| Bill Frisell: An Anthology Piano solo [Sheet music] - Easy Cherry Lane
Performed by Bill Frisell. For piano (or guitar). Format: piano solo book. Jazz....(+)
Performed by Bill Frisell. For piano (or guitar). Format: piano solo book. Jazz. 127 pages. 9x12 inches. Published by Cherry Lane Music.
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| Prairie Light Theodore Presser Co.
Dan Welcher’s most enduringly and frequently played orchestral work, Prai...(+)
Dan Welcher’s most enduringly and frequently played orchestral work, Prairie Light is a fascinating musical companion to three of Georgia O’Keeffe’s most unusual paintings, Light Coming on the Plains, Canyon with Crows, and Starlight Night. This work is ideal for performances using visual projections of the paintings, and is frequently programmed for subscription concerts as well as those for educational settings. Duration: 14’ Parts available on rental. This work for full orchestra was inspired by three paintings of the noted Americanartist Georgia O’Keeffe. These three watercolors were done in 1917 while the artist was living in Canyon, Texas (near Amarillo), and deal primarily with color and shape. Consequently, the music is primarily concerned with broad lines and shapes rather than rhythms, with subtle washes of color rather than constant harmonic movement, and with arching melody instead of linear counterpoint.The first movement, Light Coming on the Plains, is an elliptical-shaped painting, deep blue to indigo with a “horizon†at the bottom that seems flat and unchanging. The sun hasn’t risen yet, although it does in the course of this movement, but it seems instead to be providing light from behind the canvas. The music is unmoving in terms of rhythm or harmony (although there is a modulation midway through), a color-infused mantra of sound that is almost Eastern.At the height of the sun, we proceed to the second movement, entitled Canyon with Crows. The canyon is red-orange, with black crows circling above friendly unfolding hills. The music is gentle but lively and more rhythmic, with the birds represented by solo oboe, clarinet, and sometimes flute. Halfway through, the brass have a chorale version of the opening motive, played very slowly, over the unending triplets of woodwinds and strings. At the end of the movement, the birds return for a duo-cadenza, accompanied by the dying rays of the sun in muted strings and the ongoing triplets of the solo quartet.The stage is set for the final movement, Starlight Night. In O’Keeffe’s painting, the stars are represented by regularly-spaced rectangles of bright pale yellow on a blue-black sky, with the same shape to the field of vision and the horizon that is found in Light Coming on the Plains. The stars become audible: harp, celesta, glockenspiel, and string pizzicati all lend a sparkle while a solo flute introduces a slowly unfolding theme. After this theme has been heard twice and the sky has begun to really brighten, there is a sudden interruption: a xylophone and a piano begin another “mantra†in brittle staccato chords. This is the same mechanical eternity as O’Keeffe’s regularly-spaced square stars, and it continues on its own as the night progresses. The music builds and grows as the moon rises and arcs, then falls as the pre-dawn light that opened the work returns to bring it to a close. Acycle of light, changing with the movements of sun, moon, and stars, appearing differently from various points of view
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| Just Standards Real Book (E-flat Edition) Fake Book [Fake Book] Alfred Publishing
Fakebook for Eb instruments. Series: Just Real Books Series, Fake Book. 408 page...(+)
Fakebook for Eb instruments. Series: Just Real Books Series, Fake Book. 408 pages. Published by Alfred Publishing.
(1)$39.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 business days | | |
| The Rocky Road to Dublin - Easy Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Crash Cymbals, E...(+)
Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Crash Cymbals, Euphonium, Euphonium T.C., Flute, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Percussion 3, Piccolo, Suspended Cymbal, Tambourine, Timpani, Tom-tom and more. - Grade 2.5 SKU: CF.YPS265 Composed by Ed Kiefer. Set of Score and Parts. Carl Fischer Music #YPS265. Published by Carl Fischer Music (CF.YPS265). ISBN 9781491163658. UPC: 680160922444. The Rocky Road to Dublin is a song written by Irish poet D. K. Gavan in the mid-nineteenth century for English music-hall performer Harry Clifton and tells the story of an Irish man leaving his hometown of Tuam in the county of Galway in Ireland to go to Dublin to make money. Because of the Great Potato Famine at that time, large groups of Irish folks left their hometowns looking for food and work. Thousands ended up in America, in particular, Philadelphia, where many made their way south through the Appalachian mountains, settling in southwest Virginia, western North Carolina and eastern Tennessee. As the Irish began their new lives here in America, they would often sing these songs, which would bring back fond memories of their homeland. Many old-time fiddle tunes can be traced to Irish music, including this song. However, their music changed as the songs were passed around through other cultures in the mountains, with new verses about their new lives. Often the tunes and lyrics made their way back overseas where they would change yet again, so there are many versions of these songs found in both Ireland and America. This setting is close to the original and can be found in both places. It gets to the heart of having to leave one’s home to seek a better life.This tune is a fun one and should be played with a lilt until m. 43. At this point, the original material is more legato, but returns at m. 59 in the alto saxophone. Let the percussion play on their solis, especially at the end where some of them answer the band motifs. The straight eighth notes (as at m. 29) will perhaps look difficult to younger players, but once they understand the concept, it will be a favorite part. Have fun! $65.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Rocky Road to Dublin [Score] Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Crash Cymbals, E...(+)
Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Crash Cymbals, Euphonium, Euphonium T.C., Flute, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Percussion 3, Piccolo, Suspended Cymbal, Tambourine, Timpani, Tom-tom and more. SKU: CF.YPS265F Composed by Ed Kiefer. Full score. 20 pages. Carl Fischer Music #YPS265F. Published by Carl Fischer Music (CF.YPS265F). ISBN 9781491164051. UPC: 680160922840. The Rocky Road to Dublin is a song written by Irish poet D. K. Gavan in the mid-nineteenth century for English music-hall performer Harry Clifton and tells the story of an Irish man leaving his hometown of Tuam in the county of Galway in Ireland to go to Dublin to make money. Because of the Great Potato Famine at that time, large groups of Irish folks left their hometowns looking for food and work. Thousands ended up in America, in particular, Philadelphia, where many made their way south through the Appalachian mountains, settling in southwest Virginia, western North Carolina and eastern Tennessee. As the Irish began their new lives here in America, they would often sing these songs, which would bring back fond memories of their homeland. Many old-time fiddle tunes can be traced to Irish music, including this song. However, their music changed as the songs were passed around through other cultures in the mountains, with new verses about their new lives. Often the tunes and lyrics made their way back overseas where they would change yet again, so there are many versions of these songs found in both Ireland and America. This setting is close to the original and can be found in both places. It gets to the heart of having to leave one’s home to seek a better life.This tune is a fun one and should be played with a lilt until m. 43. At this point, the original material is more legato, but returns at m. 59 in the alto saxophone. Let the percussion play on their solis, especially at the end where some of them answer the band motifs. The straight eighth notes (as at m. 29) will perhaps look difficult to younger players, but once they understand the concept, it will be a favorite part. Have fun! $11.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| The Easy Movie Fake Book Fake Book [Fake Book] - Easy Hal Leonard
100 Songs in the Key of C. By Various. Fake Book (Includes melody line and chord...(+)
100 Songs in the Key of C. By Various. Fake Book (Includes melody line and chords). Softcover. 230 pages. Published by Hal Leonard.
(2)$24.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Rolling Stones: The Rolling Stones Fakebook (1963-1971) Fake Book [Fake Book] Alfred Publishing
Performed by The Rolling Stones. Fakebook for voice and C instrument. With vocal...(+)
Performed by The Rolling Stones. Fakebook for voice and C instrument. With vocal melody, chord names, color photos, discography, selected riffs (guitar tab) and introductory text. 431 pages. Published by Alfred Publishing.
(4)$39.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| 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 Knot Garden Schott
Vocal SKU: HL.49002642 Vocal Score. Composed by Sir Michael Tippet...(+)
Vocal SKU: HL.49002642 Vocal Score. Composed by Sir Michael Tippett. This edition: Paperback/Soft Cover. Sheet music. Edition Schott. Classical. Piano reduction. Composed 1966-1970. 318 pages. Duration 80'. Schott Music #ED11075. Published by Schott Music (HL.49002642). ISBN 9790220107672. UPC: 073999347685. 8.25x11.75x0.832 inches. English. A house, too, can be a battlefield, and a garden a wilderness. The house here belongs to Faber and Thea: middle-class, middle-aged, probably more than middle-income and in a mid-matrimonial rut of mutual laissez-faire. Also in the house is their young ward Flora, to whom Faber has been making sexual advances. And there are visitors. Thea's sister Denise is taking a break from other distant battlefields, where she is engaged in the struggle against oppression. A black writer, Mel, is here as well with his white lover Dov, a musician: the first homosexual couple to be 'out' on the operatic stage.These people's entanglementswith each other but also, and more importantly, within themselveshave to be addressed, as in Tippett's first opera. But this time the Mozart model is Cosi fan tutte, and the lessons of myth are clothed in the language of psychiatry, as practised by Mangus, the Don Alfonso who may not be as much in control as he would hope. In the last act he stages a performance of The Tempest, which comes adrift. Perhaps more has been achieved in the middle act, a swirl of short scenes ending in an exchange of songs between Flora and Dovan exchange, too, of homages to Schubert and the blues, both held in the magic of this lustrous score.(Paul Griffiths)
2 (2pic).1.ca.Ebcl.2 (2: bcl).1.cbn-4.4.2.1-timp.3perc (s.d., t.d., b.d., jazz kit, cym., sus.cym., w.bl., t.bl., tamb., casts., wh., metal bar or heavy triangle, tam-tam, xyl., vib., glock., claves, small rattle)-hp.cel.pno.egtr/ehpd-str
Reduced version: 1 (pic).1 (ca).1 (Ebcl, bcl).1 (cbn)-3.2.2.0-2perc (timp., t.d., jazz kit, cym., t.bl., tamb., casts., metal bar or heavy tri., tam-tam, vib., glock., tub.bells, cl., rattle)-hp.pno (cel).egtr-str: 3 vns (3: va).va.vc.db. $101.00 - See more - Buy online | | |
| The Best Of 1000 No.1 Hits: Chord Songbook Music Sales | | |
| Brahms: At the Piano Piano solo G. Henle
15 Well-Known Original Pieces in Progressive Order. Composed by Johannes Bra...(+)
15 Well-Known Original
Pieces in Progressive Order.
Composed by Johannes Brahms
(1833-1897). Edited by
Sylvia Hewig-Tröscher. At
the Piano. Softcover. 56
pages. G. Henle #HN1814.
Published by G. Henle
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| Free Arrangements and Technical Exercises Piano solo EMB (Editio Musica Budapest)
Piano SKU: BT.EMBZ20004A Complete Edition. Composed by Liszt Feren...(+)
Piano SKU: BT.EMBZ20004A Complete Edition. Composed by Liszt Ferenc. EMB New Listz Edition. Studies & Exercises. Book Hardcover. Composed 2021. 240 pages. Editio Musica Budapest #EMBZ20004A. Published by Editio Musica Budapest (BT.EMBZ20004A). English-German-Hungarian. Supplementary Volume 16 of the New Liszt Edition contains free arrangements and technical exercises. In the first section can be found early versions of three arrangements. The first consists of the first and intermediary versions of a transcription of Die Rose, a song Schubert composed to a poem by Schlegel. The arrangement of the second movement of Berlioz's Harold Symphony also draws on literary inspiration: Lord Byron's (1788-1824) narrative poem Childe Harold's Pilgrimage (1812-18) was a literary experience Liszt shared with Berlioz. The fantasy on themes from Bellini's opera La sonnambula [The Sleepwalker] (here the first version of 1842, and the second version dating from the following decade are given) is important in music history because it was while he worked on this (and other operatic fantasies) that Liszt developed a new concept of the form, which took shape in more complex and more concentrated fantasies than before. Particularly interesting material can be found in the appendix. In addition to sketches and drafts for arrangements of Spanish themes, there are three sources published here for the first time, which shed light on technical aspects of Liszt's piano teaching. These are three sets of exercises: the first written by Liszt himself for Valérie Boissier in 1832; the second a copy in an unidentified hand from the same period or slightly later; and finally the third which was noted down in 1871 by Henri Maréchal in Rome based on the composer's dictation. This latest volume of the New Liszt Edition includes a detailed preface in German, English, and Hungarian containing new research findings, together with five manuscript facsimiles and critical notes. Simultaneously with the cloth-bound Complete Edition, a practical paperback version has been published, the contents of which are identical to those of the hardcover edition, minus the inclusion of critical notes. $119.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| The Best Movie Songs Ever Piano, Vocal and Guitar [Sheet music] Hal Leonard
By Various. Easy Piano Songbook (Easy arrangements for piano and voice). Softcov...(+)
By Various. Easy Piano Songbook (Easy arrangements for piano and voice). Softcover. Size 9x12 inches. 280 pages. Published by Hal Leonard.
(1)$19.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Liederkreis, Op. 24 Low voice, Piano G. Henle
Low Voice and Piano. Composed by Robert Schumann. Edited by Kazuko Ozawa. Hen...(+)
Low Voice and Piano.
Composed by Robert Schumann.
Edited by Kazuko Ozawa.
Henle Music Folios.
Classical. Softcover. G.
Henle #HN1465. Published by
G. Henle
$24.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Remembering Pearl Harbor - Intermediate Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Chimes, Clarinet 1, Clarinet 2, C...(+)
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Chimes, Clarinet 1, Clarinet 2, Clarinet 3, Crash Cymbals, Euphonium, Euphonium T.C., Flute, Gong, Horn 1, Horn 2, Horn 3, Horn 4, Mallet Percussion, Marimba, Oboe, Percussion 1, Percussion 2 and more. - Grade 4 SKU: CF.SPS95 December 7, 1941. Composed by Christina Huss R. Alan Carter. Sps. Set of Score and Parts. 2+16+4+8+8+8+4+4+4+4+4+4+6+6+6+4+4+4+4+6+6+6+6+4+6+6+2+4+8+2+28 pages. Duration 6 minutes, 45 seconds. Carl Fischer Music #SPS95. Published by Carl Fischer Music (CF.SPS95). ISBN 9781491161302. UPC: 680160919895. Written to commemorate the 80th Anniversary of the surprise attack on the American Pacific Fleet, Remembering Pearl Harbor is a stirring tribute honoring the heroes of the date which will live in infamy- December 7, 1941. Like flying over the Pacific, the opening bars seemingly soar back in time. The composition takes the listener on a moving journey from the precarious moments before the fateful attack, through the air strike and resulting aftermath. The musical voyage begins with chimes, signifying the hour of the attack that Sunday morning, developing into the heroic main theme representing the Spirit of America. A rousing version of Anchors Aweigh takes us to the naval base at Pearl Harbor and the activities of the day. By the end of Anchors Aweigh, the mood seems to change, foreshadowing the fate of the U.S. fleet. Next, the haunting theme of the Japanese National Anthem is heard and the distant sound of propellers as they approach. When the planes arrive, the battle rages until there is total destruction. Countless people lost their lives on this tragic day. The playing of Taps and the Navy Hymn, Eternal Father, Strong to Save is presented as an homage to those who perished. Following this solemn moment, the American spirit begins to rise as they come together to defeat the enemy. As the U.S. triumphs in the end, we hear fragments of many American tunes depicting the strength and resilience of the American People. You may want to consider using portions of Franklin Delano Roosevelt's famous speech to enhance your performance. The following sections are suggested: Measure 46: Yesterday, December 7th, 1941 - a date which will live in infamy - the United States of America was suddenly and deliberately attacked by the naval and air forces of the Empire of Japan. Measure 83: The attack yesterday on the Hawaiian Islands has caused severe damage to American naval and military forces. I regret to tell you that very many American lives have been lost. Measure 105: No matter how long it may take us to overcome this premeditated invasion, the American people in their righteous might will win through to absolute victory.. Written to commemorate the 80th Anniversary of the surprise attack on the American Pacific Fleet, Remembering Pearl Harbor is a stirring tribute honoring the heroes of the “date which will live in infamyâ€- December 7, 1941. Like flying over the Pacific, the opening bars seemingly soar back in time. The composition takes the listener on a moving journey from the precarious moments before the fateful attack, through the air strike and resulting aftermath.The musical voyage begins with chimes, signifying the hour of the attack that Sunday morning, developing into the heroic main theme representing the Spirit of America. A rousing version of Anchors Aweigh takes us to the naval base at Pearl Harbor and the activities of the day. By the end of Anchors Aweigh, the mood seems to change, foreshadowing the fate of the U.S. fleet.  Next, the haunting theme of the Japanese National Anthem is heard and the distant sound of propellers as they approach. When the planes arrive, the battle rages until there is total destruction. Countless people lost their lives on this tragic day. The playing of Taps and the Navy Hymn, Eternal Father, Strong to Save is presented as an homage to those who perished.Following this solemn moment, the American spirit begins to rise as they come together to defeat the enemy. As the U.S. triumphs in the end, we hear fragments of many American tunes depicting the strength and resilience of the American People.You may want to consider using portions of Franklin Delano Roosevelt’s famous speech to enhance your performance. The following sections are suggested:Measure 46: “Yesterday, December 7th, 1941 – a date which will live in infamy – the United States of America was suddenly and deliberately attacked by the naval and air forces of the Empire of Japan.â€Measure 83: “The attack yesterday on the Hawaiian Islands has caused severe damage to American naval and military forces. I regret to tell you that very many American lives have been lost.â€Measure 105: “No matter how long it may take us to overcome this premeditated invasion, the American people in their righteous might will win through to absolute victory.â€. $90.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Remembering Pearl Harbor [Score] - Intermediate Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Chimes, Clarinet 1, Clarinet 2, C...(+)
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Chimes, Clarinet 1, Clarinet 2, Clarinet 3, Crash Cymbals, Euphonium, Euphonium T.C., Flute, Gong, Horn 1, Horn 2, Horn 3, Horn 4, Mallet Percussion, Marimba, Oboe, Percussion 1, Percussion 2 and more. - Grade 4 SKU: CF.SPS95F December 7, 1941. Composed by Christina Huss R. Alan Carter. Sps. Full score. 28 pages. Duration 6 minutes, 45 seconds. Carl Fischer Music #SPS95F. Published by Carl Fischer Music (CF.SPS95F). ISBN 9781491161845. UPC: 680160920525. Written to commemorate the 80th Anniversary of the surprise attack on the American Pacific Fleet, Remembering Pearl Harbor is a stirring tribute honoring the heroes of the date which will live in infamy- December 7, 1941. Like flying over the Pacific, the opening bars seemingly soar back in time. The composition takes the listener on a moving journey from the precarious moments before the fateful attack, through the air strike and resulting aftermath. The musical voyage begins with chimes, signifying the hour of the attack that Sunday morning, developing into the heroic main theme representing the Spirit of America. A rousing version of Anchors Aweigh takes us to the naval base at Pearl Harbor and the activities of the day. By the end of Anchors Away, the mood seems to change, foreshadowing the fate of the U.S. fleet. Next, the haunting theme of the Japanese National Anthem is heard and the distant sound of propellers as they approach. When the planes arrive, the battle rages until there is total destruction. Countless people lost their lives on this tragic day. The playing of Taps and the Navy Hymn, Eternal Father, Strong to Save is presented as an homage to those who perished. Following this solemn moment, the American spirit begins to rise as they come together to defeat the enemy. As the U.S. triumphs in the end, we hear fragments of many American tunes depicting the strength and resilience of the American People. You may want to consider using portions of Franklin Delano Roosevelt's famous speech to enhance your performance. The following sections are suggested: Measure 46: Yesterday, December 7th, 1941 - a date which will live in infamy - the United States of America was suddenly and deliberately attacked by the naval and air forces of the Empire of Japan. Measure 83: The attack yesterday on the Hawaiian Islands has caused severe damage to American naval and military forces. I regret to tell you that very many American lives have been lost. Measure 105: No matter how long it may take us to overcome this premeditated invasion, the American people in their righteous might will win through to absolute victory.. Written to commemorate the 80th Anniversary of the surprise attack on the American Pacific Fleet, Remembering Pearl Harbor is a stirring tribute honoring the heroes of the “date which will live in infamyâ€- December 7, 1941. Like flying over the Pacific, the opening bars seemingly soar back in time. The composition takes the listener on a moving journey from the precarious moments before the fateful attack, through the air strike and resulting aftermath.The musical voyage begins with chimes, signifying the hour of the attack that Sunday morning, developing into the heroic main theme representing the Spirit of America. A rousing version of Anchors Aweigh takes us to the naval base at Pearl Harbor and the activities of the day. By the end of Anchors Away, the mood seems to change, foreshadowing the fate of the U.S. fleet.  Next, the haunting theme of the Japanese National Anthem is heard and the distant sound of propellers as they approach. When the planes arrive, the battle rages until there is total destruction. Countless people lost their lives on this tragic day. The playing of Taps and the Navy Hymn, Eternal Father, Strong to Save is presented as an homage to those who perished.Following this solemn moment, the American spirit begins to rise as they come together to defeat the enemy. As the U.S. triumphs in the end, we hear fragments of many American tunes depicting the strength and resilience of the American People.You may want to consider using portions of Franklin Delano Roosevelt’s famous speech to enhance your performance. The following sections are suggested:Measure 46: “Yesterday, December 7th, 1941 – a date which will live in infamy – the United States of America was suddenly and deliberately attacked by the naval and air forces of the Empire of Japan.â€Measure 83: “The attack yesterday on the Hawaiian Islands has caused severe damage to American naval and military forces. I regret to tell you that very many American lives have been lost.â€Measure 105: “No matter how long it may take us to overcome this premeditated invasion, the American people in their righteous might will win through to absolute victory.â€. $13.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| The Easy Movie Fake Book – 2nd Edition Hal Leonard
Melody, Lyrics and Simplified Chords C Instruments; Melody/Lyrics/Chords SKU:...(+)
Melody, Lyrics and Simplified Chords C Instruments; Melody/Lyrics/Chords SKU: HL.298905 100 Songs in the Key of C. Composed by Various. Easy Fake Book. Movies. Softcover. 232 pages. Published by Hal Leonard (HL.298905). ISBN 9781540059901. UPC: 888680955274. 9.0x12.0x0.556 inches. This updated second edition features 100 songs from the silver screen in larger-than-usual fake book notation and all in the key of C. Songs include: Born Free • Chariots of Fire • City of Stars (from La La Land) • Endless Love • Footloose • Ghostbusters • Happy (from Despicable Me 2) • I Will Always Love You (from The Bodyguard) • Theme from Jaws • Let It Go (from Frozen) • A Million Dreams (from The Greatest Showman) • My Heart Will Go On (Love Theme from Titanic) • Nine to Five • Over the Rainbow (from The Wizard of Oz) • Shallow (from A Star Is Born) • Singin' in the Rain • Summer Nights (from Grease) • (I've Had) The Time of My Life (from Dirty Dancing) • The Wind Beneath My Wings (from Beaches) • Yellow Submarine • and more. $29.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Latin Real Easy Book (C version) C Instruments [Fake Book] Sher Music Company
By Various. Afro-Cuban, Brazilian, Latin Jazz. Fake Book (spiral bound). 275 pag...(+)
By Various. Afro-Cuban, Brazilian, Latin Jazz. Fake Book (spiral bound). 275 pages. Published by Sher Music Company
$32.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Ein Spanier fur Elise ( CD) 1 Piano, 4 hands [Sheet music + CD] Breitkopf & Härtel
By Michael Proksch. For Piano, 4-hands. This edition: Piano, 4-hands. Edition Br...(+)
By Michael Proksch. For Piano, 4-hands. This edition: Piano, 4-hands. Edition Breitkopf. Attached. 48 pages. Published by Breitkopf and Haertel (German import).
$31.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| A Treasury of Hymns and Spirituals Autoharp [Sheet music] Mel Bay
For Autoharp, Guitar, Ukulele, Mandolin, Banjo, and Keyboard. Compiled by Meg Pe...(+)
For Autoharp, Guitar, Ukulele, Mandolin, Banjo, and Keyboard. Compiled by Meg Peterson. For Autoharp/Chromaharp. Songbook. Sacred. Level: Beginning. Book. Size 8.5x11. 40 pages. Published by Mel Bay Publications, Inc.
$14.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Flowersongs Version 2012 For Flute, Oboe And Clarinet Parts [Set of Parts] Wilhelm Hansen
Flute, Clarinet and Oboe SKU: HL.14043011 Composed by Hans Abrahamsen. Mu...(+)
Flute, Clarinet and Oboe SKU: HL.14043011 Composed by Hans Abrahamsen. Music Sales America. Classical. Softcover. Composed 2014. Edition Wilhelm Hansen #WH31940A. Published by Edition Wilhelm Hansen (HL.14043011). ISBN 9788759829288. 9.7x14.0x0.079 inches. Hans Abrahamsen 's Flowersongs (2012 version) for Flute, Oboe and Clarinet. Parts. 'I wrote Flowersongs for three Flutes in the spring of 1973, when I was 20 years old. Looking back now, 40 years begins to feel like a really long time and sometimes I think that it is as if someone in 1973 is talking about a piece from 1933! But in spite of this long time, this is still a very important piece for me. In Flowersongs , along with works like '10 Preludes' for String Quartet and 'Stratifications' for Orchestra, I feel that I was on my way to finding my own voice in the middle of the music of the great Central European modernist tradition from the 50s and the reaction from the 60s of thenew simplicity, minimalism and the possibility of poly-stilisme. The English title Flowersongs links to the flower power movement and the hippie culture of the 60s and the early 70s, and the work is trying to find the power inherent in this imaginary world. Many of my later works have titles in German, for example 'Winternacht' (1976/78), 'Nacht und Trumpeten' (1981) and much later 'Schnee' (2006-08). If we think of Flowersongs in German, it must be Blumenlieder, and to me it now sounds suddenly very different, more romantic and into the world of Schumann. Perhaps it is also a way in which to hear the piece? Another thing is that the correct English title is Flower Songs (as two words) and not as one word like in German or Danish. This is perhaps the German connection, as I incorrectly wrote the title as one word, but perhaps it is also a kind of naivety, which is also part of the work. I cannot help but carry with me to this day the ideas from my early works. For example, there are clear links in this work from the 8th Prelude from '10 Preludes' and to Canon 2a from 'Schnee' from 2008. This work is written for the wonderful ensemble recherche and it was meeting them that made me consider making a version of Flowersongs for Flute, Oboe and Clarinet.' - Hans Abrahamsen. $50.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| The Violinist’s Daily Warm-Ups and Scale System Violin Carl Fischer
Chamber Music Violin SKU: CF.BF131 Composed by Roland Vamos. With Standar...(+)
Chamber Music Violin SKU: CF.BF131 Composed by Roland Vamos. With Standard notation. 168 pages. Carl Fischer Music #BF131. Published by Carl Fischer Music (CF.BF131). ISBN 9781491153765. UPC: 680160911264. 9 x 12 inches. Inspired by Clarence Cameron White’s book The Violinist’s Daily Dozen, The Violinist’s Daily Sixteen is a collection of daily exercises compiled by Roland Vamos. Intended for student and professional violinists, the collection provides the performer with a variety of exercises for daily warm-ups. Mr. Vamos also focuses on developing dexterity and flexibility in the fingers and joints, the first and fourth fingers in particular. Each of the sixteen exercises is notated for each of the four strings, and Vamos recommends that the exercises be practiced as warm-ups, choosing a different string for each day of practice.Also included with the Daily Sixteen is a comprehensive set of studies for developing fluency with scales and arpeggios. Mr. Vamos’ unique methodology is to begin with major scales and arpeggios, followed by minor scales and arpeggios, all of which are notated in two, three and four octaves. Alternate fingers are provided, as well as a variety of slurred and mixed bowings using the three parts of the bow whenever feasible. It is a remarkably systematic approach to performing scales and arpeggios on the violin and will surely benefit students and professionals alike. ForewordThis short hand-setting set of exercises was inspired by a book entitled The Violinist’s Daily Dozen, conceived by Clarence Cameron White, a prominent African-American violinist, composer and arranger who enjoyed the bulk of his career in the first half of the twentieth century.I have practiced this set of exercises since I was twelve years old. It has served me as a superb warm-up and hand setting tool. Over the years, I have found that there are some aspects of this warm-up routine that were not given sufficient attention or not addressed at all. Consequently, I have expanded the Daily Dozen to create a new work entitled The Violinist’s Daily Sixteen.I have also paid particular attention in this work as to how these exercises are to be practiced. In exercises one and two, I have indicated some notes to be played before the actual written exercises. This is to ensure that the fourth finger will be over the string in a position ready to strike even though it is not being used. Before playing exercises three, four, nine, ten, eleven and twelve, I have indicated silent fingers to be placed on the notes they would be playing if they were being used.I have replaced Mr. White’s grace notes with notes of specific value and have slowed down the exercises so that the first joint (the joint nearest the string) of each finger can move with flexibility and strength. At no time should the first joint buckle.In Mr. White’s version, the last exercise gave the first finger some very valuable backward extensions. In this exercise (number 14 in this book), I caution the student not to move the hand along with the first finger. The hand should remain in position while the first finger independently moves back and forth.It became obvious to me that if the first finger were given the opportunity to develop the dexterity that Mr. White’s twelfth exercise emphasizes, the fourth finger could benefit from an exercise that gives it a forward extension. Consequently, I added another exercise to create a Baker’s Dozen (thirteen).Several years later, I felt that the second and third fingers should also have an exercise to further develop their dexterity…hence exercise fourteen was added to create a “Vamos Dozen.â€Because the first finger did not have sufficient practice in the development of the first joint in the original version, I have added two exercises to precede White’s fifth exercise. After re-working and re-numbering these exercises, I have come up with a total of sixteen exercises. It is my suggestion that these be practiced as a warm-up, choosing a different string each day.—Roland VamosEvanston, Illinois 2017 PrefaceScales are a means of teaching a person the fingerboard on his or her instrument. The fingers move across the strings and are required to make shifts, all in highly organized patterns. Scales and arpeggios are the foundation upon which our repertoire is built. Many scale books have been written; each one being organized in its own specific way. The Flesch Scale System has been a standard for many decades. It is very comprehensive and systematic. From the point of view of establishing similar patterns, it has one drawback: it is organized by starting with a major key, followed by its relative minor, going through the circle of fifths. I believe that it is more profitable to do only major scales with their arpeggios first, going up chromatically, and then follow them in a similar way with the minor scales. In using this approach, the similarities in fingerings between the various scales are more apparent. It is also profitable to have alternate fingerings whenever possible. My approach to scales and arpeggios includes a variety of slurred and mixed bowings using the three parts of the bow whenever feasible. These bowings are not all-inclusive. Whenever a particularly awkward bowing pattern is encountered in the repertoire, it can be practiced as an additional bowing variation in the scales and arpeggios.   I have chosen to introduce the three and four octave scales by teaching two octave scales across the strings in one position going up chromatically through seven positions; starting on the first, second, third, and finally fourth fingers in major and melodic minor.—Roland VamosEvanston, Illinois 2017. $29.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| The Classical Piano Course - Christmas Favourites Piano solo Chester
Piano (Piano) SKU: HL.14003415 Arranged by Carol Barratt. Music Sales Ame...(+)
Piano (Piano) SKU: HL.14003415 Arranged by Carol Barratt. Music Sales America. Tuition. Book [Softcover]. 64 pages. Chester Music #CH71775. Published by Chester Music (HL.14003415). ISBN 9781846097355. UPC: 884088433659. 9.0x12.0x0.204 inches. English. More than forty favourite Christmas songs and carols for the beginning pianist, arranged by Carol Barratt. Many of the songs include both the English and American versions of the traditional carols. Carols include lyrics and chord symbols and are ideal for use alongside The Classic Piano Course books 1 and 2. $16.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Tartan Tapestries Concert band - Intermediate Carl Fischer
Band Bagpipes, Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2,...(+)
Band Bagpipes, Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Clarinet 3, Crash Cymbals, Double Bass, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn 1, Horn 2, Mallet Percussion, Mark Tree, Oboe, Percussion 1, Percussion 2 and more. - Grade 3.5 SKU: CF.CPS225 Composed by Larry Clark. Concert Band (CPS). Set of Score and Parts. With Standard notation. 12+12+6+12+24+24+6+4+6+6+6+6+8+8+8+4+4+6+6+6+8+2+1+6+2+4+10+32+4 pages. Duration 6 minutes, 9 seconds. Carl Fischer Music #CPS225. Published by Carl Fischer Music (CF.CPS225). ISBN 9781491152515. UPC: 680160910014. Tartan Tapestries is an original piece that sets out to emulate Scottish folk music. Composer Larry Clark has created a concert overture in triple meter to capture the essence of music from Scotland. After a lilting first section, lush and beautiful moments weave a tapestry of sounds with the lyrical, middle section of the piece. There is an optional part for bagpipes, and an optional ending should you chose to use this instrument as part of the piece. Alert your contest music committee about this strong new piece for advancing groups. Tartan Tapestries was commissioned by Friends of the Arts for the Saint Andrew's School Band in Boca Raton, Florida. The band program at Saint Andrew’s School is under the direction of Andrea Wolgin. The premiere took place on November 29, 2017.When I was asked by their conductor Ms. Wolgin to write a piece for the Saint Andrew’s School, I asked her what kind of involvement she wanted the students to have in the process. We discussed several options for having the students involved in the process of creating with the type of piece they wanted. We set up a “Skype†meeting with members of the band to discuss the piece. During this discussion, the consensus of the students was that they wanted a piece depicting the Scottish influence to the school. They also wanted a piece that would challenge all sections of the band and to include bagpipes if possible. I asked that the students be involved in helping to name the piece once it was completed, for which they agreed and were very helpful. Armed with this information, I set out to compose a piece for them, and Tartan Tapestries is the result.The piece begins with a fanfare gesture based upon rhythms and harmonies that appear throughout the piece. I chose the lilting triple feel to the piece, to bring about the Scottish flavor. I wanted the fanfare to be bardic sounding, to depict the strength of the Scottish people and for the piece to have a dynamic opening. The fanfare contains material that alludes to the main theme and with a bit of dissonance and tension that is resolved in the main body of the piece.The main theme is a lilting original melody, but one that I hope with have the essence of Scottish folk songs. The main idea is followed by a more modal and dark sounding secondary theme, first stated in the horns. This material is later used in the development section of the piece. The main theme returns several times, with different and varied orchestrations and harmonic treatments. This is followed by a short transition leading to the more lyrical and slower second section of the piece. A transparent presentation of the lyrical theme, which is based on aspects of the main theme, is presented first by a solo flute. This section is a nod to famous composer Malcom Arnold’s wonderful works for orchestra in its style and orchestration. After a transition or bridge section with a solo euphonium, the piece builds to a dramatic climax of the lyrical theme by the full band. This subsides to a return of the solo flute to end this second section of the piece, followed by a transition back the main theme.The solo bagpipes play a central role in the return of the main theme and take center stage after being heard in the distance earlier in the work. The piece brings back a shortened version of the darker secondary theme, followed by a hint of the fanfare material that builds to one last statement of the main theme by the full band, before leading to a dramatic coda to complete the work.It has been my pleasure to have been given the opportunity to compose this piece for the Saint Andrew’s School Band! I thank Andrea Wolgin for making it happen, and I hope that you enjoy it as much as I have enjoyed bringing the piece to life.–Larry ClarkLakeland, Florida 2017. $95.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Tartan Tapestries Concert band [Score] - Intermediate Carl Fischer
Band Bagpipes, Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2,...(+)
Band Bagpipes, Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Clarinet 3, Crash Cymbals, Double Bass, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn 1, Horn 2, Mallet Percussion, Mark Tree, Oboe, Percussion 1, Percussion 2 and more. - Grade 3.5 SKU: CF.CPS225F Composed by Larry Clark. Concert Band (CPS). Full score. With Standard notation. 32 pages. Carl Fischer Music #CPS225F. Published by Carl Fischer Music (CF.CPS225F). ISBN 9781491153192. UPC: 680160910694. Tartan Tapestries is an original piece that sets out to emulate Scottish folk music. Composer Larry Clark has created a concert overture in triple meter to capture the essence of music from Scotland. After a lilting first section, lush and beautiful moments weave a tapestry of sounds with the lyrical, middle section of the piece. There is an optional part for bagpipes, and an optional ending should you chose to use this instrument as part of the piece. Alert your contest music committee about this strong new piece for advancing groups. Tartan Tapestries was commissioned by Friends of the Arts for the Saint Andrew's School Band in Boca Raton, Florida. The band program at Saint Andrew’s School is under the direction of Andrea Wolgin. The premiere took place on November 29, 2017.When I was asked by their conductor Ms. Wolgin to write a piece for the Saint Andrew’s School, I asked her what kind of involvement she wanted the students to have in the process. We discussed several options for having the students involved in the process of creating with the type of piece they wanted. We set up a “Skype†meeting with members of the band to discuss the piece. During this discussion, the consensus of the students was that they wanted a piece depicting the Scottish influence to the school. They also wanted a piece that would challenge all sections of the band and to include bagpipes if possible. I asked that the students be involved in helping to name the piece once it was completed, for which they agreed and were very helpful. Armed with this information, I set out to compose a piece for them, and Tartan Tapestries is the result.The piece begins with a fanfare gesture based upon rhythms and harmonies that appear throughout the piece. I chose the lilting triple feel to the piece, to bring about the Scottish flavor. I wanted the fanfare to be bardic sounding, to depict the strength of the Scottish people and for the piece to have a dynamic opening. The fanfare contains material that alludes to the main theme and with a bit of dissonance and tension that is resolved in the main body of the piece.The main theme is a lilting original melody, but one that I hope with have the essence of Scottish folk songs. The main idea is followed by a more modal and dark sounding secondary theme, first stated in the horns. This material is later used in the development section of the piece. The main theme returns several times, with different and varied orchestrations and harmonic treatments. This is followed by a short transition leading to the more lyrical and slower second section of the piece. A transparent presentation of the lyrical theme, which is based on aspects of the main theme, is presented first by a solo flute. This section is a nod to famous composer Malcom Arnold’s wonderful works for orchestra in its style and orchestration. After a transition or bridge section with a solo euphonium, the piece builds to a dramatic climax of the lyrical theme by the full band. This subsides to a return of the solo flute to end this second section of the piece, followed by a transition back the main theme.The solo bagpipes play a central role in the return of the main theme and take center stage after being heard in the distance earlier in the work. The piece brings back a shortened version of the darker secondary theme, followed by a hint of the fanfare material that builds to one last statement of the main theme by the full band, before leading to a dramatic coda to complete the work.It has been my pleasure to have been given the opportunity to compose this piece for the Saint Andrew’s School Band! I thank Andrea Wolgin for making it happen, and I hope that you enjoy it as much as I have enjoyed bringing the piece to life.–Larry ClarkLakeland, Florida 2017. $14.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Liederkreis, Op. 24 Medium voice, Piano G. Henle
Medium Voice and Piano. Composed by Robert Schumann. Edited by Kazuko Ozawa. ...(+)
Medium Voice and Piano.
Composed by Robert Schumann.
Edited by Kazuko Ozawa.
Henle Music Folios.
Softcover. G. Henle #HN1464.
Published by G. Henle
$24.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
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