| The Real Pop Book - Volume 1 Bb Instruments [Fake Book] Hal Leonard
Bb Edition. By Various. Fake Book. Pop. Softcover. 456 pages. Published by Hal...(+)
Bb Edition. By Various. Fake
Book. Pop. Softcover. 456
pages. Published by Hal
Leonard
$39.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Guitar Hymnal Guitar [Sheet music] - Easy Mel Bay
by William Bay. For all guitars. Sacred, strum/sing. Level: Beginning. Book. Son...(+)
by William Bay. For all guitars. Sacred, strum/sing. Level: Beginning. Book. Songbook. Size 5.5x8. 80 pages. Published by Mel Bay Pub., Inc.
(1)$9.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| The Swing Era - 1936-1947 Fake Book [Fake Book] Hal Leonard
Fake Book (Includes melody line and chords). Size 9x12 inches. 248 pages. Publis...(+)
Fake Book (Includes melody line and chords). Size 9x12 inches. 248 pages. Published by Hal Leonard.
(2)$22.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Concerto - Piano And Orchestra - Solo Part Schott
Piano and orchestra - difficult SKU: HL.49046544 For piano and orchest...(+)
Piano and orchestra - difficult SKU: HL.49046544 For piano and orchestra. Composed by Gyorgy Ligeti. This edition: Saddle stitching. Sheet music. Edition Schott. Softcover. Composed 1985-1988. Duration 24'. Schott Music #ED23178. Published by Schott Music (HL.49046544). ISBN 9781705122655. UPC: 842819108726. 9.0x12.0x0.224 inches. I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. The markings of the movements are the following: 1. Vivace molto ritmico e preciso 2. Lento e deserto 3. Vivace cantabile 4. Allegro risoluto 5. Presto luminoso.The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale; my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. In the Piano Concerto I realized new concepts of harmony and rhythm. The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time 'rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form; later in the fourth movement it will be considerably developed. The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement; however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly; they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales; in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting; illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated; the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus; indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. (Gyorgy Ligeti). $34.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Praise and Worship Fake Book
Bb Instruments [Fake Book] Hal Leonard
The Praise and Worship Fake Book (B Flat Edition). By Various. For Bb Instrument...(+)
The Praise and Worship Fake Book (B Flat Edition). By Various. For Bb Instruments. Fake Book. Softcover. 432 pages. Published by Hal Leonard
$34.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Real Vocal Book - Volume 1 High voice [Fake Book] Hal Leonard
C Edition. By Various. Fake Book (Includes melody line and chords). Size 9x11 in...(+)
C Edition. By Various. Fake Book (Includes melody line and chords). Size 9x11 inches. 352 pages. Published by Hal Leonard.
(1)$45.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Broadway Now Music Express Vol. 18 No. 5 Choral [Sheet music + Audio access] Hal Leonard
March/April 2018. By Emily Bear. By Andrew Lloyd Webber, Benj Pasek, Glen...(+)
March/April 2018. By Emily Bear. By Andrew Lloyd Webber, Benj Pasek, Glenn Slater, John Jacobson, Justin Paul, Roger Emerson, Zoltan Kodaly. Arranged by Emily Crocker, John Higgins. Music Express. Classroom Resources, Choreography, Young Choir, Children's Choir, Elementary, Children, Cross-Curricular. Softcover Media Online. Published by Hal Leonard (HL.234102).
$55.00 - See more - Buy onlinePre-shipment lead time: 3 to 5 business days | | |
| The Best Hymns Ever Piano, Vocal and Guitar [Sheet music] Hal Leonard
118 Beloved Favorites. By Various. Piano/Vocal/Chords Songbook (Arrangements for...(+)
118 Beloved Favorites. By Various. Piano/Vocal/Chords Songbook (Arrangements for piano and voice with guitar chords). Size 9x12 inches. 272 pages. Published by Hal Leonard.
$24.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Real Book - Volume V Eb Instruments Hal Leonard
E-flat Edition. Composed by Various. Fake Book. Jazz. Softcover. 504 page...(+)
E-flat Edition. Composed by Various. Fake Book. Jazz. Softcover. 504 pages. Published by Hal Leonard (HL.175279).
$49.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Real Book - Volume V
Bb Instruments Hal Leonard
B-flat Edition. Composed by Various. Fake Book. Softcover. 504 pages. Publish...(+)
B-flat Edition. Composed by
Various. Fake Book.
Softcover. 504 pages.
Published by Hal Leonard
$49.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Real Book - Volume V
C Instruments [Fake Book] Hal Leonard
(C Edition). By Various. By Various. For C Instruments. Fake Book. Softcover. 46...(+)
(C Edition). By Various. By Various. For C Instruments. Fake Book. Softcover. 464 pages. Published by Hal Leonard
$49.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Concerto Piano solo Theodore Presser Co.
Orchestra Piano SKU: PR.11641861SP Composed by William Kraft. Part. 35 pa...(+)
Orchestra Piano SKU: PR.11641861SP Composed by William Kraft. Part. 35 pages. Duration 21 minutes. Theodore Presser Company #116-41861SP. Published by Theodore Presser Company (PR.11641861SP). UPC: 680160685202. What?! - my composer colleagues said - A concerto for the piano? It's a 19th century instrument! Admittedly we are in an age when originally created timbres and/or musico-technological formulations are often the modus operandi of a piece. Actually, this Concerto began about two years ago when, during one of my creative jogs, the sound of the uppermost register of the piano mingled with wind chimes penetrated my inner ear. The challenge and fascination of exploring and developing this idea into an orchestral situation determined that some day soon I would be writing a work for piano and orchestra. So it was a very happy coincidence when Mona Golabek phoned to tell me she would like discuss the Ford Foundation commission. After covering areas of aesthetics and compositional styles, we found that we had a good working rapport, and she asked if I would accept the commission. The answer was obvious. Then began the intensive thought process on the stylistic essence and organization of the work. Along with this went a renewed study of idiomatic writing for the piano, of the kind Stravinsky undertook with the violin when he began his Violin Concerto. By a stroke of great fortune, the day in February 1972 that I received official notice from the Ford Foundation of the commission, I also received a letter from the Guggenheim Foundation informing me I had been awarded my second fellowship. With the good graces of Zubin Mehta and Ernest Fleischmann, masters of my destiny as a member of the Los Angeles Philharmonic, I was relieved of my orchestral duties during the Hollywood Bowl season. Thus I was able to go to Europe to work and to view the latest trends in music concentrating in London (the current musical melting pot and showcase par excellence), Oslo, Norway, for the Festival of Scandinavian Music called Nordic Days, and Warsaw, Poland, for its prestigious Autumn Festival. Over half the Concerto was completed in that summer and most of the rest during the 72-73 season with the final touches put on during a month as Resident Scholar at the Rockefeller Foundation's Villa Serbelloni in Bellagio, Italy. So much for the external and environmental influences, except perhaps to mention the birds of Sussex in the first movement, the bells of Arhus (Denmark) in the second movement and the bells of Bellagio at the end of the Concerto. Primary in the conception was the personality of Miss Golabek: she is a wonderfully vital and dynamic person and a real virtuoso. Therefore, the soloist in the Concerto is truly the protagonist; it is she (for once we can do away with the generic he) who unfolds the character and intent of the piece. The first section is constructed in the manner of a recitative - completely unmeasured - with letters and numbers by which the conductor signals the orchestra for its participation. This allows the soloist the freedom to interpret the patterns and control the flow and development of the music. The Concerto is actually in one continuous movement but with three large divisions of sufficiently contrasting character to be called movements in themselves. The first 'movement' is based on a few timbral elements: 1) a cluster of very low pitches which at the beginning are practically inaudibly depressed, and sustained silently by the sostenuto pedal, which causes sympathetic vibrating pitches to ring when strong notes are struck; 2) a single powerful note indicated by a black note-head with a line through it indicating the strongest possible sforzando; 3) short figures of various colors sometimes ominous, sometimes as splashes of light or as elements of transition; 4) trills and tremolos which are the actual controlling organic thread starting as single axial tremolos and gradually expanding to trills of increasingly larger and more powerful scope. The 'movement' begins in quiescent repose but unceasingly grows in energy and tension as the stretching of a string or rubber band. When it can no longer be restrained, it bursts into the next section. The second 'movement,' propelled by the released tension, is a brilliant virtuosic display, which begins with a long solo of wispy percussion, later joined in duet with the piano. Not to be ignored, the orchestra takes over shooting the material throughout all its sections like a small agile bird deftly maneuvering through nothing but air, while the piano counterposes moments of lyricism. The orchestra reaches a climax, thrusting us into the third 'movement' which begins with a cadenza-like section for the piano. This moves gently into an expressive section (expressive is not a negative term to me) in which duets are formed with various instruments. There are fleeting glimpses of remembrances past, as a fragmented recapitulation. One glimpse is hazily expressed by strings and percussion in a moment of simultaneous contrasting levels of activity, a technique of which I have been fond and have utilized in various fixed-free relationships, particularly in my Percussion Concerto, Contextures and Games: Collage No. 1. The second half of the third 'movement; is a large coda - akin to those in Beethoven - which brings about another display of virtuosity, this time gutsy and driving, raising the Concerto to a final climax, the soloist completing the fragmented recapitulation concept as well as the work with the single-note sforzando and low cluster from the very opening of the first movement. $47.99 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| The Praise and Worship Fake Book - 2nd Edition C Instruments [Fake Book] Hal Leonard
For C Instruments. Composed by Various. Fake Book. Softcover. 456 pages. ...(+)
For C Instruments. Composed by Various. Fake Book. Softcover. 456 pages. Published by Hal Leonard (HL.160838).
$49.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Piano Treasury of Hymns Piano solo [Sheet music + CD] - Easy Music Sales
Edited by Amy Appleby. Collection and examples CD for easy solo piano. Over 200 ...(+)
Edited by Amy Appleby. Collection and examples CD for easy solo piano. Over 200 best-loved Christian hymns that have inspired praise and worship for over four centuries. Series: Piano Treasury Series. 392 pages. Published by Music Sales.
(1)$29.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Lyrical Flute Miniatures Flute Theodore Presser Co.
Chamber Music Flute(s) SKU: PR.494032560 Composed by Various. Collection ...(+)
Chamber Music Flute(s) SKU: PR.494032560 Composed by Various. Collection - Score. Theodore Presser Company #494-03256. Published by Theodore Presser Company (PR.494032560). UPC: 680160690428. Lyrical Flute Miniatures is a captivating collection of 40 short pieces for beginner and early intermediate flute players of all ages, exclusively commissioned from some of today's most exciting composers.These musical gems offer a diverse array of musical styles, ensuring a rich and engaging journey into the world of flute music. From lyrical melodies to lively dances, each piece has been crafted to nurture both technique and expressive playing, exploring the beauty and versatility of the flute.There are biographies of all the composers at the end of the flute part, as well as notes and helpful performance suggestions for each work.Free Flute and Piano recordings, and Piano backing tracks for every piece can be found on YouTube at “theyoungfluteplayer” (no spaces) channel, see the playlist for Lyrical Flute Miniatures. You can also find the link and further information at www.allegromusicpublishing.com/flutemusicLyrical Flute Miniatures will delight students, flute teachers, and audiences alike, a valuable addition to your Flute repertoire! $29.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Hank Williams Jr.: The Best Of Hank Williams Jr. Guitar notes and tablatures [Sheet music] Hal Leonard
Performed by Hank Williams Jr.. For guitar and voice. Format: guitar tablature s...(+)
Performed by Hank Williams Jr.. For guitar and voice. Format: guitar tablature songbook. With leadsheet notation (chords and melody), lyrics, chord names, guitar chord diagrams and strum and pick patterns. Country and honky tonk. Series: Strum It (guitar). 64 pages. 9x12 inches. Published by Hal Leonard.
(1)$22.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Barcarolles for a Sinking City Theodore Presser Co.
Orchestra Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Contrabas...(+)
Orchestra Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Contrabass, Contrabassoon, English Horn, Flute 1, Flute 2, Harp, Horn 1, Horn 2, Horn 3, Horn 4, Oboe 1, Oboe 2, Percussion 1, Percussion 2, Percussion 3, Percussion 4, Piccolo and more. SKU: PR.11641139S Composed by Lowell Liebermann. Full score. Duration 15 minutes. Theodore Presser Company #116-41139S. Published by Theodore Presser Company (PR.11641139S). UPC: 680160682119. Barcarolles for a Sinking City was inspired by the city of Venice, a place that has long held the fascination of artists, writers and composers, and which I have been lucky enough to visit on several occasions. Sadly it seems that future generations may not be so lucky: in addition to the city's slow sinking and recently discovered tilting, studies predict that if global warming and the resultant rise of ocean levels is unabated, the entire city (as well as many other coastal cities around the globe) will be under water by 2100. I. Funeral Gondola The late, cryptic piano works of Franz Liszt made a profound impression on me as a young composer, among them two works he entitled La Lugubre Gondola (usually translated as The Funeral Gondola ) which were said to be a premonition of Wagner's death in Venice, his coffin transported through the canals in a black gondola. These late pieces of Liszt acquired even greater significance to me after I spent two summers in Bayreuth under the patronage of Friedelind Wagner, the granddaughter of Wagner and great-granddaughter of Liszt. This movement is a meditation on Wagner, Liszt, Venice and its own evanescence. II. Barcarolle/Quodlibet The Quodlibet (Latin for what pleases) is a musical form dating back to the 15th century where many disparate melodies are juxtaposed. Popular in the Renaissance, sacred and secular melodies were combined, often to comical effect due to the resultant incongruity of the words. The form was considered the ultimate test of a composer's mastery of counterpoint. The most famous Quodlibet is without doubt the final Variation of Bach's Goldberg Variations. As a form the Quodlibet is less common in more recent music, although examples can be found in the works of Kurt Weill and David Del Tredici. My own Barcarolle/Quodlibet was inspired by the (perhaps apocryphal) story of the funeral where musicians were asked to play a Bach Choral, but due to miscommunication played instead the Bacarolle from The Tales of Hoffmann. Here, the Bach Choral Allen Menschen mussen sterben (All Men Must Die) is heard in the strings pizzicato, with a tempo indication In slow motion. The alto line of the Bach suggests a phrase from Beethoven's Ninth Symphony (Alle Menchen werden Bruder) heard in the muted trombone. Before long, the famous tune from Offenbach's opera is heard, followed by quotations from iconic Barcarolles by Chopin, Mendelssohn and Faure, as well as two Venetian popular songs and more Beethoven. III. Barcarola/Ostinato/Carillon An ostinato is a repeated musical figure, and carillon is Italian for music box. This movement references the obsolete genre of salon pieces that imitated music boxes: such works by composers like Liadov and Gretchaninov used to be a mainstay of pianists' encore repertoire. This movement is however much darker in conception than those pleasant trifles. Utilizing the full battery of percussion, the carefully notated temporal slowing of the ostinato becomes overwhelmed by a poignant chorale melody before this box is snapped shut. IV. Barcarolle Oubliee (Forgotten Barcarolle) Marked limpido (still) the final movement begins with the sound of rain produced by a percussion instrument called (appropriately) a rain stick. Halting phrases in the harp coalesce into the accompaniment for a plangent melody heard in the clarinet. The central Adagio of this movement leads to a shattering climax, before the opening phrases return and dissipate into nothingness. $48.99 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Barcarolles for a Sinking City Theodore Presser Co.
Orchestra Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Contrabas...(+)
Orchestra Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Contrabass, Contrabassoon, English Horn, Flute 1, Flute 2, Harp, Horn 1, Horn 2, Horn 3, Horn 4, Oboe 1, Oboe 2, Percussion 1, Percussion 2, Percussion 3, Percussion 4, Piccolo and more. SKU: PR.11641139L Composed by Lowell Liebermann. Large Score. Duration 15 minutes. Theodore Presser Company #116-41139L. Published by Theodore Presser Company (PR.11641139L). UPC: 680160682126. Barcarolles for a Sinking City was inspired by the city of Venice, a place that has long held the fascination of artists, writers and composers, and which I have been lucky enough to visit on several occasions. Sadly it seems that future generations may not be so lucky: in addition to the city's slow sinking and recently discovered tilting, studies predict that if global warming and the resultant rise of ocean levels is unabated, the entire city (as well as many other coastal cities around the globe) will be under water by 2100. I. Funeral Gondola The late, cryptic piano works of Franz Liszt made a profound impression on me as a young composer, among them two works he entitled La Lugubre Gondola (usually translated as The Funeral Gondola ) which were said to be a premonition of Wagner's death in Venice, his coffin transported through the canals in a black gondola. These late pieces of Liszt acquired even greater significance to me after I spent two summers in Bayreuth under the patronage of Friedelind Wagner, the granddaughter of Wagner and great-granddaughter of Liszt. This movement is a meditation on Wagner, Liszt, Venice and its own evanescence. II. Barcarolle/Quodlibet The Quodlibet (Latin for what pleases) is a musical form dating back to the 15th century where many disparate melodies are juxtaposed. Popular in the Renaissance, sacred and secular melodies were combined, often to comical effect due to the resultant incongruity of the words. The form was considered the ultimate test of a composer's mastery of counterpoint. The most famous Quodlibet is without doubt the final Variation of Bach's Goldberg Variations. As a form the Quodlibet is less common in more recent music, although examples can be found in the works of Kurt Weill and David Del Tredici. My own Barcarolle/Quodlibet was inspired by the (perhaps apocryphal) story of the funeral where musicians were asked to play a Bach Choral, but due to miscommunication played instead the Bacarolle from The Tales of Hoffmann. Here, the Bach Choral Allen Menschen mussen sterben (All Men Must Die) is heard in the strings pizzicato, with a tempo indication In slow motion. The alto line of the Bach suggests a phrase from Beethoven's Ninth Symphony (Alle Menchen werden Bruder) heard in the muted trombone. Before long, the famous tune from Offenbach's opera is heard, followed by quotations from iconic Barcarolles by Chopin, Mendelssohn and Faure, as well as two Venetian popular songs and more Beethoven. III. Barcarola/Ostinato/Carillon An ostinato is a repeated musical figure, and carillon is Italian for music box. This movement references the obsolete genre of salon pieces that imitated music boxes: such works by composers like Liadov and Gretchaninov used to be a mainstay of pianists' encore repertoire. This movement is however much darker in conception than those pleasant trifles. Utilizing the full battery of percussion, the carefully notated temporal slowing of the ostinato becomes overwhelmed by a poignant chorale melody before this box is snapped shut. IV. Barcarolle Oubliee (Forgotten Barcarolle) Marked limpido (still) the final movement begins with the sound of rain produced by a percussion instrument called (appropriately) a rain stick. Halting phrases in the harp coalesce into the accompaniment for a plangent melody heard in the clarinet. The central Adagio of this movement leads to a shattering climax, before the opening phrases return and dissipate into nothingness. $90.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| The Church Soloist
Piano solo [Sheet music] Hope Publishing Company Print Music Collection
(Piano Collection).
Published by Hope
Publishing Company.
(3)$79.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Upriver Concert band Theodore Presser Co.
Band Concert Band SKU: PR.46500013L For Wind Ensemble. Composed by...(+)
Band Concert Band SKU: PR.46500013L For Wind Ensemble. Composed by Dan Welcher. Contemporary. Large Score. With Standard notation. Composed 2010. Duration 14 minutes. Theodore Presser Company #465-00013L. Published by Theodore Presser Company (PR.46500013L). UPC: 680160600151. 11 x 14 inches. I n 1803, President Thomas Jefferson sent Meriwether Lewis and William Clarks Corps of Discovery to find a water route to the Pacific and explore the uncharted West. He believed woolly mammoths, erupting volcanoes, and mountains of pure salt awaited them. What they found was no less mind-boggling: some 300 species unknown to science, nearly 50 Indian tribes, and the Rockies. I have been a student of the Lewis and Clark expedition, which Thomas Jefferson called the Voyage of Discovery, for as long as I can remember. This astonishing journey, lasting more than two-and-a-half years, began and ended in St. Louis, Missouri and took the travelers up more than a few rivers in their quest to find the Northwest Passage to the Pacific Ocean. In an age without speedy communication, this was akin to space travel out of radio range in our own time: no one knew if, indeed, the party had even survived the voyage for more than a year. Most of them were soldiers. A few were French-Canadian voyageurs hired trappers and explorers, who were fluent in French (spoken extensively in the region, due to earlier explorers from France) and in some of the Indian languages they might encounter. One of the voyageurs, a man named Pierre Cruzatte, also happened to be a better-than-average fiddle player. In many respects, the travelers were completely on their own for supplies and survival, yet, incredibly, only one of them died during the voyage. Jefferson had outfitted them with food, weapons, medicine, and clothing and along with other trinkets, a box of 200 jaw harps to be used in trading with the Indians. Their trip was long, perilous to the point of near catastrophe, and arduous. The dream of a Northwest Passage proved ephemeral, but the northwestern quarter of the continent had finally been explored, mapped, and described to an anxious world. When the party returned to St. Louis in 1806, and with the Louisiana Purchase now part of the United States, they were greeted as national heroes. I have written a sizeable number of works for wind ensemble that draw their inspiration from the monumental spaces found in the American West. Four of them (Arches, The Yellowstone Fires, Glacier, and Zion) take their names, and in large part their being, from actual national parks in Utah, Wyoming, and Montana. But Upriver, although it found its voice (and its finale) in the magnificent Columbia Gorge in Oregon, is about a much larger region. This piece, like its brother works about the national parks, doesnt try to tell a story. Instead, it captures the flavor of a certain time, and of a grand adventure. Cast in one continuous movement and lasting close to fourteen minutes, the piece falls into several subsections, each with its own heading: The Dream (in which Jeffersons vision of a vast expanse of western land is opened); The Promise, a chorale that re-appears several times in the course of the piece and represents the seriousness of the presidential mission; The River; The Voyageurs; The River II ; Death and Disappointment; Return to the Voyage; and The River III . The music includes several quoted melodies, one of which is familiar to everyone as the ultimate river song, and which becomes the through-stream of the work. All of the quoted tunes were either sung by the men on the voyage, or played by Cruzattes fiddle. From various journals and diaries, we know the men found enjoyment and solace in music, and almost every night encampment had at least a bit of music in it. In addition to Cruzatte, there were two other members of the party who played the fiddle, and others made do with singing, or playing upon sticks, bones, the ever-present jaw harps, and boat horns. From Lewis journals, I found all the tunes used in Upriver: Shenandoah (still popular after more than 200 years), Vla bon vent, Soldiers Joy, Johnny Has Gone for a Soldier, Come Ye Sinners Poor and Needy (a hymn sung to the tune Beech Spring) and Fishers Hornpipe. The work follows an emotional journey: not necessarily step-by-step with the Voyage of Discovery heroes, but a kind of grand arch. Beginning in the mists of history and myth, traversing peaks and valleys both real and emotional (and a solemn funeral scene), finding help from native people, and recalling their zeal upon finding the one great river that will, in fact, take them to the Pacific. When the men finally roar through the Columbia Gorge in their boats (a feat that even the Indians had not attempted), the magnificent river combines its theme with the chorale of Jeffersons Promise. The Dream is fulfilled: not quite the one Jefferson had imagined (there is no navigable water passage from the Missouri to the Pacific), but the dream of a continental destiny. $80.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| The Great American Songbook: The Composers Ukulele Hal Leonard
Ukulele SKU: HL.263232 For Ukulele. Composed by Various. Ukulele. ...(+)
Ukulele SKU: HL.263232 For Ukulele. Composed by Various. Ukulele. Standards. Softcover. 232 pages. Published by Hal Leonard (HL.263232). ISBN 9781540021038. UPC: 888680729318. 9.0x12.0x0.586 inches. Romance, heartbreak, optimism, melancholy, or just a lovely autumn day - it's all been captured by American songwriters. A generation of the country's finest songwriters captured universal feelings and experiences in such an infectious combination of words and music that their songs still inspire today. This collection features 100 classics by treasured composers arranged for ukulele: All the Things You Are (Jerome Kern) * Blue Skies (Irving Berlin) * Come Fly with Me (Sammy Cahn) * Georgia on My Mind (Hoagy Carmichael) * Mood Indigo (Duke Ellington) * On the Street Where You Live (Lerner & Loewe) * People Will Say We're in Love (Rodgers & Hammerstein) * Somebody Loves Me (George Gershwin) * You'd Be So Nice to Come Home To (Cole Porter) * and more. $19.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Easy Broadway Fake Book - 2nd Edition C Instruments [Fake Book] Hal Leonard
Over 100 Songs in the Key of C. Composed by Various. Easy Fake Book. Broadway....(+)
Over 100 Songs in the Key of
C. Composed by Various. Easy
Fake Book. Broadway.
Softcover. 218 pages.
Published by Hal Leonard
$24.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Dear Evan Hansen Hal Leonard
Electronic Keyboard; Organ; Piano/Keyboard SKU: HL.286388 E-Z Play Tod...(+)
Electronic Keyboard; Organ; Piano/Keyboard SKU: HL.286388 E-Z Play Today #102. Composed by Pasek and Paul. E-Z Play Today. Broadway, Musicals. Softcover. 80 pages. Published by Hal Leonard (HL.286388). ISBN 9781540039781. UPC: 888680894948. 9.0x12.0x0.21 inches. 9 selections from this Tony Award winning Broadway musical, arranged in our easy to read and play E-Z Play Today notation. Includes: For Forever • Good for You • If I Could Tell Her • Only Us • Sincerely, Me • So Big/So Small • Waving Through a Window • Words Fail • You Will Be Found. About Hal Leonard E-Z Play Today For organs, pianos, and electronic keyboards. E-Z Play Today is the shortest distance between beginning music and playing fun. Now there are more than 300 reasons why you should play E-Z Play Today. * World's largest series of music folios * Full-size books - large 9 x 12 format features easy-to-read, easy-to-play music * Accurate arrangements... simple enough for the beginner, but accurate chords and melody lines are maintained * Eye-catching, full-color covers * Lyrics... most arrangements include words and music * Most up-to-date registrations - books in the series contain a general registration guide, as well as individual song rhythm suggestions * Guitar Chord Chart - all songs in the series can also be played on guitar. $12.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Beautiful Melodies Easy Piano - Easy Hal Leonard
Super Easy Piano Piano/Keyboard SKU: HL.1315784 Super Easy Songbook(+)
Super Easy Piano Piano/Keyboard SKU: HL.1315784 Super Easy Songbook. By Various. Super Easy Songbook. Pop, Standards. Softcover. 96 pages. Published by Hal Leonard (HL.1315784). ISBN 9798350110289. UPC: 196288179030. 9.0x12.0 inches. Even if you've just started to learn how to play keyboard, you can play nearly 50 beautiful pop and standard songs with iconic melodies thanks to this Super Easy Songbook. These arrangements feature no page turns, simple right-hand melodies, letter names inside each note, and basic left-hand chord diagrams along with lyrics. This edition features 46 songs, including: All Is Found â?¢ Bridge over Troubled Water â?¢ Canon in D â?¢ Crazy â?¢ Dos Oruguitas â?¢ Easy on Me â?¢ Faithfully â?¢ Fields of Gold â?¢ Fur Elise, WoO 59 â?¢ Hey Jude â?¢ I See the Light â?¢ Let It Be â?¢ Lift Me Up â?¢ A Million Dreams â?¢ Open Arms â?¢ Reflection â?¢ Sunrise, Sunset â?¢ Unchained Melody â?¢ What Was I Made For? â?¢ You Raise Me Up â?¢ You Will Be Found â?¢ and more. $16.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
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