| The Bass Handbook Bass guitar [Book + CD] Backbeat Books
(The Complete Guide to Mastering the Bass Guitar Updated and Expanded Edition). ...(+)
(The Complete Guide to Mastering the Bass Guitar Updated and Expanded Edition). Book. Hardcover with CD. 256 pages. Published by Backbeat Books
$29.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| There Stands A Little Man Orchestra [Score and Parts] Alfred Publishing
Arranged by Sandra Dackow. Conductor's score and set of performance parts for st...(+)
Arranged by Sandra Dackow. Conductor's score and set of performance parts for string orchestra (8 - 1st violin, 8 - 2nd violin, 5 - 3rd violin/viola (treble clef), 5 - viola, 5 - cello, 5 - string bass, 1 - piano accompaniment). Series: Orchestra Expressions Series. Published by Alfred Publishing.
$40.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Focus [Complete Set] String Orchestra [Score and Parts] Jazz Lines Publications
By Stan Getz and Beaux Arts String Ensemble. By Eddie Sauter. Edited by Rob Dubo...(+)
By Stan Getz and Beaux Arts String Ensemble. By Eddie Sauter. Edited by Rob Duboff, Jeffrey Sultanof, Alex Chilowicz, and Andrew Homzy. Arranged by Eddie Sauter. For string ensemble (score and parts) (Soloist (parts in concert, B-flat, and E-flat), Violin I (8 parts), Violin II (8 parts), Viola (5 Parts), Cello (5 Parts) , Double Bass (3 Parts), Harp, Piano/Celeste, Percussion (Snare Drum, Marimba, Tambourine)). Advanced. Score and parts. Published by Jazz Lines Publications
$399.98 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Manoir De Mes Reves (Django's Castle) Big band [Score and Parts] Jazz Lines Publications
By The Gerry Mulligan Concert Jazz Band. Edited by Ted Hogarth, Rob Duboff, and ...(+)
By The Gerry Mulligan Concert Jazz Band. Edited by Ted Hogarth, Rob Duboff, and Jeffrey Sultanof. Arranged by Bob Brookmeyer. For big band (Clarinet, Alto Saxophone, Tenor Saxophone, 2 Baritone Saxophones, 3 Trumpets, 2 Trombones, Bass Trombone, Bass, Drums (Optional)). Ballad. Medium. Score and parts. Published by Jazz Lines Publications
$50.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| The Wind Won't Listen Theodore Presser Co.
Bassoon, Viola, Violin 1, Violin 2, Violoncello SKU: PR.16400261S Compose...(+)
Bassoon, Viola, Violin 1, Violin 2, Violoncello SKU: PR.16400261S Composed by Dan Welcher. With Standard notation. Duration 15 minutes. Theodore Presser Company #164-00261S. Published by Theodore Presser Company (PR.16400261S). UPC: 680160038411. Since the bassoon is my own instrument, many people have asked me why I've written so little for the instrument. Beyond my early Concerto Da Camera for bassoon and small orchestra, written for Leonard Sharrow in 1975, I've not written a single piece that features the bassoon as a solo vehicle (though I have written three woodwind quintets). When I first began composing seriously, critics were quick to point out that my orchestral writing revealed nothing of my roots as a woodwind player--and bassoonists asked why my pieces didn't have more bassoon solos. Perhaps I was so aware that people were looking at me as a bassoonist/composer that I was determined to remove that stigma. Now that my transformation from performer to composer is complete, however, it's time to re-address my instrument. I wanted this new piece to be serious rather than whimsical. The Wind Won't Listen represents my return to the bassoon as the highly expressive, poetic soul that it is. As such, it shouldn't come as a surprise that the piece is based on a poem, and that the title of the piece as well as both its movement titles come from lines in that poem. I first read Beth Gylys' poem Split at the MacDowell Colony in the summer of 2001, and it made a big impression on me. My personal life had been ruptured by divorce in the preceding year. This poem, with its dry insistence on observation rather than feeling, expressed the wrung-out state of my emotions at the time better than any I had seen. I set it to music, as a song, immediately. In this format, for voice and piano, I was able to put a musical note to every word of the poem. The first lines of the poem, Everyone I know is crying, or should be crying, became a melody that haunted me even without the words. The work for bassoon and string quartet is an outgrowth of the song. The first movement is labeled Romanza, and has a loose formal arch structure of A-B-C-B-A, with B and C being fast sections framed by the lamenting A music. In addition to hearing the bassoon's first notes attached to the lines Everyone I know is crying, there's a sense of agitation, of loss, of longing, and at times of desperation in the music. At one point, the opening theme from Tristan even appears in the strings. The second movement follows, without a real pause--the pizzicato final chords of the first movement becoming the increasingly aggressive opening chords of the second. The recitative is actually a foreshadowing of the basic theme that will be varied, again to the words of the song: Life makes itself without us. Don't let me tell you how it is. Go out. Look. The recitative begins in an anguished state, but subsides into more gentle singing by the end, when it simply falls into an ostinato 5/8-3/4 pattern to begin the variations. Marked Very steady tempo; Dancing, this set of variations consists of three dances, each faster than the previous. The first, in the aforementioned 5/8-3/4 meter, gives way to a 3/8 scherzo, which in turn takes on a furious 2/4 scurrying motion. The music becomes breathless, almost pulse-less, and an ethereal theme appears in the violins while the rushing music continues, sotto voce in the bassoon. This new theme is also from the song: Why do I do this? The wind won't listen. The bassoon re-states its Everyone I know is crying melody from the first movement, and at length the 5/8-3/4 music returns, more subdued this time. The piece ends on a major-minor chord, suspended. The Wind Won't Listen is dedicated to the man who commissioned it, bassoonist Steven Dibner--who shares my passion for poetry and language. --Dan Welcher. $41.99 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Wave Big band [Score and Parts] Jazz Lines Publications
By Antonio Carlos Jobim. Edited by Rob Duboff and Jeffrey Sultanof. Arranged by ...(+)
By Antonio Carlos Jobim. Edited by Rob Duboff and Jeffrey Sultanof. Arranged by Claus Ogerman. For studio ensemble (Piccolo (doubles Alto Flute), C Flute (doubles Alto Flute), Alto Flute, Trombone, 2 Violins, 2 Celli, Guitar, Piano, Bass, Drums, Synthesizer (optional)). Bossa Nova. Medium. Score and parts. Published by Jazz Lines Publications
$50.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Dies Irae: Fantasia, score and parts String Orchestra [Score and Parts] - Intermediate Carl Fischer
Composed by Deborah Baker Monday. For string orchestra (violin I, violin II,...(+)
Composed by Deborah Baker
Monday. For string orchestra
(violin I, violin II, violin
III (viola T.C.), viola,
cello, bass, piano). Score and
parts. Duration 3 minutes, 36
seconds. Published by Carl
Fischer
$60.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| 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 | | |
| Had a Little Rooster GIA Publications
SKU: GI.G-1089 Revised Edition - Includes Digital Download. Compos...(+)
SKU: GI.G-1089 Revised Edition - Includes Digital Download. Composed by Jill Trinka and John M. Feierabend. First Steps in Music. Music Education. GIA Publications #1089. Published by GIA Publications (GI.G-1089). UPC: 785147008927. Click here to download the 2020 Supplement to First Steps in Music. Over the past year, a committee formed by the Feierabend Association for Music Education (FAME) developed a set of standards for evaluating repertoire associated with the curriculum. With their guidance, we have removed several songs that were deemed to be harmful, derogatory, or disrespectful in regard to their histories or context. We have also added a number of new songs and rhymes from a variety of world cultures. The above link details these revisions for the curriculum book and the supplemental folk song collections.  The great American folk songs and rhymes on this CD have enthralled young people for generations. This recording embodies the true spirit of these songs, delightfully sung by Jill Trinka and accompanied by a wide variety of acoustic instruments, including guitar, dulcimer, autoharp, piano, percussion, string bass, and violin. The enclosed illustrated booklet includes complete lyrics and song directions. And all of the performances are in step with John M. Feierabend’s philosophy of providing a nurturing environment for musical growth. Children and their families are sure to enjoy this and the other imaginative and engaging CDs drawn from John’s eight collections of folk songs for kids ages three and up. Contents: Had a Little Rooster - No More Pie - No More Pie (sing-a-long) - Frog in the Meadow - Chop, Chop, Chippity Chop - Listen, Listen - Over the Meadow - Five Little Ladies - Engine, Engine - The Ice Cream Sundae - My Name Is Michael - My Name Is Michael (sing-a-long) - Pitter, Patter - Two Little Blackbirds - Ali Baba - There Was a Man and He Was Mad - My Aunt Came Back - My Aunt Came Back (sing-a-long) - Eensy Weensy Spider - Aiken Drum - Bill Grogen's Goat - Bill Grogen's Goat (sing-a-long) - Johnny Had One Friend - Grandma's Glasses - Frog in the Meadow - Jennie Jenkins - Father Grumble - A Ram Sam Sam (Moroccan) - Bling, Blang - Down by the Bay - Down by the Bay (sing-a-long) - Fais Dodo (Cajun) - Three Little Ducks - Cobbler, Cobbler - Wise Old Owl - Wise Old Owl (sing-a-long) - Here's a Nest - Hickory, Dickory, Dock - The Tailor and the Mouse. $14.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Rise Up, Shepherd! Carl Fischer
Choral Bass 1, Bass 2, baritone voice tenor 1, tenor 2 SKU: CF.CM9634 Com...(+)
Choral Bass 1, Bass 2, baritone voice tenor 1, tenor 2 SKU: CF.CM9634 Composed by Traditional Christmas Spiritual. Arranged by Ken Berg. Sws. Performance Score. 16 pages. Duration 3 minutes, 40 seconds. Carl Fischer Music #CM9634. Published by Carl Fischer Music (CF.CM9634). ISBN 9781491157060. UPC: 680160915620. 6.875 x 10.5 inches. Key: G major. English, English. Traditional Christmas Spiritual. Berg's fantastic setting of this beloved American Christmas spiritual for advanced tenor-bass choirs tells a story of hope and meaning. The various textures throughout the a cappella arrangement with solos add much variety and musical interest. A holiday programming must!. This beloved American Christmas Spiritual, like all spirituals and/or folk songs, tells a story. This is a story of hope and meaning. The introductory solo call and response (mm. 1-7) is hymnic in nature, just to get us started. (Think of it as an effective head fake!) The entrance at m. 8 from the upper three voices (we'll call them the trio part henceforth) is pivotal. They set the stage for the conversation between the singers and the soloist for the rest of the song. From this point, the song is basically a Jazz Trio in vocal form. The bass singers take on the role of the cool dude in the back wearing dark glasses and a beret playing the string bass. They provide the driving force for the forward movement of the entire song. The trio part, basically tenors 1 & 2 and baritones, take on the role of the keyboard providing chordal structure and syncopation. Their job is to fill the listener's ear with sound and rhythm. The soloist tells the story using the known melody and text with appropriate improv opportunities to keep the listeners focused on the message of the song. There is enough repetition to make for easy learning, but this also means that the chords need to snap into position cleanly every time. The Verses are easily identified (there are three) and presented with some small variations in Verse 3 (see mm. 56-58...this only happens once). The Refrain (mm. 30-37) is the part of the song where the singers switch from the Jazz Trio role and actually become a Men's Choral Ensemble. This Refrain is repeated after Verse 3 at mm. 66-71. Between verses 2 & 3, there is not a refrain. Instead, there is a bridge repeated from the introductory material, but used this time to move us into a new key signature. This can be a very exciting moment for the singers as well as the listeners! Measures 72-75 is known in the business as a vamp. It can be repeated once and then move on, OR it can be repeated multiple times, depending on the comfort level of the soloist and the response of the audience. It is important that there be a clear signal from the conductor as to how to end the vamp and move effectively to the actual coda of the song. The ending should be sung with tight control that only looks like reckless abandon! Faces bright; words clean; melody clear; rhythms precise! Enjoy. This beloved American Christmas Spiritual, like all spirituals and/or folk songs, tells a story. This is a story of hope and meaning. The introductory solo call and response (mm. 1-7) is hymnic in nature, just to get us started. (Think of it as an effective head fake!)The entrance at m. 8 from the upper three voices (we’ll call them the “trio part†henceforth) is pivotal. They set the stage for the conversation between the singers and the soloist for the rest of the song. From this point, the song is basically a Jazz Trio in vocal form. The bass singers take on the role of the cool dude in the back wearing dark glasses and a beret playing the string bass. They provide the driving force for the forward movement of the entire song.The “trio partâ€, basically tenors 1 & 2 and baritones, take on the role of the keyboard providing chordal structure and syncopation. Their job is to fill the listener’s ear with sound and rhythm.The soloist tells the story using the known melody and text with appropriate improv opportunities to keep the listeners focused on the message of the song.There is enough repetition to make for easy learning, but this also means that the chords need to “snap into position†cleanly every time. The Verses are easily identified (there are three) and presented with some small variations in Verse 3 (see mm. 56-58…this only happens once).The Refrain (mm. 30-37) is the part of the song where the singers switch from the “Jazz Trio†role and actually become a “Men’s Choral Ensembleâ€. This Refrain is repeated after Verse 3 at mm. 66-71. Between verses 2 & 3, there is not a refrain. Instead, there is a bridge repeated from the introductory material, but used this time to move us into a new key signature. This can be a very exciting moment for the singers as well as the listeners!Measures 72-75 is known in the business as a “vampâ€. It can be repeated once and then move on, OR it can be repeated multiple times, depending on the comfort level of the soloist and the response of the audience.It is important that there be a clear signal from the conductor as to how to end the “vamp†and move effectively to the actual coda of the song. The ending should be sung with tight control that only looks like reckless abandon!Faces bright; words clean; melody clear; rhythms precise! Enjoy. $2.75 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Bluegrass Songbook Banjo [Fake Book] - Intermediate Oak Publications
Compiled by Peter Wernick. For voice and guitar (or banjo). Format: fake book (s...(+)
Compiled by Peter Wernick. For voice and guitar (or banjo). Format: fake book (simplified 3 string guitar tablature). With vocal melody (simplified 3 string guitar tablature), lyrics, chord names, performance notes, introductory text and black
(5)$34.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Lament for violoncello (or viola / violin) and string orchestra [Score and Parts] Fennica Gehrman
Cello, String Orchestra SKU: FG.55011-679-5 Composed by Mihkel Kerem. Cla...(+)
Cello, String Orchestra SKU: FG.55011-679-5 Composed by Mihkel Kerem. Classical. Score and Parts. Fennica Gehrman #55011-679-5. Published by Fennica Gehrman (FG.55011-679-5). Anyone who believes traditional tonality to be no longer capable of expressing anything more than timeworn cliches should listen to Kerem's work. (Robert Maxham / Fanfare) Lament for violoncello and strings was written as a commission from Camerata Nordica and its principal cello, Per Nystrom, in 2008. At Per's request the solo part in this piece was composed to represent a lone human voice in a world of disappointment. The composer tells: I used the violins and violas as an operatic choir: they support and comment on the lament of the lone human being. The bass line is one long drone throughout the piece, representing destiny or unwanted reality. It disappears only when the solo voice with the chorus of violins and violas intensifies in their disagreement with life. At the climax of the piece the solo voice is momentarily swallowed by the chorus, only to return with an angry statement of the opening phrase. Thereafter the chorus calms down in acceptance that the world won't change. The bass drone returns to haunt the dying lament of the lone voice. The very last phrase is the only one in a major key and echoes as a prayer for hope. Duration c. 9 minutes. Score (all three versions), separate solo parts for violoncello / viola / violin and orchestral parts (33221). $71.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Royal Coronation Dances Concert band [Score and Parts] - Easy Manhattan Beach Music
Concert band - Grade 3 SKU: MH.1-59913-054-8 Composed by Bob Margolis. Su...(+)
Concert band - Grade 3 SKU: MH.1-59913-054-8 Composed by Bob Margolis. Suitable for advanced middle school, high school, community and college bands. Conductor score and set of parts. Duration 4:45. Published by Manhattan Beach Music (MH.1-59913-054-8). ISBN 9781599130545. Royal Coronation Dances is the first sequel to the Fanfare Ode & Festival, both being settings of dance music originally arranged by Gervaise in the mid 16th-century (the next sequel is The Renaissance Fair, which uses music of Susato and Praetorius). Fanfare Ode & Festival has been performed by many tens of thousands of students, both in high school and junior high school. I have heard that some of them are amazed that the music they are playing was first played and danced to over 400 years ago. Some students tend to think that music started with Handel and his Messiah to be followed by Beethoven and his Fifth Symphony, with naught in between or before of consequence. Although Royal Coronation Dances is derived from the same source as Fanfare Ode & Festival, they are treated in different ways. I envisioned this new suite programmatically -- hence the descriptive movement titles, which I imagined to be various dances actually used at some long-ago coronation. The first movement depicts the guests, both noble and common, flanked by flag and banner bearers, arriving at the palace to view the majestic event. They are festive, their flags swirling the air, their cloaks brightly colored. In the second movement, the queen in stately measure moves to take her place on the throne as leader and protector of the realm. In the third movement, the jesters of the court entertain the guests with wild games of sport. Musically, there are interesting sonorities to recreate. Very special attention should be given to the tambourine/tenor drum part in the first movement. Their lively rhythms give the movement its power. Therefore they should be played as distinctly and brilliantly as possible. The xylophone and glockenspiel add clarity, but must not be allowed to dominate. Observe especially the differing dynamics; the intent is to allow much buzzing bass to penetrate. The small drum (starting at meas. 29) should be played expressively, with attention to the notated articulations, with the brass light and detached, especially in a lively auditorium. It is of some further interest that the first dance is extremely modal. The original is clearly in G mixolydian mode (scale: G-A-B-C-D-E-F-G). However, other editors might put in F-sharps in many places (changing the piece almost to G major), in the belief that such ficta would have been automatically put in by the 16th-century performers as they played. I doubt it. I have not only eschewed these within the work, but even at the cadences. So this arrangement is most distinctly modal (listen to the F-naturals in meas. 22 and 23, for instance), with all the part-writing as Gervaise wrote it. In the second movement, be careful that things do not become too glued together. In the 16th century this music might have been played by a consort of recorders, instruments very light of touch and sensitive to articulation. Concert band can easily sound heavy, and although this movement has been scored for tutti band, it must not sound it. It is essential, therefore, that you hear all the instruments, with none predominating. Only when each timbre can be heard separately and simultaneously will the best blend occur, and consequently the greatest transparency. So aim for a transparent, spacious tutti sound in this movement. Especially have the flutes, who do this so well, articulate rather sharply, so as to produce a chiffing sound, and do not allow the quarter-notes to become too tied together in the entire band. The entrance of the drums (first tenor, then bass) are events and as such should be audible. Incidentally, this movement begins in F Major and ends in D Minor: They really didn't care so much about those things then. The third movement (one friend has remarked that it is the most Margolisian of the bunch, but actually I am just getting subtler, I hope) again relies upon the percussion (and the scoring) to make its points. Xylophone in this movement is meant to be distinctly audible. Therefore, be especially sure that the xylophone player is secure in the part, and also that the tambourine and toms sound good. This movement must fly or it will sink, so rev up the band and conduct it in 1 for this mixolydian jesting. I suppose the wildly unrelated keys (clarinets and then brass at the end) would be a good 16th-century joke, but to us, our put-up-the-chorus-a-half-step ears readily accept such shenanigans. Ensemble instrumentation: 1 Full Score, 1 Piccolo, 4 Flute 1, 4 Flute 2 & 3, 2 Oboe 1 & 2, 2 Bassoon 1 & 2, 1 Eb Clarinet, 4 Bb Clarinet 1, 4 Bb Clarinet 2, 4 Bb Clarinet 3, 2 Eb Alto Clarinet, 1 Eb Contra Alto Clarinet, 3 Bb Bass & Bb Contrabass Clarinet, 2 Eb Alto Saxophone 1, 2 Eb Alto Saxophone 2, 2 Bb Tenor Saxophone, 2 Eb Baritone Saxophone, 3 Bb Trumpet 1, 3 Bb Trumpet 2, 3 Bb Trumpet 3, 4 Horn in F 1 & 2, 2 Trombone 1, 4 Trombone 2 & 3, 3 Euphonium (B.C.), 2 Euphonium (T.C.), 4 Tuba, 1 String Bass, 1 Timpani (optional), 2 Xylophone & Glockenspiel, 5 Percussion. $95.00 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Ruders Listening Earth Score Book Orchestra [Score] Wilhelm Hansen
Orchestra SKU: HL.14027993 Composed by Poul Ruders. Music Sales America. ...(+)
Orchestra SKU: HL.14027993 Composed by Poul Ruders. Music Sales America. Classical. Score. Composed 2006. 164 pages. Edition Wilhelm Hansen #WH30602. Published by Edition Wilhelm Hansen (HL.14027993). ISBN 9788759811832. English. Premiered at the festival 'Magma Berlin 2002' by the Berlin Philharmonic Orchestra, conducted by David Robertson, 29th November 2002.
3 Flutes, 1st and 2nd also Alto Flutes in G, 3rd also Piccolo 3 Oboes, 3rd also Cor Anglais in F 3 Clarinets in Bb, 3rd also Bass Clarinet in Bb 3 Bassoons, 3rd also Contra Bassoon
4 Horn in F 3 Trumpets in Bb 3 Trombones 1 Tuba
Timpani
4 Percussion, four players Player 1 - Vibraphone, Glockenspiel, Water Chime, Bell Tree, Japanese Wood Blocks, Cymbal (Suspended), TamTam (Medium) Player 2 - Triangle, Tubular Bells, Crotales, Marimba, Chinese Cymbal Player 3 - TamTam (Large), Java Gong(Large, very low), Bell Lyra (Handheld), Sizzle Cymbal Player 4 - Bass Drum, Glockenspiel, Xylophone
1 Harp
1 Piano, also Celesta
Strings - 16/14/12/10/8
All transposing instruments are notated in their relevant transpositions. Any accidental apply only to the note that it immediately precedes, except tied notes. Naturals appear occasionally 'for safety'.
'LISTENING EARTH' is a symphonic drama, a one- movement composition in four parts based on the work by two writers, Joseph Addison (1672-1719) and W.H.Auden (1907-1973). Joseph Addison is not particularly well known; he was English, a classical scholar, essayist, poet and politician, but one of his hymns was used by Benjamin Britten. in his setting of a Thomas Tallis canon. The hymn is singularly beautiful and being a composer always inspired by extramusical stimuli such as poems, nature, paintings, I was immediately convinced when I carne across the Addison hymn, that here was exactly what I wanted to use as my major source of inspiration for this piece, commissioned by and written for The Berlin Philharmonic. I don't refer to the hymn in its entirety, but have chosen the following 3 excerpts, all acting as mottos for the first three sections of the piece, thus turning the piece into a straightforward tonepoem in the classical. $131.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Beautiful Music For Two String Instruments, Book 2 (Two Violas) 2 Violas (duet) [Sheet music] Belwin
Arranged by Samuel Applebaum. Collection for 2 violas. With standard duet notati...(+)
Arranged by Samuel Applebaum. Collection for 2 violas. With standard duet notation, bowings and fingerings. 31 pages. Published by Belwin.
(1)$8.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Deck the Hall - Easy Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Cello, Clarinet, Crash Cymbals, E...(+)
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Cello, Clarinet, Crash Cymbals, Euphonium, Euphonium T.C., Flute, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Sleigh Bells, Snare Drum, String Bass, Timpani, Trombone, Trumpet, Tuba, Viola and more. - Grade 2.5 SKU: CF.XPS16 Composed by Lauren Taylor. Xps. Set of Score and Parts. 20+4+8+4+2+4+2+3+2+4+2+2+5+2+4+1+2+4+4+1+2 pages. Carl Fischer Music #XPS16. Published by Carl Fischer Music (CF.XPS16). ISBN 9781491161456. UPC: 680160920082. Written to introduce students to contemporary harmonies with a familiar melody, the old favorite Deck the Hall is presented in a new way with this arrangement. Including a fanfare-like ostinato and modern harmonic structures combined with the traditional melody, this is an opportunity to teach contemporary interpretations and techniques within a fun holiday selection. Performers should focus on listening across the ensemble in order to understand where their part is functioning within the overall harmony. The flexible instrumentation of this arrangement also makes it suitable for many ensembles, regardless of any instrumentation limitations. $65.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Audio Mixing Boot Camp Alfred Publishing
(Hands-On Basic Training for Musicians). Composed by Bobby Owsinski. Book; Books...(+)
(Hands-On Basic Training for Musicians). Composed by Bobby Owsinski. Book; Books and DVDs; DVD; Method/Instruction; Pro Audio; Pro Audio Textbook; Reference Textbooks. Boot Camp. 160 pages. Published by Alfred Music
$29.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Chamber Suite String Orchestra [Score] Subito Music
String Orchestra SKU: SU.29120050 For String Orchestra. Composed b...(+)
String Orchestra SKU: SU.29120050 For String Orchestra. Composed by Todd Mason. Full Score. Subito Music Corporation #29120050. Published by Subito Music Corporation (SU.29120050). Chamber Suite, for string orchestra, is an adaptation of Mason’s 2nd String Quartet. The addition of the double bass adds more harmonic richness in all the movements and is particularly apparent in the lush 2nd movement. Chamber Suite offers string orchestras rhythmic and technical challenges but with a very accessible language. This is music that appeals to wide range of audiences with its energy and unique, coherent musical language of its own. It keeps the listener’s interest right to the end. The 1st movement engages from the opening bar with fast paced, off kilter 7/8 tutti rhythms and sharp-edged harmonies. This is a kind of musical caffeine living between tonal and polytonalism with rich, sliding chords and a haunting middle section reminiscent of Armenian folks tunes. The 2nd movement offers emotional storytelling with clear tonality but with moments of more complex stacked harmonies and tension. The 3rd movement is lively with raw energy. Voices are rapidly interchanged in a dance of weaving motivic development until the satisfying rush of notes to the end.string orchestra Duration: 15' Composed: 2020 Published by: Todd Mason Performance materials available on rental:. $28.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Compatible String Ensembles: Easy Concert Duets (Bass) Carl Fischer
Chamber Music Double Bass SKU: CF.BF157 30 Easy Level Arrangements for...(+)
Chamber Music Double Bass SKU: CF.BF157 30 Easy Level Arrangements for Any Combination of String Instruments. Composed by Antonin Dvorak, Clara Wieck-Schumann, Czech Folk Song, Edvard Grieg, French Folk Song, George Frideric Handel, Isabella Leonarda, Korean Folksong, Lowell Mason, Scottish Folk Song, Spanish Folk, Thomas Bayly, Traditional, Wolfgang Amadeus Mozart, and etc. Arranged by Kathryn Griesinger. Collection - Part. 28 pages. Carl Fischer Music #BF157. Published by Carl Fischer Music (CF.BF157). ISBN 9781491162095. UPC: 680160920839. Learning to play chamber music is an important milestone in the music student’s journey. Playing with a teacher or friend helps develop rhythmic independence, intonation, listening skills, and sense of pulse that are vital to playing in an ensemble. These progressive duets offer beginning and developing players the opportunity to play along with others, or with the helpful support of the teacher in a lesson. Each duet adds new techniques and challenges that align with the natural advancement of lessons, moving from easy rhythms and keys to staccato bow strokes, slurs, accidentals (low or extended finger patterns), and more complex or independent rhythms. While the melody remains in the top line, musicians can alternate playing the melody as all efforts have been made to keep both parts at a similar difficulty level. This book features familiar melodies from traditional, folk, and Classical repertoire including tunes that many string teachers will recognize from Suzuki books. Appropriate for recitals or even small group concerts, there are 30 selections of different tempi, styles, and keys for variety, while remaining in string-friendly ranges. Each duet is one page or less in length, ensuring an immediate sense of success for young players. The perfect supplement to method book exercises and solo repertoire. $12.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Compatible String Ensembles: Easy Holiday Duets (Bass) Carl Fischer
Chamber Music Double Bass SKU: CF.BF153 30 Easy Level Arrangements for...(+)
Chamber Music Double Bass SKU: CF.BF153 30 Easy Level Arrangements for Any Combination of String Instruments. Composed by Benjamin Hanby, Bernard de la Monnoye, Felix Bartholdy Mendelssohn, Franz Xaver Gruber, French carol, James Murray, James Pierpont, John Henry Hopkins, John Neale, John Wade, John Wesley Work, III, Lowell Mason, Melchior Franck, Mykola Leontovich, S. Goldfarb, Spanish Carol, and etc. Arranged by Kathryn Griesinger. Collection - Part. 28 pages. Carl Fischer Music #BF153. Published by Carl Fischer Music (CF.BF153). ISBN 9781491162132. UPC: 680160920877. Learning to play chamber music is an important milestone in the music student’s journey. Playing with a teacher or friend helps develop rhythmic independence, intonation, listening skills, and sense of pulse that are vital to playing in an ensemble. These progressive duets offer beginning and developing players the opportunity to play along with others, or with the helpful support of the teacher in a lesson. Each duet adds new techniques and challenges that align with the natural advancement of lessons, moving from easy rhythms and keys to staccato bow strokes, slurs, accidentals (low or extended finger patterns), and more complex or independent rhythms. While the melody remains in the top line, musicians can alternate playing the melody as all efforts have been made to keep both parts at a similar difficulty level. This book features familiar melodies for the holidays, including sacred and secular Christmas songs, music for Hanukkah, and folk tunes from many countries. Appropriate for caroling, recitals, or chamber holiday concerts, there are 30 festive selections of different tempi, styles, and keys for variety, while remaining in string-friendly ranges. Each duet is one page or less in length, ensuring an immediate sense of success for young players. Put new skills into practice while celebrating the season. $12.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Le Printemps [Score] - Easy Carl Fischer
Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade ...(+)
Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade 2 SKU: CF.YAS178F Composed by Ruth Elaine Schram. Young String Orchestra (YAS). Full score. With Standard notation. 8 pages. Carl Fischer Music #YAS178F. Published by Carl Fischer Music (CF.YAS178F). ISBN 9781491151808. UPC: 680160909308. 9 x 12 inches. The title of this piece,?Le Printemps,?is French for the springtime. This piece brings images of springtime to the listener's mind. ?The rhythmic pattern that begins in the bass and works its way up to the violins illustrates the patter of raindrops or of flowers bursting into bloom. The beautiful melodies in the piece engage players and audiences. The title Le Printemps is French for the springtime. This piece is meant to bring images of springtime to the listeners mind. The rhythmic pattern that begins in the bass and works its way up through the sections to the violins could be the patter of raindrops, or indicative of flowers pushing their way up through the ground and bursting into bloom. All the instruments that have the staccato notes are the backup; the instruments who have the slurred notes are playing the melody in these sections and should bring the melody out a little bit. The middle section is a little softer (mp) and more legato, and could bring to mind a lovely, warm breeze that is gently moving across the new, green grass and the budding leaves of the trees. It should be played with tenderness and feeling, paying careful attention to the crescendo in mm. 2528, building up to the mf. In m. 34, make the most of the poco rall. as you prepare to reiterate the staccato portion that begins again in m. 35. Again, the moving parts here with the slurs have the melody and should not be overwhelmed by the staccato instruments. At m. 55 should begin to build slightly into the crescendo at m. 57 and really build that up through beat 3 of m. 58. At m. 59, be suddenly very soft to begin the final ascent into the climactic ending. Build steadily through the last four measures and give a good solid bowing of your last note. Enjoy Le Printemps!. The title Le PrintempsA is French for athe springtime.a This piece is meant to bring images of springtime to the listeneras mind. A The rhythmic pattern that begins in the bass and works its way up through the sections to the violins could be the patter of raindrops, or indicative of flowers pushing their way up through the ground and bursting into bloom. All the instruments that have the staccato notes are the backup; the instruments who have the slurred notes are playing the melody in these sections and should bring the melody out a little bit. The middle section is a little softer (mp) and more legato, and could bring to mind a lovely, warm breeze that is gently moving across the new, green grass and the budding leaves of the trees. It should be played with tenderness and feeling, paying careful attention to the crescendo in mm. 25a28, building up to the mf. In m. 34, make the most of the poco rall. as you prepare to reiterate the staccato portion that begins again in m. 35. Again, the moving parts here with the slurs have the melody and should not be overwhelmed by the staccato instruments. At m. 55 should begin to build slightly into the crescendo at m. 57 and really build that up through beat 3 of m. 58. At m. 59, be suddenly very soft to begin the final ascent into the climactic ending. Build steadily through the last four measures and give a good solid bowing of your last note. A Enjoy Le Printemps!. The title Le Printemps is French for the springtime. This piece is meant to bring images of springtime to the listener's mind. The rhythmic pattern that begins in the bass and works its way up through the sections to the violins could be the patter of raindrops, or indicative of flowers pushing their way up through the ground and bursting into bloom. All the instruments that have the staccato notes are the backup; the instruments who have the slurred notes are playing the melody in these sections and should bring the melody out a little bit. The middle section is a little softer (mp) and more legato, and could bring to mind a lovely, warm breeze that is gently moving across the new, green grass and the budding leaves of the trees. It should be played with tenderness and feeling, paying careful attention to the crescendo in mm. 25-28, building up to the mf. In m. 34, make the most of the poco rall. as you prepare to reiterate the staccato portion that begins again in m. 35. Again, the moving parts here with the slurs have the melody and should not be overwhelmed by the staccato instruments. At m. 55 should begin to build slightly into the crescendo at m. 57 and really build that up through beat 3 of m. 58. At m. 59, be suddenly very soft to begin the final ascent into the climactic ending. Build steadily through the last four measures and give a good solid bowing of your last note. Enjoy Le Printemps!. The title Le Printemps is French for the springtime. This piece is meant to bring images of springtime to the listener's mind. The rhythmic pattern that begins in the bass and works its way up through the sections to the violins could be the patter of raindrops, or indicative of flowers pushing their way up through the ground and bursting into bloom. All the instruments that have the staccato notes are the backup; the instruments who have the slurred notes are playing the melody in these sections and should bring the melody out a little bit. The middle section is a little softer (mp) and more legato, and could bring to mind a lovely, warm breeze that is gently moving across the new, green grass and the budding leaves of the trees. It should be played with tenderness and feeling, paying careful attention to the crescendo in mm. 25-28, building up to the mf. In m. 34, make the most of the poco rall. as you prepare to reiterate the staccato portion that begins again in m. 35. Again, the moving parts here with the slurs have the melody and should not be overwhelmed by the staccato instruments. At m. 55 should begin to build slightly into the crescendo at m. 57 and really build that up through beat 3 of m. 58. At m. 59, be suddenly very soft to begin the final ascent into the climactic ending. Build steadily through the last four measures and give a good solid bowing of your last note. Enjoy Le Printemps!. The title Le Printemps is French for “the springtime.†This piece is meant to bring images of springtime to the listener’s mind.  The rhythmic pattern that begins in the bass and works its way up through the sections to the violins could be the patter of raindrops, or indicative of flowers pushing their way up through the ground and bursting into bloom. All the instruments that have the staccato notes are the backup; the instruments who have the slurred notes are playing the melody in these sections and should bring the melody out a little bit.The middle section is a little softer (mp) and more legato, and could bring to mind a lovely, warm breeze that is gently moving across the new, green grass and the budding leaves of the trees. It should be played with tenderness and feeling, paying careful attention to the crescendo in mm. 25–28, building up to the mf. In m. 34, make the most of the poco rall. as you prepare to reiterate the staccato portion that begins again in m. 35. Again, the moving parts here with the slurs have the melody and should not be overwhelmed by the staccato instruments.At m. 55 should begin to build slightly into the crescendo at m. 57 and really build that up through beat 3 of m. 58. At m. 59, be suddenly very soft to begin the final ascent into the climactic ending. Build steadily through the last four measures and give a good solid bowing of your last note.  Enjoy Le Printemps! $8.50 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Le Printemps - Easy Carl Fischer
Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade ...(+)
Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade 2 SKU: CF.YAS178 Springtime. Composed by Ruth Elaine Schram. Young String Orchestra. Set of Score and Parts. With Standard notation. 8+8+2+5+5+5+2+8 pages. Duration 2 minutes, 16 seconds. Carl Fischer Music #YAS178. Published by Carl Fischer Music (CF.YAS178). ISBN 9781491151433. UPC: 680160908936. 9 x 12 inches. Key: D major. The title of this piece,?Le Printemps,?is French for the springtime. This piece brings images of springtime to the listener's mind. ?The rhythmic pattern that begins in the bass and works its way up to the violins illustrates the patter of raindrops or of flowers bursting into bloom. The beautiful melodies in the piece engage players and audiences. The title Le Printemps is French for the springtime. This piece is meant to bring images of springtime to the listeners mind. The rhythmic pattern that begins in the bass and works its way up through the sections to the violins could be the patter of raindrops, or indicative of flowers pushing their way up through the ground and bursting into bloom. All the instruments that have the staccato notes are the backup; the instruments who have the slurred notes are playing the melody in these sections and should bring the melody out a little bit. The middle section is a little softer (mp) and more legato, and could bring to mind a lovely, warm breeze that is gently moving across the new, green grass and the budding leaves of the trees. It should be played with tenderness and feeling, paying careful attention to the crescendo in mm. 2528, building up to the mf. In m. 34, make the most of the poco rall. as you prepare to reiterate the staccato portion that begins again in m. 35. Again, the moving parts here with the slurs have the melody and should not be overwhelmed by the staccato instruments. At m. 55 should begin to build slightly into the crescendo at m. 57 and really build that up through beat 3 of m. 58. At m. 59, be suddenly very soft to begin the final ascent into the climactic ending. Build steadily through the last four measures and give a good solid bowing of your last note. Enjoy Le Printemps!. The title Le PrintempsA is French for athe springtime.a This piece is meant to bring images of springtime to the listeneras mind. A The rhythmic pattern that begins in the bass and works its way up through the sections to the violins could be the patter of raindrops, or indicative of flowers pushing their way up through the ground and bursting into bloom. All the instruments that have the staccato notes are the backup; the instruments who have the slurred notes are playing the melody in these sections and should bring the melody out a little bit. The middle section is a little softer (mp) and more legato, and could bring to mind a lovely, warm breeze that is gently moving across the new, green grass and the budding leaves of the trees. It should be played with tenderness and feeling, paying careful attention to the crescendo in mm. 25a28, building up to the mf. In m. 34, make the most of the poco rall. as you prepare to reiterate the staccato portion that begins again in m. 35. Again, the moving parts here with the slurs have the melody and should not be overwhelmed by the staccato instruments. At m. 55 should begin to build slightly into the crescendo at m. 57 and really build that up through beat 3 of m. 58. At m. 59, be suddenly very soft to begin the final ascent into the climactic ending. Build steadily through the last four measures and give a good solid bowing of your last note. A Enjoy Le Printemps!. The title Le Printemps is French for the springtime. This piece is meant to bring images of springtime to the listener's mind. The rhythmic pattern that begins in the bass and works its way up through the sections to the violins could be the patter of raindrops, or indicative of flowers pushing their way up through the ground and bursting into bloom. All the instruments that have the staccato notes are the backup; the instruments who have the slurred notes are playing the melody in these sections and should bring the melody out a little bit. The middle section is a little softer (mp) and more legato, and could bring to mind a lovely, warm breeze that is gently moving across the new, green grass and the budding leaves of the trees. It should be played with tenderness and feeling, paying careful attention to the crescendo in mm. 25-28, building up to the mf. In m. 34, make the most of the poco rall. as you prepare to reiterate the staccato portion that begins again in m. 35. Again, the moving parts here with the slurs have the melody and should not be overwhelmed by the staccato instruments. At m. 55 should begin to build slightly into the crescendo at m. 57 and really build that up through beat 3 of m. 58. At m. 59, be suddenly very soft to begin the final ascent into the climactic ending. Build steadily through the last four measures and give a good solid bowing of your last note. Enjoy Le Printemps!. The title Le Printemps is French for the springtime. This piece is meant to bring images of springtime to the listener's mind. The rhythmic pattern that begins in the bass and works its way up through the sections to the violins could be the patter of raindrops, or indicative of flowers pushing their way up through the ground and bursting into bloom. All the instruments that have the staccato notes are the backup; the instruments who have the slurred notes are playing the melody in these sections and should bring the melody out a little bit. The middle section is a little softer (mp) and more legato, and could bring to mind a lovely, warm breeze that is gently moving across the new, green grass and the budding leaves of the trees. It should be played with tenderness and feeling, paying careful attention to the crescendo in mm. 25-28, building up to the mf. In m. 34, make the most of the poco rall. as you prepare to reiterate the staccato portion that begins again in m. 35. Again, the moving parts here with the slurs have the melody and should not be overwhelmed by the staccato instruments. At m. 55 should begin to build slightly into the crescendo at m. 57 and really build that up through beat 3 of m. 58. At m. 59, be suddenly very soft to begin the final ascent into the climactic ending. Build steadily through the last four measures and give a good solid bowing of your last note. Enjoy Le Printemps!. The title Le Printemps is French for “the springtime.†This piece is meant to bring images of springtime to the listener’s mind.  The rhythmic pattern that begins in the bass and works its way up through the sections to the violins could be the patter of raindrops, or indicative of flowers pushing their way up through the ground and bursting into bloom. All the instruments that have the staccato notes are the backup; the instruments who have the slurred notes are playing the melody in these sections and should bring the melody out a little bit.The middle section is a little softer (mp) and more legato, and could bring to mind a lovely, warm breeze that is gently moving across the new, green grass and the budding leaves of the trees. It should be played with tenderness and feeling, paying careful attention to the crescendo in mm. 25–28, building up to the mf. In m. 34, make the most of the poco rall. as you prepare to reiterate the staccato portion that begins again in m. 35. Again, the moving parts here with the slurs have the melody and should not be overwhelmed by the staccato instruments.At m. 55 should begin to build slightly into the crescendo at m. 57 and really build that up through beat 3 of m. 58. At m. 59, be suddenly very soft to begin the final ascent into the climactic ending. Build steadily through the last four measures and give a good solid bowing of your last note.  Enjoy Le Printemps! $55.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| God So Loved Hope Publishing Company
Value Pack (10 listening CDs) SKU: HP.9167 Composed by Pepper Choplin. Va...(+)
Value Pack (10 listening CDs) SKU: HP.9167 Composed by Pepper Choplin. Value pack (10 listening CDs). Hope Publishing Company #9167. Published by Hope Publishing Company (HP.9167). UPC: 763628191672. Pepper Choplin. Easter Cantata Beginning with John 3:16, this musical tells the remarkable Passion story. The theme of God's love is highlighted in every step of Jesus' journey to the cross. With a light contemporary feel in the rhythm and harmony, the music is full of memorable melodies with a dramatic flair. From the rhythmic call of Hosanna, God Save Us to the reassuring, Remember I Am There to the dramatic one note melody of They Came to Arrest Him, this work will provide a moving experience for any service during Holy Week. The choir parts are carefully crafted and choir-tested, ensuring that your singers will perform with confidence. Four of the pieces may serve as Sunday anthems as the larger work is being prepared. Accompaniment can be provided by piano, or a small ensemble of eleven instruments arranged by Ed Hogan. Performance time is 39-minutes.
Instrumental Parts include: Conductor's Score, Flute, Clarinet, Trumpet, French Horn (opt. Alto Sax), Trombone (opt. Baritone T.C. or Tenor Sax), Drums, Piano, Electric Bass, 2 Violins (opt. Viola), Cello & String Reduction. $79.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 business days | | |
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