| HERITAGE MUSIC PRESS
MAINSTREAMS PIANO NOONA Piano solo Heritage Music Press
Compositeur : Walter Noona Composer : Carol Noona Groupe d\'Instrument...(+)
Compositeur : Walter Noona Composer : Carol Noona Groupe d\'Instruments : Piano ou Clavier Instrumentation Piano Type de produit : Recueil Difficulté : 3 Édition musicale : Heritage Music Press / Méthodes et pédagogie / Piano et instrument à clavier / Piano / HERITAGE MUSIC PRESS
9.80 EUR - Sold by Woodbrass Pre-shipment lead time: In Stock | |
| Rieks van der Velde:
Cambridgeshire
Impressions: Fanfare
Band: Score & Parts Marching band [Score and Parts] Gobelin Music Publications
In a four-part composition Rieks van der Velde takes us to the richly varied are...(+)
In a four-part composition Rieks van der Velde takes us to the richly varied area surrounding the university city of Cambridge. The Dutch composer was especially inspired by the atmosphere of Cambridgeshire the county which lies north of London. 1. The Journey. Although on arrival the area looks peaceful and friendly the ruggedness of its inhabitants and landscape have an unmistakable influence on the music. In the course of the tour which starts with an Allegro movement we are shown the vitality energy and freshness of the Cambridgeshire countryside. Short themes swift and sudden motifs and rhythmical patterns supported by the drive ofpercussion instruments give expression to this image. The first part is concluded by two 'Calmo' movements in which the music expresses how the cathedral in the city of Ely comes into sight and is gradually approached. 2. Visit to Ely Cathedral. The famous Norman cathedral church of Ely which was built in 1109 has attracted tourists from all over the world apart from being a place of worship and heritage site. A cornet solo introduces the contemplative mood of the composition at this point. The mystical atmosphere of the cathedral runs through this lyrical part like a continuous thread. 3. The Pub. The thirst caused by this intensive journey makes a visit to the local pub a definite must. These ?public houses? which may be open until the early hours of the morning offer all kinds of entertainment. Drinks are served liberally and the atmosphere is lively. 4. The Journey Back. Time has flown: In other words the moment of departure has come sooner than one would have wished. In a flashback which recaptures elements of the first part of the composition we say goodbye to Cambridgeshire in a fitting manner. Two scintillating final measures bring us abruptly back to the present.
163.50 GBP - Sold by Musicroom UK | |
| Rieks van der Velde:
Cambridgeshire
Impressions: Brass Band:
Score Brass ensemble Gobelin Music Publications
In a four-part composition Rieks van der Velde takes us to the richly varied are...(+)
In a four-part composition Rieks van der Velde takes us to the richly varied area surrounding the university city of Cambridge. The Dutch composer was especially inspired by the atmosphere of Cambridgeshire the county which lies north ofLondon. 1. The Journey. Although on arrival the area looks peaceful and friendly the ruggedness of its inhabitants and landscape have an unmistakable influence on the music. In the course of the tour which starts with an Allegromovement we are shown the vitality energy and freshness of the Cambridgeshire countryside. Short themes swift and sudden motifs and rhythmical patterns supported by the drive of percussion instruments give expression to this image. Thefirst part is concluded by two Calmo movements in which the music expresses how the cathedral in the city of Ely comes into sight and is gradually approached. 2. Visit to Ely Cathedral. The famous Norman cathedral church of Ely whichwas built in 1109 has attracted tourists from all over the world apart from being a place of worship and heritage site. A cornet solo introduces the contemplative mood of the composition at this point. The mystical atmosphere of thecathedral runs through this lyrical part like a continuous thread. 3. The Pub. The thirst caused by this intensive journey makes a visit to the local pub a definite must. These ?public houses? which may be open until the earlyhours of the morning offer all kinds of entertainment. Drinks are served liberally and the atmosphere is lively. 4. The Journey Back. Time has flown: In other words the moment of departure has come sooner than one would havewished. In a flashback which recaptures elements of the first part of the composition we say goodbye to Cambridgeshire in a fitting manner. Two scintillating final measures bring us abruptly back to the present.
15.99 GBP - Sold by Musicroom UK | |
| Rieks van der Velde:
Cambridgeshire
Impressions: Brass Band:
Score & Parts Brass ensemble Gobelin Music Publications
In a four-part composition Rieks van der Velde takes us to the richly varied are...(+)
In a four-part composition Rieks van der Velde takes us to the richly varied area surrounding the university city of Cambridge. The Dutch composer was especially inspired by the atmosphere of Cambridgeshire the county which lies north ofLondon. 1. The Journey. Although on arrival the area looks peaceful and friendly the ruggedness of its inhabitants and landscape have an unmistakable influence on the music. In the course of the tour which starts with an Allegromovement we are shown the vitality energy and freshness of the Cambridgeshire countryside. Short themes swift and sudden motifs and rhythmical patterns supported by the drive of percussion instruments give expression to this image. Thefirst part is concluded by two Calmo movements in which the music expresses how the cathedral in the city of Ely comes into sight and is gradually approached. 2. Visit to Ely Cathedral. The famous Norman cathedral church of Ely whichwas built in 1109 has attracted tourists from all over the world apart from being a place of worship and heritage site. A cornet solo introduces the contemplative mood of the composition at this point. The mystical atmosphere of thecathedral runs through this lyrical part like a continuous thread. 3. The Pub. The thirst caused by this intensive journey makes a visit to the local pub a definite must. These ?public houses? which may be open until the earlyhours of the morning offer all kinds of entertainment. Drinks are served liberally and the atmosphere is lively. 4. The Journey Back. Time has flown: In other words the moment of departure has come sooner than one would havewished. In a flashback which recaptures elements of the first part of the composition we say goodbye to Cambridgeshire in a fitting manner. Two scintillating final measures bring us abruptly back to the present.
96.99 GBP - Sold by Musicroom UK | |
| Rieks van der Velde:
Cambridgeshire
Impressions: Fanfare
Band: Score Marching band Gobelin Music Publications
In a four-part composition Rieks van der Velde takes us to the richly varied are...(+)
In a four-part composition Rieks van der Velde takes us to the richly varied area surrounding the university city of Cambridge. The Dutch composer was especially inspired by the atmosphere of Cambridgeshire the county which lies north of London. 1. The Journey. Although on arrival the area looks peaceful and friendly the ruggedness of its inhabitants and landscape have an unmistakable influence on the music. In the course of the tour which starts with an Allegro movement we are shown the vitality energy and freshness of the Cambridgeshire countryside. Short themes swift and sudden motifs and rhythmical patterns supported by the drive ofpercussion instruments give expression to this image. The first part is concluded by two 'Calmo' movements in which the music expresses how the cathedral in the city of Ely comes into sight and is gradually approached. 2. Visit to Ely Cathedral. The famous Norman cathedral church of Ely which was built in 1109 has attracted tourists from all over the world apart from being a place of worship and heritage site. A cornet solo introduces the contemplative mood of the composition at this point. The mystical atmosphere of the cathedral runs through this lyrical part like a continuous thread. 3. The Pub. The thirst caused by this intensive journey makes a visit to the local pub a definite must. These ?public houses? which may be open until the early hours of the morning offer all kinds of entertainment. Drinks are served liberally and the atmosphere is lively. 4. The Journey Back. Time has flown: In other words the moment of departure has come sooner than one would have wished. In a flashback which recaptures elements of the first part of the composition we say goodbye to Cambridgeshire in a fitting manner. Two scintillating final measures bring us abruptly back to the present.
24.99 GBP - Sold by Musicroom UK | |
| Randall Hartsell:
Romantic Impressions:
Piano: Instrumental Work Piano solo Willis Music
Pianovations Composer Series/Early Intermediate Level-Few compositions from the ...(+)
Pianovations Composer Series/Early Intermediate Level-Few compositions from the Classical Romantic repertoire are accessible and satisfying students who grew up in the late 20th century. Students often become frustrated working on a repertoire piece that is too difficult to play successfully. Romantic Impressions is written with these students in mind. Each piece helps create the wonderful color expressiveness and rich harmonic heritage of the Romantic Period. Titles include: Through a Misty Dawn - Moonlight on the Harbor - Romanza - Toccata Drammatica.
4.99 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
| Sadie Harrison: My Hazara
People: Mezzo-Soprano:
Vocal Work [Vocal Score] University Of York Music Press
'My Hazara People is a setting of two texts the title work by Shukria Rezaei a...(+)
'My Hazara People is a setting of two texts the title work by Shukria Rezaei a young Afghan poet and Lalai lalai babe bacha shikar rafta (Baby's father went hunting) a traditional Hazari lullaby. Although their characters are entirely different the two poems share much in common. The importance of family and home and beyond that connection with country and heritage are at the centre of both. Shukria's poem is a direct expression of love and despair for Afghanistan with intimate moments of terror - a cup falling from her mother's hand during an explosion her aunt fainting - set against the suffering of Hazaras across the world. In the contextof this devastating contemporary experience Lalai lalai is nostalgic and poignant - open gates straw latches a sleeping child. The tune of the lullaby is heard in two highly contrasted versions. For Shukria's words it is dark and restrained a repeating rhythm illustrating the Hazara's seemingly never-ending pain and for Lalai lalai it is bright and joyful with sounds of the hunt a crackling fire and a gentle chorus as the child is rocked. A further thread runs through the music - a quotation of my favourite traditional Afghan Herati lullaby Allah Hu (God is great) reflecting Shukria's reference to her people's religious heritage. I have adapted the text at the end of Lalai Lalai to bring it into the Shukria's world a reminder that each innocent person caught up in conflict is a mother a brother a sister a father a daughter .... kids like us. The work exists in two versions for voice and piano and voice and strings. The former was premiered by Charlotte Tetley (mezzo-soprano) and Graeme Bailey (piano) on 20 June 2018 at Somerville College Oxford as part of a panel discussion on women refugees. The work was commissioned by the Orchestra of St. Johns. I am indebted to Shukria for allowing to set her poem and to Cayenna Ponchione for inviting me to be part of this
7.95 GBP - Sold by Musicroom UK | |
| Impressions (PEETERS
WILLIAM) Piano solo Metropolis Music Publishers
Par PEETERS WILLIAM. Impressions for Piano Solo by William Peeters is based on t...(+)
Par PEETERS WILLIAM. Impressions for Piano Solo by William Peeters is based on the town of Sintra, Portugal, a UNESCO world heritage site, and a place where man and nature are in perfect harmony. Impressions for Piano Solo by William Peeters is based on the town of Sintra, Portugal, a UNESCO world heritage site, and a place where man and nature are in perfect harmony./ Répertoire / Piano
23.47 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Dan Forrest: Jesus Lord
We Look To Thee: SATB:
Vocal Score Choral SATB [Vocal Score] Hinshaw Music Inc.
The lyrics of Charles Wesley are found in almost every denominational hymnal. Th...(+)
The lyrics of Charles Wesley are found in almost every denominational hymnal. This anthem is scored for mixed voices with either organ or piano. Methodists might use the piece on heritage Sunday but the work would also make a fine mother's day (festival of the Christian home) anthem or for peace and justice Sunday. The lovely lyrical lines and close connection to the text are hallmarks of Dan Forrest's musical expression.
14.25 GBP - Sold by Musicroom UK | |
| Sean Williams Lillis S.
Laoire: Bright Star of
the West Joe Heaney
Irish Song Oxford University Press
Bright Star Of The West is a biography of one of the most important figures in I...(+)
Bright Star Of The West is a biography of one of the most important figures in Irish music in the 20th century. This is the first study focused on sean-nos a distinguished and beautiful repertoire and style and provides a unique exploration of gender and masculinity in Irish music. Bright Star Of The West is the winner of the Alan P. Merriam Prize of the Society for Ethnomusicology. Bright Star Of The West traces the life repertoire and influence of Joe Heaney Ireland's greatest sean-nós ('old style') singer. Born in 1919 Joe Heaney grew up in a politically volatile time as his nativeIreland became a democracy. He found work and relative fame as a singer in London before moving to Scotland. Eventually like many others searching for greater opportunity he emigrated to the United States where he worked as a doorman while supplementing his income with appearances at folk festivals concerts and clubs. As his reputation and following grew Heaney gained entry to the folk music scene and began leading workshops as a visiting artist at several universities. In 1982 the National Endowment for the Arts awarded Heaney America's highest honor in folk and traditional arts the prestigious National Heritage Fellowship. Although Heaney's works did not become truly popular in his homeland until many years after his death today he is hailed as a seminal figure of traditional song and is revered by those who follow traditional music. Authors Sean Williams and Lillis Ó Laoire address larger questions about song identity and culture. They explore the deep ambivalence both the Irish and Irish-Americans felt toward the traditional aspects of their culture examining other critical issues such as gender and masculinity authenticity and contemporary marketing and consumption of sean-nós singing in both Ireland and the United States. Comingling Heaney's own words with the
30.49 GBP - Sold by Musicroom UK | |
| Joseph M. Martin: Love Is
Our Theme: Mixed Choir A
Cappella: Choral Score Choral SATB Shawnee Press
A powerful song of unity wraps the audience in passionate music and meaningful w...(+)
A powerful song of unity wraps the audience in passionate music and meaningful words. The main theme in a lilting meter gradually builds to an impressive climax, delivering a credo for the worshipping church: Grace is our music; love is our theme. Hope is our message; peace is our dream. Wonderfully conceived for church dedication moments or heritage observances, this sermon in song will minister to the community of faith and its mission.
11.25 GBP - Sold by Musicroom UK | |
| Tango (GARDEL CARLOS) Flute and Piano Universal Edition
Par GARDEL CARLOS. Love, fire, passion - as one of the most emotionally-charged ...(+)
Par GARDEL CARLOS. Love, fire, passion - as one of the most emotionally-charged dances, the tango is an ideal match for the flute and its duo partner, the piano, as all three join in for a charming musical experience.
Argentine tango expert Diego Collatti has arranged five popular tangos originally composed by Carlos Gardel, who greatly influenced the genre with his interpretations and compositions. The lively, electrifying arrangements for flute and piano show Collatti's expertise for instrumentation and reduction as they combine technique and ensemble playing with the glamour and unique atmosphere of South American passion for dancing. With this collection, the musical life of Argentina during the late 20th century - a heritage that is treasured to this day and has currently reached a new popularity - is carried into the world. In a diverse and always authentic musical setting, both voices enter a dialogue of emotions, zeitgeist and character typical for the dance, which is popular around the world. These aspects are essential for diving completely into the music and musically expressing its deeply emotional content.
? 5 popular tango classics presented as a musical dialogue arranged for flute and piano
? Vibrant, expressive and emotional - Discover the qualities of authentic tango music with these intermediate-level duets
? The melodic and rhythmic characteristics combined with unique phrasing and articulation are true to the authentic Argentinian tango
? Interwoven ensemble parts and diverse means of expression bring the unique tango atmosphere to life / Musique traditionnelle / Répertoire / Flûte Traversière et Piano
22.14 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Renaissance Anthology A
Vol.4: Piano or Keyboard:
Instrumental Album Piano solo [Sheet music] Spartan Press
Grade 8+-It has often struck me as intriguing that The Fitzwilliam Virginal Book...(+)
Grade 8+-It has often struck me as intriguing that The Fitzwilliam Virginal Book (a collection of keyboard music spanning the period c.1562-1612) occupies a virtually non-existent place in the literature considered viable by pianists.Needless to say harpsichordists continue to hold the music in the highest esteem while a number of transcriptions for instruments and ensembles have been made available in more recent times. How can it be that this ancient heritage - which in keyboard music terms might be regarded as the equivalent to the Dead Sea Scrolls - has hitherto seemed a no-go area for pianists? It is as if the first 'proper' keyboard music tumbledmiraculously out of some parallel universe around Bach's time i.e. the first half of the 18th century. While our modern piano is perhaps as different from a virginal as a washing machine is from a mangle there are in fact a good many facets of virginal music which read across perfectly well to today's instruments. For this to be possible we need to take the time to lookbeyond peculiarities in translation which to a significant extent comes down to issues resulting from burgeoning notational practices. It also becomes necessary to re-imagine the music in light of what is possible as well as what is desirable. Problems with accessing the sound-world of pre-Baroque keyboard music can be overcome quite easily just as it is possible to become better in resonance withavant garde musical styles given appropriate immersion. Since the writing of the performance notes to The Fitzwilliam Virginal Book more than a century ago (by J.A. Fuller Maitland and W. Barclay Squire) the momentum generated by the Early Music Revival has brought about immeasurable insights into the intentions of Renaissance and Baroque composers. Performances on periodinstruments continue to reacquaint us with a bygone age and stimulate a healthy fascination for the practices that were once fundamental to the craft. On balance however the potential for a major
9.95 GBP - Sold by Musicroom UK | |
| M. Tanner: Renaissance
Anthology A Vol.3: Piano:
Instrumental Album Piano solo [Sheet music] - Intermediate/advanced Spartan Press
Grades 6-7-Beautifully presented and thoroughly readable 'modern' editions of t...(+)
Grades 6-7-Beautifully presented and thoroughly readable 'modern' editions of the best of these pre-Baroque masterpieces. Carefully graded.It has often struck me as intriguing that The Fitzwilliam Virginal Book (a collection of keyboard music spanning the period c.1562-1612) occupies a virtually non-existent place in the literature considered viable by pianists.Needless to say harpsichordists continue to hold the music in the highest esteem while a number of transcriptions for instruments and ensembles have been made available in more recent times. How can it be that this ancient heritage - which in keyboard music terms might be regarded as the equivalent to the DeadSea Scrolls - has hitherto seemed a no-go area for pianists? It is as if the first 'proper' keyboard music tumbled miraculously out of some parallel universe around Bach's time i.e. the first half of the 18th century. While our modern piano is perhaps as different from a virginal as a washing machine is from a mangle there are in fact a good many facets of virginal music which read across perfectly well to today's instruments. For this to be possible we need to take the time to look beyond peculiarities in translation which to a significant extent comes down to issues resulting from burgeoning notational practices. It also becomes necessary to re-imagine the music in light of what is possible as well as what is desirable. Problems with accessing the sound-world of pre-Baroque keyboard music can be overcome quite easily just as it is possible to become better in resonance with avant garde musical styles given appropriate immersion. Since the writing of the performance notes to The Fitzwilliam Virginal Book more than a century ago (by J.A. Fuller Maitland and W. Barclay Squire) the momentum generated by the Early Music Revival has brought about immeasurable insights into the intentions of Renaissance and Baroque composers. Performances on period instruments continue to reacquaint us with a bygone age and stimulate a healthy fascination for the
9.95 GBP - Sold by Musicroom UK | |
| M. Tanner: Renaissance
Keyboard Anthology 1:
Harpsichord or Piano:
Instrumental Piano solo Spartan Press
It has often struck me as intriguing that The Fitzwilliam Virginal Book (a colle...(+)
It has often struck me as intriguing that The Fitzwilliam Virginal Book (a collection of keyboard music spanning the period c.1562-1612) occupies a virtually non-existent place in the literature considered viable by pianists.Needless to say harpsichordists continue to hold the music in the highest esteem while a number of transcriptions for instruments and ensembles have been made available in more recent times. How can it be that this ancient heritage - which in keyboard music terms might be regarded as the equivalent to the Dead Sea Scrolls - has hitherto seemed a no-go area for pianists? It is as if the first 'proper' keyboard music tumbledmiraculously out of some parallel universe around Bach's time i.e. the first half of the 18th century. While our modern piano is perhaps as different from a virginal as a washing machine is from a mangle there are in fact a good many facets of virginal music which read across perfectly well to today's instruments. For this to be possible we need to take the time to lookbeyond peculiarities in translation which to a significant extent comes down to issues resulting from burgeoning notational practices. It also becomes necessary to re-imagine the music in light of what is possible as well as what is desirable. Problems with accessing the sound-world of pre-Baroque keyboard music can be overcome quite easily just as it is possible to become better in resonance withavant garde musical styles given appropriate immersion. Since the writing of the performance notes to The Fitzwilliam Virginal Book more than a century ago (by J.A. Fuller Maitland and W. Barclay Squire) the momentum generated by the Early Music Revival has brought about immeasurable insights into the intentions of Renaissance and Baroque composers. Performances on periodinstruments continue to reacquaint us with a bygone age and stimulate a healthy fascination for the practices that were once fundamental to the craft. On balance however the potential for a major
9.95 GBP - Sold by Musicroom UK | |
| M. Tanner: Renaissance
Keyboard Anthology 2:
Harpsichord or Piano:
Instrumental Piano solo - Intermediate Spartan Press
It has often struck me as intriguing that The Fitzwilliam Virginal Book (a colle...(+)
It has often struck me as intriguing that The Fitzwilliam Virginal Book (a collection of keyboard music spanning the period c.1562-1612) occupies a virtually non-existent place in the literature considered viable by pianists.Needless to say harpsichordists continue to hold the music in the highest esteem while a number of transcriptions for instruments and ensembles have been made available in more recent times. How can it be that this ancient heritage - which in keyboard music terms might be regarded as the equivalent to the Dead Sea Scrolls - has hitherto seemed a no-go area for pianists? It is as if the first 'proper' keyboard music tumbledmiraculously out of some parallel universe around Bach's time i.e. the first half of the 18th century. While our modern piano is perhaps as different from a virginal as a washing machine is from a mangle there are in fact a good many facets of virginal music which read across perfectly well to today's instruments. For this to be possible we need to take the time to lookbeyond peculiarities in translation which to a significant extent comes down to issues resulting from burgeoning notational practices. It also becomes necessary to re-imagine the music in light of what is possible as well as what is desirable. Problems with accessing the sound-world of pre-Baroque keyboard music can be overcome quite easily just as it is possible to become better in resonance withavant garde musical styles given appropriate immersion. Since the writing of the performance notes to The Fitzwilliam Virginal Book more than a century ago (by J.A. Fuller Maitland and W. Barclay Squire) the momentum generated by the Early Music Revival has brought about immeasurable insights into the intentions of Renaissance and Baroque composers. Performances on periodinstruments continue to reacquaint us with a bygone age and stimulate a healthy fascination for the practices that were once fundamental to the craft. On balance however the potential for a major
9.99 GBP - Sold by Musicroom UK | |
| Canten Amigos!: Vocal:
Vocal Collection Shawnee Press
Eight Hispanic Folk Song Favorites-In this beautifully diverse world we live in ...(+)
Eight Hispanic Folk Song Favorites-In this beautifully diverse world we live in it is essential as educators that we expose our students to the wealth of musical treasures from many different cultures. Music teachers classroom teachers and world language teachersalike will find this collection to be a wonderful resource. Canten Amigos! is a unique compilation of eight Hispanic songs designed with detailed lesson plans to introduce your students to the rich musical heritage of theHispanic people. Each lesson plan contains a history of the song a literal translation of the Spanish vocabulary as well as detailed instructions for teaching the song to your students. The collection also includes an extensivehistory of Hispanic music and provides useful basic guidelines for teaching the songs contained within. The songs have been arranged in two parts for use in classroom or concert settings but can easily be adapted for unisonsinging as well by having students sing just the melody line. The songs contain both Spanish and English lyrics with the Spanish enunciation provided for each selection. Grades 5-8.
44.99 GBP - Sold by Musicroom UK Shipment: (stock) information on site | |
| Music for Children Vol. 5
(ORFF CARL / KEETMAN
GUNILD) Voix, Flûte à Bec et
Percussion [Score] Schott
Minor: Triads. Par ORFF CARL / KEETMAN GUNILD. Carl Orff devoted much of his lif...(+)
Minor: Triads. Par ORFF CARL / KEETMAN GUNILD. Carl Orff devoted much of his life to the development of a philosophy of Music for Children, based on his belief that music is the natural outcome of speech, rhythm and movement. His ideas and pioneering work have had a major influence on music and dance education throughout the world and today that work continues under the guidance of leading teachers and educators in many countries.
The five basic German volumes of 'Music for Children' by Carl Orff and Gunild Keetman were published between 1950 and 1954. Edition have since been published in Bolivia, Brazil, Canada, Czechoslovakia, Denmark, Estonia, France, Ghana, Great Britain (including a special Welsh edition), Greece, Italy, Japan, Korea, Latin-America, the Netherlands, Portugal, Spain, Sweden, Taiwan and the USA.
In 1952 the first edition in translation appeared, an English language adaptation by Doreen Hall and Arnold Walter for their Canadian and American students.
A few years later, Margaret Murray independently developed a version (1957-1966), essentially to fulfil the needs of United Kingdom teachers.
Inevitably the considerable growth of Orff-Schulwerk in the United States led to the publication of the American Edition (1977) to satisfy the requirements of a different educational system and national heritage.
Orff-Schulwerk: Music for Children has proved itself to be a stimulating source of material for music teaching. Carl Orff's fundamental educational ideas have revitalized music education in nursery schools, at all levels of primary and secondary education and in special music schools, based on the concepts that: - music, dance and language are inter-related and animated through rhythm. - when children discover, invent, improvise and compose, their experience of music is intensified. These creative activities are complementary to those of interpreting and listening to music. - all who take part are encouraged to contribute, not only vocally but also instrumentally. - the Orff approach to music education is many sided; it is concerned with practical music-making, it provides fundamental experiences and it lays the foundation for a comprehensive musical training. - movement games and activities for body awareness in space, time and flow, lead to movement improvisation and dance forms. - music and dance have been notated in many different ways in history. Various ways of writing down sounds and music, as well as playing from and interpreting different kinds of sources are being explored.
Today, countless teachers and institutions are using these ideas. More and more teachers look for ways of invovling their students in active music making. In particular, they seek to challenge their pupils' creativity by the use of music, dance and speech - as media of human expression - as a foundation of all education.
A prerequisite for work in Orff-Schulwerk is the artistic and pedagogical training of teachers. The Orff Institute was founded in 1961 as a Department of the 'Mozarteum', in Salzburg, Austria. Training offered includes a four-year diploma course, a two-year post-graduate course, and a one-year-course in English.
At the opening of the Orff Institute in Salzburg in 1963, Carl Orff ended his speech with a quotation from Schiller: 'I have done my part, now do yours.' That challenge has been taken up by teachers worldwide.
Hall/Walter Edition
Based on Volumes 1, 2 and 4 of the original German Edition 'musik für Kinder', english adaption with additional material by Doreen Hall and Arnold Walter./ Recueil / Voix, Flûte à Bec et Percussion
16.10 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Music for Children Vol. 2
(ORFF CARL / KEETMAN
GUNILD) Voix, Flûte à Bec et
Percussion [Score] Schott
Major - Bordun. Par ORFF CARL / KEETMAN GUNILD. Carl Orff devoted much of his li...(+)
Major - Bordun. Par ORFF CARL / KEETMAN GUNILD. Carl Orff devoted much of his life to the development of a philosophy of Music for Children, based on his belief that music is the natural outcome of speech, rhythm and movement. His ideas and pioneering work have had a major influence on music and dance education throughout the world and today that work continues under the guidance of leading teachers and educators in many countries.
The five basic German volumes of 'Music for Children' by Carl Orff and Gunild Keetman were published between 1950 and 1954. Edition have since been published in Bolivia, Brazil, Canada, Czechoslovakia, Denmark, Estonia, France, Ghana, Great Britain (including a special Welsh edition), Greece, Italy, Japan, Korea, Latin-America, the Netherlands, Portugal, Spain, Sweden, Taiwan and the USA.
In 1952 the first edition in translation appeared, an English language adaptation by Doreen Hall and Arnold Walter for their Canadian and American students.
A few years later, Margaret Murray independently developed a version (1957-1966), essentially to fulfil the needs of United Kingdom teachers.
Inevitably the considerable growth of Orff-Schulwerk in the United States led to the publication of the American Edition (1977) to satisfy the requirements of a different educational system and national heritage.
Orff-Schulwerk: Music for Children has proved itself to be a stimulating source of material for music teaching. Carl Orff's fundamental educational ideas have revitalized music education in nursery schools, at all levels of primary and secondary education and in special music schools, based on the concepts that: - music, dance and language are inter-related and animated through rhythm. - when children discover, invent, improvise and compose, their experience of music is intensified. These creative activities are complementary to those of interpreting and listening to music. - all who take part are encouraged to contribute, not only vocally but also instrumentally. - the Orff approach to music education is many sided; it is concerned with practical music-making, it provides fundamental experiences and it lays the foundation for a comprehensive musical training. - movement games and activities for body awareness in space, time and flow, lead to movement improvisation and dance forms. - music and dance have been notated in many different ways in history. Various ways of writing down sounds and music, as well as playing from and interpreting different kinds of sources are being explored.
Today, countless teachers and institutions are using these ideas. More and more teachers look for ways of invovling their students in active music making. In particular, they seek to challenge their pupils' creativity by the use of music, dance and speech - as media of human expression - as a foundation of all education.
A prerequisite for work in Orff-Schulwerk is the artistic and pedagogical training of teachers. The Orff Institute was founded in 1961 as a Department of the 'Mozarteum', in Salzburg, Austria. Training offered includes a four-year diploma course, a two-year post-graduate course, and a one-year-course in English.
At the opening of the Orff Institute in Salzburg in 1963, Carl Orff ended his speech with a quotation from Schiller: 'I have done my part, now do yours.' That challenge has been taken up by teachers worldwide.
Hall/Walter Edition
Based on Volumes 1, 2 and 4 of the original German Edition 'musik für Kinder', english adaption with additional material by Doreen Hall and Arnold Walter./ Recueil / Voix, Flûte à Bec et Percussion
12.21 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Music for Children Vol. 3
(ORFF CARL / KEETMAN
GUNILD) Voix, Flûte à Bec et
Percussion [Score] Schott
Major - Triads. Par ORFF CARL / KEETMAN GUNILD. Carl Orff devoted much of his li...(+)
Major - Triads. Par ORFF CARL / KEETMAN GUNILD. Carl Orff devoted much of his life to the development of a philosophy of Music for Children, based on his belief that music is the natural outcome of speech, rhythm and movement. His ideas and pioneering work have had a major influence on music and dance education throughout the world and today that work continues under the guidance of leading teachers and educators in many countries.
The five basic German volumes of 'Music for Children' by Carl Orff and Gunild Keetman were published between 1950 and 1954. Edition have since been published in Bolivia, Brazil, Canada, Czechoslovakia, Denmark, Estonia, France, Ghana, Great Britain (including a special Welsh edition), Greece, Italy, Japan, Korea, Latin-America, the Netherlands, Portugal, Spain, Sweden, Taiwan and the USA.
In 1952 the first edition in translation appeared, an English language adaptation by Doreen Hall and Arnold Walter for their Canadian and American students.
A few years later, Margaret Murray independently developed a version (1957-1966), essentially to fulfil the needs of United Kingdom teachers.
Inevitably the considerable growth of Orff-Schulwerk in the United States led to the publication of the American Edition (1977) to satisfy the requirements of a different educational system and national heritage.
Orff-Schulwerk: Music for Children has proved itself to be a stimulating source of material for music teaching. Carl Orff's fundamental educational ideas have revitalized music education in nursery schools, at all levels of primary and secondary education and in special music schools, based on the concepts that: - music, dance and language are inter-related and animated through rhythm. - when children discover, invent, improvise and compose, their experience of music is intensified. These creative activities are complementary to those of interpreting and listening to music. - all who take part are encouraged to contribute, not only vocally but also instrumentally. - the Orff approach to music education is many sided; it is concerned with practical music-making, it provides fundamental experiences and it lays the foundation for a comprehensive musical training. - movement games and activities for body awareness in space, time and flow, lead to movement improvisation and dance forms. - music and dance have been notated in many different ways in history. Various ways of writing down sounds and music, as well as playing from and interpreting different kinds of sources are being explored.
Today, countless teachers and institutions are using these ideas. More and more teachers look for ways of invovling their students in active music making. In particular, they seek to challenge their pupils' creativity by the use of music, dance and speech - as media of human expression - as a foundation of all education.
A prerequisite for work in Orff-Schulwerk is the artistic and pedagogical training of teachers. The Orff Institute was founded in 1961 as a Department of the 'Mozarteum', in Salzburg, Austria. Training offered includes a four-year diploma course, a two-year post-graduate course, and a one-year-course in English.
At the opening of the Orff Institute in Salzburg in 1963, Carl Orff ended his speech with a quotation from Schiller: 'I have done my part, now do yours.' That challenge has been taken up by teachers worldwide.
Hall/Walter Edition
Based on Volumes 1, 2 and 4 of the original German Edition 'musik für Kinder', english adaption with additional material by Doreen Hall and Arnold Walter./ Recueil / Voix, Flûte à Bec et Percussion
12.21 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Music for Children Vol. 4
(ORFF CARL / KEETMAN
GUNILD) Voix, Flûte à Bec et
Percussion [Score] Schott
Minor: Bordun. Par ORFF CARL / KEETMAN GUNILD. Carl Orff devoted much of his lif...(+)
Minor: Bordun. Par ORFF CARL / KEETMAN GUNILD. Carl Orff devoted much of his life to the development of a philosophy of Music for Children, based on his belief that music is the natural outcome of speech, rhythm and movement. His ideas and pioneering work have had a major influence on music and dance education throughout the world and today that work continues under the guidance of leading teachers and educators in many countries.
The five basic German volumes of 'Music for Children' by Carl Orff and Gunild Keetman were published between 1950 and 1954. Edition have since been published in Bolivia, Brazil, Canada, Czechoslovakia, Denmark, Estonia, France, Ghana, Great Britain (including a special Welsh edition), Greece, Italy, Japan, Korea, Latin-America, the Netherlands, Portugal, Spain, Sweden, Taiwan and the USA.
In 1952 the first edition in translation appeared, an English language adaptation by Doreen Hall and Arnold Walter for their Canadian and American students.
A few years later, Margaret Murray independently developed a version (1957-1966), essentially to fulfil the needs of United Kingdom teachers.
Inevitably the considerable growth of Orff-Schulwerk in the United States led to the publication of the American Edition (1977) to satisfy the requirements of a different educational system and national heritage.
Orff-Schulwerk: Music for Children has proved itself to be a stimulating source of material for music teaching. Carl Orff's fundamental educational ideas have revitalized music education in nursery schools, at all levels of primary and secondary education and in special music schools, based on the concepts that: - music, dance and language are inter-related and animated through rhythm. - when children discover, invent, improvise and compose, their experience of music is intensified. These creative activities are complementary to those of interpreting and listening to music. - all who take part are encouraged to contribute, not only vocally but also instrumentally. - the Orff approach to music education is many sided; it is concerned with practical music-making, it provides fundamental experiences and it lays the foundation for a comprehensive musical training. - movement games and activities for body awareness in space, time and flow, lead to movement improvisation and dance forms. - music and dance have been notated in many different ways in history. Various ways of writing down sounds and music, as well as playing from and interpreting different kinds of sources are being explored.
Today, countless teachers and institutions are using these ideas. More and more teachers look for ways of invovling their students in active music making. In particular, they seek to challenge their pupils' creativity by the use of music, dance and speech - as media of human expression - as a foundation of all education.
A prerequisite for work in Orff-Schulwerk is the artistic and pedagogical training of teachers. The Orff Institute was founded in 1961 as a Department of the 'Mozarteum', in Salzburg, Austria. Training offered includes a four-year diploma course, a two-year post-graduate course, and a one-year-course in English.
At the opening of the Orff Institute in Salzburg in 1963, Carl Orff ended his speech with a quotation from Schiller: 'I have done my part, now do yours.' That challenge has been taken up by teachers worldwide.
Hall/Walter Edition
Based on Volumes 1, 2 and 4 of the original German Edition 'musik für Kinder', english adaption with additional material by Doreen Hall and Arnold Walter./ Recueil / Voix, Flûte à Bec et Percussion
14.98 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Zhou Long: The Future of
Fire: SATB: Vocal Score Choral SATB [Vocal Score] Oxford University Press
for SATB or upper voices and orchestra or wind band. Zhou Long is international...(+)
for SATB or upper voices and orchestra or wind band. Zhou Long is internationally recognized for creating a unique body of music that brings together the aesthetic concepts and musical elements of East and West. Deeply grounded in the entire spectrum of his Chinese heritage including folk philosophical andspiritual ideals he is a pioneer in transferring the idiomatic sounds and techniques of ancient Chinese musical traditions to modern Western instruments and ensembles. Born in Beijing but a United States citizen since 1999 Zhou Long is married to the composer-violinist Chen Yi.
3.75 GBP - Sold by Musicroom UK | |
| Michael Oare:
Presidential Suite:
Concert Band: Score &
Parts Concert band [Score and Parts] - Intermediate Hal Leonard
Commissioned by the Virginia Band and Orchestra Directors Association to commemo...(+)
Commissioned by the Virginia Band and Orchestra Directors Association to commemorate its 75th anniversary Presidential Suite recognizes the rich historical heritage of Virginia particularly as the birthplace of eight United States presidents. Using a suite format the work focuses on three of the founding fathers. The first movement Mount Vernon is a serene musical impression of the home of George Washington. Monticello is the second movement and portrays the stately style of music typical of Thomas Jefferson's time. The suite concludes with Montpelier the home of James Madison and uses bold and majestic motifs to portray the broad and magnificent landscape of Madison'sestate. Dur: c 5:30
74.99 GBP - Sold by Musicroom UK | |
| J. Paul Williams Joseph
M. Martin: Community of
Faith: SATB: Vocal Score Choral SATB [Vocal Score] Shawnee Press
from Of Faith and Freedom-Uses: Patriotic Memorial Day Heritage Church Annive...(+)
from Of Faith and Freedom-Uses: Patriotic Memorial Day Heritage Church Anniversary Concert UnityScripture: Psalm 133:1; I Corinthians 1:10Composed especially for the town of Rock Hall Maryland for their tri-centennial this anthem brings together the concepts of legacy and destiny and achieves a prayer of thanksgiving as well as a challenge for the future. A powerful ballad style and a memorable chorus provide the musical foundations while themodulatory bridge builds intensity to a bold exclamatory conclusion. For civic gatherings or church heritage events this is an essential choral resource.
13.75 GBP - Sold by Musicroom UK | |
| John Parker Mark Hayes:
Forever Faithful: SATB:
Vocal Score Choral SATB [Vocal Score] Shawnee Press
Utilizing all the resources of your music program this festive anthem speaks to...(+)
Utilizing all the resources of your music program this festive anthem speaks to the very foundations of our faith. Hayes calls upon children and youth choirs along with handbells to declare the worthiness of the Eternal God.Reformation Sunday or any church heritage moment would benefit from the programming of this distinctive choral.
13.75 GBP - Sold by Musicroom UK | |
| Vicki Bedford: By Grace:
SATB: Vocal Score Choral SATB [Vocal Score] Shawnee Press
Uses: General Church Heritage Unity Scripture: Ephesians 2:8-9: Colossians 3:1...(+)
Uses: General Church Heritage Unity Scripture: Ephesians 2:8-9: Colossians 3:16 Comfortable and assuring this folk-gospel octavo is an engaging way to introduce a message of hope into your worship music. The early American feel adorned with the bluegrass consort creates an eventful tone. The text reflects our reliance on God's unfailing grace in our lives and the quote from the well known text of Amazing Grace is the perfect finishing touch! Score and Parts (fdl mndln ac gtr str bs) available as a digital download.
11.25 GBP - Sold by Musicroom UK | |
| Don Besig Nancy Price: In
Faith!: SATB: Vocal Score Choral SATB [Vocal Score] Shawnee Press
Uses: General Church Heritage MissionsScripture: I John 5:4; I Peter 1:21; Mat...(+)
Uses: General Church Heritage MissionsScripture: I John 5:4; I Peter 1:21; Matthew 15:28; I Corinthians 3:11 This special commission piece celebrates the ministry of the church. At the sound of thetrumpet the anthem flourishes with clarion purpose before presenting a hymn-like acclamation of commitment that weds a confident text with noble music. A triumphant crescendo and modulation invite the congregation to join thesong while a soprano descant soars above. Trumpet part included. Available separately: SATB LiteTrax CD. Duration: ca. 3:23.
13.75 GBP - Sold by Musicroom UK | |
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