101 Disney Songs Percussion Hal Leonard
For Bells/Glockenspiel. Composed by Various. Instrumental Folio. Children, Di...(+)
For Bells/Glockenspiel.
Composed by Various.
Instrumental Folio. Children,
Disney, Movies. Softcover.
112 pages. Duration 140
seconds. Published by Hal
Leonard
$19.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
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