| Ultimate Singalong! 100 Requests
Piano, Vocal and Guitar [Sheet music] Hal Leonard
Piano/Vocal/Chords Songbook (Arrangements for piano and voice with guitar chords...(+)
Piano/Vocal/Chords Songbook (Arrangements for piano and voice with guitar chords). Size 9x12 inches. 272 pages. Published by Hal Leonard.
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| Requiem Orchestra [Study Score / Miniature] Schott
Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra (St...(+)
Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra (Study Score) SKU: HL.49018099 Boy Soprano, Soprano, Tenor, Flugelhorn, Mixed Chorus, and Chamber Orchestra Study Score. Composed by Harald Weiss. This edition: Paperback/Soft Cover. Sheet music. Study Score. Classical. Softcover. Composed 2008/2009. 188 pages. Duration 100'. Schott Music #ED20619. Published by Schott Music (HL.49018099). ISBN 9790001158428. UPC: 884088567347. 8.25x11.75x0.457 inches. Latin - German. On letting go(Concerning the selection of the texts) In the selection of the texts, I have allowed myself to be motivated and inspired by the concept of 'letting go'. This appears to me to be one of the essential aspects of dying, but also of life itself. We humans cling far too strongly to successful achievements, whether they have to do with material or ideal values, or relationships of all kinds. We cannot and do not want to let go, almost as if our life depended on it. As we will have to practise the art of letting go at the latest during our hour of death, perhaps we could already make a start on this while we are still alive. Tagore describes this farewell with very simple but strikingly vivid imagery: 'I will return the key of my door'. I have set this text for tenor solo. Here I imagine, and have correspondingly noted in a certain passage of the score, that the protagonist finds himself as though 'in an ocean' of voices in which he is however not drowning, but immersing himself in complete relaxation. The phenomenon of letting go is described even more simply and tersely in Psalm 90, verse 12: 'So teach us to number our days, that we may apply our hearts unto wisdom'. This cannot be expressed more plainly.I have begun the requiem with a solo boy's voice singing the beginning of this psalm on a single note, the note A. This in effect says it all. The work comes full circle at the culmination with a repeat of the psalm which subsequently leads into a resplendent 'lux aeterna'. The intermediate texts of the Requiem which highlight the phenomenon of letting go in the widest spectrum of colours originate on the one hand from the Latin liturgy of the Messa da Requiem (In Paradisum, Libera me, Requiem aeternam, Mors stupebit) and on the other hand from poems by Joseph von Eichendorff, Hermann Hesse, Rabindranath Tagore and Rainer Maria Rilke.All texts have a distinctive positive element in common and view death as being an organic process within the great system of the universe, for example when Hermann Hesse writes: 'Entreiss dich, Seele, nun der Zeit, entreiss dich deinen Sorgen und mache dich zum Flug bereit in den ersehnten Morgen' ['Tear yourself way , o soul, from time, tear yourself away from your sorrows and prepare yourself to fly away into the long-awaited morning'] and later: 'Und die Seele unbewacht will in freien Flugen schweben, um im Zauberkreis der Nacht tief und tausendfach zu leben' ['And the unfettered soul strives to soar in free flight to live in the magic sphere of the night, deep and thousandfold']. Or Joseph von Eichendorff whose text evokes a distant song in his lines: 'Und meine Seele spannte weit ihre Flugel aus. Flog durch die stillen Lande, als floge sie nach Haus' ['And my soul spread its wings wide. Flew through the still country as if homeward bound.']Here a strong romantically tinged occidental resonance can be detected which is however also accompanied by a universal spirit going far beyond all cultures and religions. In the beginning was the sound Long before any sort of word or meaningful phrase was uttered by vocal chords, sounds, vibrations and tones already existed. This brings us back to the music. Both during my years of study and at subsequent periods, I had been an active participant in the world of contemporary music, both as percussionist and also as conductor and composer. My early scores had a somewhat adventurous appearance, filled with an abundance of small black dots: no rhythm could be too complicated, no register too extreme and no harmony too dissonant. I devoted myself intensely to the handling of different parameters which in serial music coexist in total equality: I also studied aleatory principles and so-called minimal music.I subsequently emigrated and took up residence in Spain from where I embarked on numerous travels over the years to India, Africa and South America. I spent repeated periods during this time as a resident in non-European countries. This meant that the currents of contemporary music swept past me vaguely and at a great distance. What I instead absorbed during this period were other completely new cultures in which I attempted to immerse myself as intensively as possible.I learned foreign languages and came into contact with musicians of all classes and styles who had a different cultural heritage than my own: I was intoxicated with the diversity of artistic potential.Nevertheless, the further I distanced myself from my own Western musical heritage, the more this returned insistently in my consciousness.The scene can be imagined of sitting somewhere in the middle of the Brazilian jungle surrounded by the wailing of Indians and out of the blue being provided with the opportunity to hear Beethoven's late string quartets: this can be a heart-wrenching experience, akin to an identity crisis. This type of experience can also be described as cathartic. Whatever the circumstances, my 'renewed' occupation with the 'old' country would not permit me to return to the point at which I as an audacious young student had maltreated the musical parameters of so-called contemporary music. A completely different approach would be necessary: an extremely careful approach, inching my way gradually back into the Western world: an approach which would welcome tradition back into the fold, attempt to unfurl the petals and gently infuse this tradition with a breath of contemporary life.Although I am aware that I will not unleash a revolution or scandal with this approach, I am nevertheless confident as, with the musical vocabulary of this Requiem, I am travelling in an orbit in which no ballast or complex structures will be transported or intimated: on the contrary, I have attempted to form the message of the texts in music with the naivety of a 'homecomer'. Harald WeissColonia de San PedroMarch 2009. $93.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Real R&B Book
C Instruments [Fake Book] Hal Leonard
C Instruments). Composed by Various. For C Instruments. Fake Book. Softcover...(+)
C Instruments). Composed by
Various. For C Instruments.
Fake Book. Softcover. 536
pages. Published by Hal
Leonard
$49.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Real RandB Book [Fake Book] Hal Leonard
B-Flat Instruments. Composed by Various. Fake Book. RandB, Jazz. Softcover. 53...(+)
B-Flat Instruments. Composed
by Various. Fake Book. RandB,
Jazz. Softcover. 536 pages.
Published by Hal Leonard
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| 100 Years Of Popular Music 1970s Piano, Vocal and Guitar [Sheet music] - Intermediate Alfred Publishing
Edited by Zoby Perez. Piano/Vocal songbook (Piano/Vocal/Chords. Arrangements for...(+)
Edited by Zoby Perez. Piano/Vocal songbook (Piano/Vocal/Chords. Arrangements for piano and voice with guitar chords). Published by Alfred Publishing.
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| The Real Book - Enhanced Chords Edition C Instruments [Fake Book] Hal Leonard
Arranged by David Hazeltine. Fake Book. Softcover. 232 pages. Published by Hal...(+)
Arranged by David Hazeltine.
Fake Book. Softcover. 232
pages. Published by Hal
Leonard
$35.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Piano White Pages
Piano, Vocal and Guitar [Sheet music] - Intermediate Hal Leonard
The Largest Collection of Piano/Vocal/Guitar Arrangements. Performed by Various....(+)
The Largest Collection of Piano/Vocal/Guitar Arrangements. Performed by Various. Piano/Vocal/Chords Songbook (Arrangements for piano and voice with guitar chords). Published by Hal Leonard.
(4)$29.99 - See more - Buy onlinePre-shipment lead time: 3 to 5 business days | | |
| Do-It-Yourself Harmonica Harmonica [Sheet music + Audio access] Hal Leonard
Book/Online Audio and Video Harmonica SKU: HL.369558 The Best Step-by-...(+)
Book/Online Audio and Video Harmonica SKU: HL.369558 The Best Step-by-Step Guide to Start Playing. Do It Yourself. Instruction, Method. Softcover Media Online. 128 pages. Published by Hal Leonard (HL.369558). ISBN 9781705143759. UPC: 840126992120. 9.0x12.0 inches. Learn the fundamentals of harmonica with Konstantin Reinfeld, one of the world's most sought-after harmonica virtuosos and pioneer of academic study of the instrument. Do-It-Yourself Harmonica offers step-by-step instructions on what you need to know to get started and sounding like a pro in no time. Includes audio demonstration tracks, plus detailed video instruction by Konstantin Reinfeld himself. Topics covered include: • Harmonica fundamentals • Reading music and tablature • Rhythmic playing and chugging • Single-note playing • Tongue techniques • Position playing • Using scales • Blues playing • Bending and overbending • Vibrato, tremolo and cupping. $29.99 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| E-Z Play Today #306. The Irving Berlin Collection Easy Piano - Beginner Hal Leonard
Performed by Irving Berlin. E-Z Play Today (Easy big-note right-hand-only arrang...(+)
Performed by Irving Berlin. E-Z Play Today (Easy big-note right-hand-only arrangements for piano, organ, and electronic keyboard). Size 9x12 inches. 176 pages. Published by Hal Leonard.
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| Eugen Onegin Op. 24 Deutscher Verlag für Musik
Chorus (with soloists) and piano (solos: SMezMez(A)ATTBarBBB - choir: SSAATTBB -...(+)
Chorus (with soloists) and piano (solos: SMezMez(A)ATTBarBBB - choir: SSAATTBB - picc.2.2.2.2. - 4.2.3.0. - timp - hp - str) SKU: BR.DV-6081 Lyrical Opera in 3 Acts. Composed by Pjotr Iljitsch Tschaikowsky. Edited by Manfred Koerth / Wo Ebermann. Arranged by M. Koerth and W. Ebermann. Choir; Softbound. Deutscher Verlag. Opera; Music theatre; Romantic. Piano/Vocal Score. 300 pages. Deutscher Verlag fur Musik #DV 6081. Published by Deutscher Verlag fur Musik (BR.DV-6081). ISBN 9790200460032. 9.5 x 12 inches. Duration: full evening
Translation: German (W. Ebermann/M. Koerth), Engl. (D. Llyod-Jones), French (M. Delines) Place and time: Partly on the estate, partly in Petersburg, in 20ies of the 19th Century
Characters: Larina, Owner of the Estate (mezzo-soprano) - Tatiana (soprano) and Olga (alto), her Daughters - Filipjewna, Wet Nurse (mezzo-soprano/alto) - Eugen Onegin (baritone) - Lenskij (tenor) - Prince Gremin (bass) - A Commander (bass) - Saretzkij (bass) - Triquet, a French Man (tenor) - Guillot, a Valet (silent part) - Country Folk, Ball Guests, Squire, Officers (chorus) - Waltz, mazurka, polonaise and Russian dance (Ballet )
There is an interesting parallel between the subject of the opera and Tchaikovsky's life during the year he wrote the work (1877): in each case, a letter provokes fateful developments in the lives of the protagonists. In the opera, Tatyana's love letter to Eugene sets off the tragedy, whereas in real life, the love letter of a pupil led the composer into a marriage, which lasted all of ... three months. Tchaikovsky took this doomed decision without love, solely because the circumstances want it and because I cannot act differently. Certain allusions made, for example, in a letter of January 1878 to Taneyev suggest that the composer's personal situation also flowed into the work: I did not want anything to do with the so-called 'grand opera.' I am looking for an intimate but powerful drama which is built on the conflict of circumstances which I myself have seen and experienced, a conflict which truly moves me. Partly for this reason the composer decided to call the work not an opera but lyrical scenes.Eugene Onegin, conceived by Tchaikovsky for limited resources and a small stage, is the most frequently performed Russian opera today along with Mussorgsky's Boris Godunov, which represents a completely contrary aesthetic stance.
Tschaikowskys letzte Oper - auf ein Libretto seines Bruders Modest nach der Dramenvorlage des danischen Schriftstellers Henrik Hertz - lebt von den poetischen Momenten und den symbolbeladenen Charakterportrats der Hauptfiguren: Die junge blinde Jolanthe wird von ihrem Vater aus Sorge um ihren Makel und zum Schutz ihrer Jungfraulichkeit und vor den Widrigkeiten der Welt in einen paradiesischen Garten gesperrt. Er befielt zu ihrem Schutz sie um ihre Blindheit unwissend zu lassen. Ein Arzt warnt sehen werde sie nur konnen wenn sie es selbst wolle gleich welche Angste aus der vollstandigen Erkenntnis der Welt erwachsen. Als der junge Vaudemont in ihre Abgeschiedenheit einbricht und sich beide ineinander verlieben befreit er sie von ihrer Unwissenheit erklart was Farbe und Licht bedeuten. Erst die Liebe zu ihm macht sie sehend.
Die dunkle Welt der Jolanthe zeichnet Tschaikowsky zu Beginn musikalisch durch eine Introduktion ausschliesslich fur Blaser. Erst mit dem Eintritt in die unbekannte Welt der Liebe und des Sehens verwendet Tschaikowsky einen warmen Streicherklang. Gerade dadurch stiess die Oper wohl bei Zeitgenossen auf Verstorung. Tschaikowskys ,,Jolanthe nimmt in seinem Opernschaffen eine Sonderstellung ein: neben dem glucklichen Ende einer Apotheose des Lichts und der Liebe mit einem religios gepragten Schlusschoral ist es eines der wenigen Buhnenwerke Tschaikowskys ohne Bezug zur russischen Geschichte. Der ausgepragte Lyrismus des Werks verweist stattdessen auf Tschaikowskys Nahe zur franzosischen Kultur die im 19. Jahrhundert einen starken Einfluss auf Russland hatte. Die Oper wurde 1892 am Mariinsky-Theater in Sankt Petersburg als Auftragswerk zusammen mit seinem Ballett ,,Der Nussknacker uraufgefuhrt.
Neben der Produktion des Munchner Rundfunkorchesters wurde ,,Jolanthe szenisch erfolgreich bei den Festspielen Baden-Baden mit Anna Netrebko und Piotr Beczala als Liebespaar rehabilitiert. Ausserhalb Deutschlands lief die Opernraritat in Toulouse Tokyo San Sebastian und Monte Carlo. Zuletzt erneut die ,,Suddeutsche Zeitung: ,,Jolanthe ist eine Opernausgrabung die ,,wirklich zu Unrecht vergessen ist. Tchaikovsky's last opera - on a libretto by the composer's brother Modest based on the drama by the Danish author Henrik Hertz - derives its life-blood from its poetic moments and the symbol-laden portraits of the leading characters: the blind young Yolanta is kept prisoner in a paradisiacal garden by her father who fears for her purity and her virginity and seeks to protect her from the adversities of the world. To do so he orders everyone to keep her ignorant of the fact that she is blind. A doctor warns that she will only be able to see when she is ready to do so herself no matter what fears might result from a complete experience of the world. When the young Vaudemont breaks into her secluded world and the two fall in love he frees her from her ignorance and explains the significance of color and light. It is through her love for him that she is finally able to see. At the beginning of the work Tchaikovsky depicts Yolanta's dark world with an introduction scored exclusively for winds. It is not until her discovery of the unknown world of love and sight that Tchaikovsky uses a warm string sound. This is what many of the composer's contemporaries found disturbing about the opera.
Tchaikovsky's Yolanta occupies a special place in the composer's operatic oeuvre: for one it has a happy ending an apotheosis of light and love with a religiously stamped closing chorale; for another it is one of Tchaikovsky's few stage works without any reference to Russian history. Instead the work's pronounced lyricism points to the composer's closeness to French culture. which exerted a strong influence on Russia in the 19th century.
The opera was given its world premiere at the Mariinsky Theater in St. Petersburg in 1892. It had been commissioned along with the ballet The Nutcracker. Next to the production by the Munchner Rundfunkorchester Yolanta was also successfully rehabilitated in a recent staged production at the Baden-Baden Festival with Anna Netrebko and Piotr Beczala as the lovers. Outside of Germany the operatic rarity was performed in Toulouse Tokyo San Sebastian and Monte Carlo.
In closing another quote from the Suddeutsche Zeitung: 'Yolanta' is an operatic rediscovery of a work that was truly 'wrongly forgotten'. $76.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Motown Lyrics and Chords [Sheet music] Hal Leonard
By Various. Guitar Chord Songbook. Softcover. 160 pages. Published by Hal Leonar...(+)
By Various. Guitar Chord Songbook. Softcover. 160 pages. Published by Hal Leonard.
$19.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Nat King Cole: All-Time Greatest Hits Piano, Vocal and Guitar [Sheet music] - Intermediate Hal Leonard
(Complete Original Sheet Music Editions) Performed by Nat "King" Cole. For voice...(+)
(Complete Original Sheet Music Editions) Performed by Nat "King" Cole. For voice, piano and guitar chords. Format: piano/vocal/chords songbook. With vocal melody, piano accompaniment, lyrics, chord names and guitar chord diagrams. Jazz, standards and pop vocal. Series: Creative Concepts Publishing, . 176 pages. 9x12 inches. Published by Hal Leonard.
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| The Frank Sinatra Fake Book Fake Book [Fake Book] Hal Leonard | | |
| The 1970s Lyrics only [Sheet music] Hal Leonard
Paperback Lyrics Series. By Various. Paperback Lyrics. Softcover. Size 4.25x6.75...(+)
Paperback Lyrics Series. By Various. Paperback Lyrics. Softcover. Size 4.25x6.75 inches. 256 pages. Published by Hal Leonard.
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| Popular Songs from Movie Soundtracks Piano, Vocal and Guitar Hal Leonard
By Various. Piano/Vocal/Guitar Songbook. Softcover. 384 pages. Published by H...(+)
By Various.
Piano/Vocal/Guitar Songbook.
Softcover. 384 pages.
Published by Hal Leonard
$24.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Motown Anthology
Piano, Vocal and Guitar [Sheet music] - Intermediate Hal Leonard
For voice, piano and guitar chords. Format: piano/vocal/chords songbook. With vo...(+)
For voice, piano and guitar chords. Format: piano/vocal/chords songbook. With vocal melody, piano accompaniment, lyrics, chord names and guitar chord diagrams. Classic soul. 312 pages. 9x12 inches. Published by Hal Leonard.
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| Next First 50 Songs You Should Play on Ukulele Ukulele Hal Leonard
Ukulele SKU: HL.1255559 Ukulele. Softcover. 168 pages. Published by ...(+)
Ukulele SKU: HL.1255559 Ukulele. Softcover. 168 pages. Published by Hal Leonard (HL.1255559). ISBN 9798350100563. UPC: 196288156017. 9.0x12.0 inches. If you're new to the ukulele, you're probably eager to learn some songs! This book features favorites in standard G-C-E-A tuning with melody, lyrics, and chord diagrams that beginning players want to strum and sing. Songs include: Ain't No Sunshine â?¢ All You Need Is Love â?¢ California Dreamin' â?¢ Demons â?¢ Drift Away â?¢ Have You Ever Seen the Rain? â?¢ Knockin' on Heaven's Door â?¢ Last Kiss â?¢ Margaritaville â?¢ My Girl â?¢ Perfect â?¢ The Sound of Silence â?¢ Wake Me Up â?¢ When Will I Be Loved â?¢ and more. $19.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Do-It-Yourself Guitar Guitar [Sheet music + Audio access] Hal Leonard
Book with Online Audio & Video Guitar SKU: HL.346730 The Best Step-by-...(+)
Book with Online Audio & Video Guitar SKU: HL.346730 The Best Step-by-Step Guide to Start Playing. Do It Yourself. Method. Softcover Media Online. 136 pages. Published by Hal Leonard (HL.346730). ISBN 9781540094797. UPC: 840126925111. 9.0x12.0x0.329 inches. Do-It-Yourself Guitar is a fun way to get started playing on your own. Using over 90 well-known pop and rock tunes, you will be given step-by-step instructions on what you need to know to get started and sounding like a pro in no time. Includes over 150 audio tracks for demonstration and play-along, plus video instruction that covers all concepts within! Covers: Guitar fundamentals; reading guitar tablature; fret-hand and pick-hand techniques; chords & chord progressions; scales; techniques for acoustic and electric guitar; lead guitar; fingerstyle guitar; playing styles of famous guitarists; demonstraton and play-along audio tracks; video instruction and demonstration; and more! The price of this book includes access to audio and video online, for download or streaming, using the unique code found inside. Includes PLAYBACK+, a multi-functional audio player that allows you to slow down audio without changing pitch, set loop points, change keys, and pan left or right–available exclusively from Hal Leonard. $24.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Ultimate Rock Guitar Fake Book
Guitar notes and tablatures [Fake Book] - Intermediate Hal Leonard
For voice and guitar chords. Format: fake book (spiral bound). With guitar chord...(+)
For voice and guitar chords. Format: fake book (spiral bound). With guitar chord diagrams, vocal melody and guitar tablature (of vocal melody only). Series: Hal Leonard Fake Books. 344 pages. 9x12 inches. Published by Hal Leonard.
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| I Want to Be the Sun Carl Fischer
Choral SAB Choir, Piano SKU: CF.CM9794 Composed by Mark Burrows. Duration...(+)
Choral SAB Choir, Piano SKU: CF.CM9794 Composed by Mark Burrows. Duration 3:45. Carl Fischer Music #CM9794. Published by Carl Fischer Music (CF.CM9794). ISBN 9781491164655. UPC: 680160923564. Key: A major. English. Coty Raven Morris. Original. The text for When I Grow Up first came to me while I was teaching in Houston, Texas. I noticed that my students were becoming more and more concerned about what steps they had to take as students to secure a future for themselves decades ahead. Young people are finding themselves having to make lifelong decisions at a time where they are still in a season of exploration and wonderment. I then asked myself, What happened to discovery through play and imagination?With the help of one of my former and forever choir students, Monica Juarez, we took my original text and created illustrations of a young Coty in New Orleans, Louisiana imagining, in real time, all of the things that she could be! It was important to me that the images were of real things that I had seen growing up every day.That we are limitless and that it's only in the pressures of growing up that we can lose our creativity, I hope this text allows both singers and conductor to let their imagination take the lead and shape the journey ahead!Sing with JOY!—CotyOccasionally, when I get to visit with young people, I’ll ask, Has anyone ever asked you want to be when you grow up? All the hands go up. Children say yes, and then proceed to tell me what they want to be when they grow up. So, then I ask a follow-up question, Why on earth do you have to wait until you’re a grown-up to be somebody?!When I first read through Coty’s text, I was so moved by how clear and beautiful that message of empowerment shines through:I want to live, and that begins now. I want to be happy. And I refuse to wait until I grow up. I also was struck by her imaginative use of the four classical elements—air, water, fire, and earth—to bring us on a journey of discovery and wonder.I’ve tried my best to, not so much set Coty’s words to a tune, as to go along with her on the journey and see what music would emerge. And I’m so happy you’ve joined us on the journey, too.Welcome!—Mark. $2.75 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Cornish Pastiche. Trumpet & Piano Clifton Edition
Trumpet & Piano SKU: ST.C133 Composed by Mark Tanner. Wind & brass music....(+)
Trumpet & Piano SKU: ST.C133 Composed by Mark Tanner. Wind & brass music. Clifton Edition #C133. Published by Clifton Edition (ST.C133). ISBN 9790570811335. As I sit myself down to write this brief foreword, I ask myself can there be music more stirring than these old Cornish folk melodies? Though not Cornish myself (I confess to being born a little further up the road, in Bristol), I feel I have spent sufficient time in these 'ere parts to resonate with the sturdy brass band tradition that continues to permeate this incomparably beautiful, rugged county. One can almost detect a French 'accent' when listening to the piano music of Debussy, and likewise, speaking as a lapsed brass player, there is undoubtedly something of the Cornish twang about Trelawny when played on a cornet or euphonium. Then again, one gets a different, yet entirely convincing effect upon hearing these melodies rendered on woodwind instruments; hence, with a little gamesmanship on my part, I am pleased to see my collection of these fifteen delectable ditties come to fruition in the form of arrangements for treble clef brass instruments (in B flat and E flat), trombone and tuba (bass clef), horn in F, flute, clarinet and bassoon. While many will find themselves humming the likes of Going up Camborne Hill, Lamorna or The Helston Furry Dance even before they have turned to the first page - for these are indelibly intertwined with Cornish culture – I wonder if I might draw your attention to The Cornish Squire, The Pool of Pilate and Cold Blows the Wind Today Sweetheart, which are quite simply sublime melodies, perhaps needing that extra bit of help in bringing them to mind nowadays. In the best tradition of musical hand-me-downs, Cornish folk music works equally ideally sung and played, and only by doing so on a regular basis can such traditions hope to continue forward with vigour and authority. A legitimate way of achieving this is to revitalise the harmonic scheme of these ancient tunes and bring them up to date for a modern audience; after all, it was such an approach that fuelled the imagination of Benjamin Britten and Ralph Vaughan Williams in decades past, while skilfully paying homage to the underlying charm and, for want of a better word, simplicity, of the original music. But this is only a start – for without an energetic response from younger generations, Cornish folk music is destined to wither on the vine in much the same way as is happening with the Cornish dialect. So, put your instrument to your lips and proceed, not with caution, but with enthusiasm and a smile, for your great grandparents (and perhaps even their grandparents) would surely raise a glass if they could hear you doing your bit to ensure the survival of this splendid heritage. Timeless Cornish melodies, cooked up for hungry brass players Grades 1–4 (ABRSM Grades 1, 2 & 4 syllabuses) Former Spartan Press Cat. No.: SP1213. $24.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Cornish Pastiche. Clarinet & Piano Clarinet and Piano Clifton Edition
Clarinet and Piano SKU: ST.C129 Composed by Mark Tanner. Wind & brass mus...(+)
Clarinet and Piano SKU: ST.C129 Composed by Mark Tanner. Wind & brass music. Clifton Edition #C129. Published by Clifton Edition (ST.C129). ISBN 9790570811298. As I sit myself down to write this brief foreword, I ask myself can there be music more stirring than these old Cornish folk melodies? Though not Cornish myself (I confess to being born a little further up the road, in Bristol), I feel I have spent sufficient time in these 'ere parts to resonate with the sturdy brass band tradition that continues to permeate this incomparably beautiful, rugged county. One can almost detect a French 'accent' when listening to the piano music of Debussy, and likewise, speaking as a lapsed brass player, there is undoubtedly something of the Cornish twang about Trelawny when played on a cornet or euphonium. Then again, one gets a different, yet entirely convincing effect upon hearing these melodies rendered on woodwind instruments; hence, with a little gamesmanship on my part, I am pleased to see my collection of these fifteen delectable ditties come to fruition in the form of arrangements for treble clef brass instruments (in B flat and E flat), trombone and tuba (bass clef), horn in F, flute, clarinet and bassoon. While many will find themselves humming the likes of Going up Camborne Hill, Lamorna or The Helston Furry Dance even before they have turned to the first page - for these are indelibly intertwined with Cornish culture – I wonder if I might draw your attention to The Cornish Squire, The Pool of Pilate and Cold Blows the Wind Today Sweetheart, which are quite simply sublime melodies, perhaps needing that extra bit of help in bringing them to mind nowadays. In the best tradition of musical hand-me-downs, Cornish folk music works equally ideally sung and played, and only by doing so on a regular basis can such traditions hope to continue forward with vigour and authority. A legitimate way of achieving this is to revitalise the harmonic scheme of these ancient tunes and bring them up to date for a modern audience; after all, it was such an approach that fuelled the imagination of Benjamin Britten and Ralph Vaughan Williams in decades past, while skilfully paying homage to the underlying charm and, for want of a better word, simplicity, of the original music. But this is only a start – for without an energetic response from younger generations, Cornish folk music is destined to wither on the vine in much the same way as is happening with the Cornish dialect. So, put your instrument to your lips and proceed, not with caution, but with enthusiasm and a smile, for your great grandparents (and perhaps even their grandparents) would surely raise a glass if they could hear you doing your bit to ensure the survival of this splendid heritage. Timeless Cornish melodies, cooked up for hungry clarinet players Grades 1–4 Former Spartan Press Cat. No.: SP1218. $24.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Cornish Pastiche. E flat Treble Clef Brass & Piano - Intermediate Clifton Edition
E flat Treble Clef Brass & Piano SKU: ST.C132 Composed by Mark Tanner. Wi...(+)
E flat Treble Clef Brass & Piano SKU: ST.C132 Composed by Mark Tanner. Wind & brass music. Clifton Edition #C132. Published by Clifton Edition (ST.C132). ISBN 9790570811328. As I sit myself down to write this brief foreword, I ask myself can there be music more stirring than these old Cornish folk melodies? Though not Cornish myself (I confess to being born a little further up the road, in Bristol), I feel I have spent sufficient time in these 'ere parts to resonate with the sturdy brass band tradition that continues to permeate this incomparably beautiful, rugged county. One can almost detect a French 'accent' when listening to the piano music of Debussy, and likewise, speaking as a lapsed brass player, there is undoubtedly something of the Cornish twang about Trelawny when played on a cornet or euphonium. Then again, one gets a different, yet entirely convincing effect upon hearing these melodies rendered on woodwind instruments; hence, with a little gamesmanship on my part, I am pleased to see my collection of these fifteen delectable ditties come to fruition in the form of arrangements for treble clef brass instruments (in B flat and E flat), trombone and tuba (bass clef), horn in F, flute, clarinet and bassoon. While many will find themselves humming the likes of Going up Camborne Hill, Lamorna or The Helston Furry Dance even before they have turned to the first page - for these are indelibly intertwined with Cornish culture – I wonder if I might draw your attention to The Cornish Squire, The Pool of Pilate and Cold Blows the Wind Today Sweetheart, which are quite simply sublime melodies, perhaps needing that extra bit of help in bringing them to mind nowadays. In the best tradition of musical hand-me-downs, Cornish folk music works equally ideally sung and played, and only by doing so on a regular basis can such traditions hope to continue forward with vigour and authority. A legitimate way of achieving this is to revitalise the harmonic scheme of these ancient tunes and bring them up to date for a modern audience; after all, it was such an approach that fuelled the imagination of Benjamin Britten and Ralph Vaughan Williams in decades past, while skilfully paying homage to the underlying charm and, for want of a better word, simplicity, of the original music. But this is only a start – for without an energetic response from younger generations, Cornish folk music is destined to wither on the vine in much the same way as is happening with the Cornish dialect. So, put your instrument to your lips and proceed, not with caution, but with enthusiasm and a smile, for your great grandparents (and perhaps even their grandparents) would surely raise a glass if they could hear you doing your bit to ensure the survival of this splendid heritage. Timeless Cornish melodies, cooked up for hungry brass players Grades 1–4 (ABRSM Grade 4 syllabus) Former Spartan Press Cat. No.: SP1214. $24.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Cornish Pastiche. Bassoon & Piano Bassoon, Piano (duet) Clifton Edition
Bassoon and Piano SKU: ST.C130 Composed by Mark Tanner. Wind & brass musi...(+)
Bassoon and Piano SKU: ST.C130 Composed by Mark Tanner. Wind & brass music. Clifton Edition #C130. Published by Clifton Edition (ST.C130). ISBN 9790570811304. As I sit myself down to write this brief foreword, I ask myself can there be music more stirring than these old Cornish folk melodies? Though not Cornish myself (I confess to being born a little further up the road, in Bristol), I feel I have spent sufficient time in these 'ere parts to resonate with the sturdy brass band tradition that continues to permeate this incomparably beautiful, rugged county. One can almost detect a French 'accent' when listening to the piano music of Debussy, and likewise, speaking as a lapsed brass player, there is undoubtedly something of the Cornish twang about Trelawny when played on a cornet or euphonium. Then again, one gets a different, yet entirely convincing effect upon hearing these melodies rendered on woodwind instruments; hence, with a little gamesmanship on my part, I am pleased to see my collection of these fifteen delectable ditties come to fruition in the form of arrangements for treble clef brass instruments (in B flat and E flat), trombone and tuba (bass clef), horn in F, flute, clarinet and bassoon. While many will find themselves humming the likes of Going up Camborne Hill, Lamorna or The Helston Furry Dance even before they have turned to the first page - for these are indelibly intertwined with Cornish culture – I wonder if I might draw your attention to The Cornish Squire, The Pool of Pilate and Cold Blows the Wind Today Sweetheart, which are quite simply sublime melodies, perhaps needing that extra bit of help in bringing them to mind nowadays. In the best tradition of musical hand-me-downs, Cornish folk music works equally ideally sung and played, and only by doing so on a regular basis can such traditions hope to continue forward with vigour and authority. A legitimate way of achieving this is to revitalise the harmonic scheme of these ancient tunes and bring them up to date for a modern audience; after all, it was such an approach that fuelled the imagination of Benjamin Britten and Ralph Vaughan Williams in decades past, while skilfully paying homage to the underlying charm and, for want of a better word, simplicity, of the original music. But this is only a start – for without an energetic response from younger generations, Cornish folk music is destined to wither on the vine in much the same way as is happening with the Cornish dialect. So, put your instrument to your lips and proceed, not with caution, but with enthusiasm and a smile, for your great grandparents (and perhaps even their grandparents) would surely raise a glass if they could hear you doing your bit to ensure the survival of this splendid heritage. Timeless Cornish melodies, cooked up for hungry clarinet players Grades 1–4 Former Spartan Press Cat. No.: SP1219. $24.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
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