| Jazz Classics (Instrumental Play-Along for Tenor Sax) Tenor Saxophone [Sheet music + Audio access] Hal Leonard
Instrumental Play-Along for Tenor Sax. By Various. Instrumental Play-Along. S...(+)
Instrumental Play-Along for
Tenor Sax. By Various.
Instrumental Play-Along.
Softcover Audio Online. 24
pages. Published by Hal
Leonard
$12.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| 25 Great Sax Solos
Saxophone [Sheet music + Audio access] Hal Leonard
Transcriptions * Lessons * Bios * Photos. Sax Instruction. RandB, Instruction, J...(+)
Transcriptions * Lessons * Bios * Photos. Sax Instruction. RandB, Instruction, Jazz, Pop, Rock. Softcover Audio Online. 88 pages. Published by Hal Leonard
(6)$24.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Jazz Tenor Sax Tunes, Grade 3 Tenor Saxophone - Intermediate ABRSM Publishing
By ABRSM. For tenor saxophone, piano cd. Published by ABRSM (Associated Board of...(+)
By ABRSM. For tenor saxophone, piano cd. Published by ABRSM (Associated Board of the Royal Schools of Music).
$32.99 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Jazz Tenor Sax Tunes (Tenor Sax) Tenor saxophone [Sheet music + CD] - Intermediate ABRSM Publishing
Level/Grade 3. ABRSM JAZZ. Size 9x12 inches. 24 pages. Published by ABRSM Publis...(+)
Level/Grade 3. ABRSM JAZZ. Size 9x12 inches. 24 pages. Published by ABRSM Publishing.
$24.95 - See more - Buy onlinePre-shipment lead time: 3 to 5 business days | | |
| Discovery Jazz Collection - Tenor Sax 2 Tenor Saxophone Hal Leonard | | |
| Discovery Jazz Collection - Tenor Sax 1 Tenor Saxophone Hal Leonard | | |
| Do-It-Yourself Tenor Sax Tenor Saxophone [Sheet music + Audio access] - Beginner Hal Leonard
The Best Step-by-Step Guide to Start Playing. Do It Yourself. Instruction, Met...(+)
The Best Step-by-Step Guide to
Start Playing. Do It Yourself.
Instruction, Method. Softcover
Media Online. 128 pages.
Published by Hal Leonard
$24.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Psalm 85: Your Mercy Like Rain - Instrument |Soprano saxophone|violin|flute|cello|saxophon e|viola|sax| [Part] - Easy GIA Publications
By Rory Cooney. For String Quartet (2 Violins, Viola, Cello), Flute, Soprano Sax...(+)
By Rory Cooney. For String Quartet (2 Violins, Viola, Cello), Flute, Soprano Saxophone. Instrumental. Chamber Music Sacred. Level: Easy. 12 pages. Published by GIA Publications.
$17.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Mercy, Mercy, Mercy Jazz Ensemble [Score and Parts] Jalen Publishing
Arranged by Dallas Burke. For jazz band. Jalen Jazz Band. Jazz rock / pop / big ...(+)
Arranged by Dallas Burke. For jazz band. Jalen Jazz Band. Jazz rock / pop / big band standards. Medium easy. Score and set of parts. Published by Jalen Publishing
$65.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Discovery Jazz Collection - Baritone Sax Hal Leonard | | |
| Classic Jazz For Saxophone Music Sales | | |
| The Mass of Saint Augustine (A Gospel Mass) GIA Publications
By Leon C. Roberts. For Instruments: String quartet (2 violins, viola, cello), t...(+)
By Leon C. Roberts. For Instruments: String quartet (2 violins, viola, cello), tenor saxophone, trumpet, trombone (instruments optional). Mass; Choral Sacred. Published by GIA Publications.
$4.50 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Sixteen Chorales Concert band - Intermediate/advanced Schirmer
Eb Baritone Saxophone Part. By Johann Sebastian Bach. Arranged by Mayhew Lake. H...(+)
Eb Baritone Saxophone Part. By Johann Sebastian Bach. Arranged by Mayhew Lake. Hal Leonard Concert Band Series. Grade 4. Size 9x12 inches. 8 pages. Published by G. Schirmer, Inc.
$4.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Psalm 85: Your Mercy, Like Rain - Easy GIA Publications
By Rory Cooney. For Voices: SATB, assembly. Instruments: Flute, B soprano saxoph...(+)
By Rory Cooney. For Voices: SATB, assembly. Instruments: Flute, B soprano saxophone (or alternate C instrument), string quartet ( 1 ea.?). Keyboard accompaniment. Celebration Series Sacred. Level: easy. 12 pages. Published by GIA Publications.
$1.75 $1.6625 (5% off) See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Best Fake Book Ever - 5th Edition C Instruments [Fake Book] Hal Leonard
C Edition. Composed by Various. Fake Book. Broadway, Country, Jazz, Pop, Stand...(+)
C Edition. Composed by
Various. Fake Book. Broadway,
Country, Jazz, Pop, Standards.
Softcover. 802 pages.
Published by Hal Leonard
$49.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Ultimate Country Fake Book - 4th Edition
Fake Book [Fake Book] Hal Leonard
Fake Book (Includes melody line and chords). Size 9x12 inches. 568 pages. Publis...(+)
Fake Book (Includes melody line and chords). Size 9x12 inches. 568 pages. Published by Hal Leonard.
(8)$55.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Flexible Communion Music for Piano Piano solo Lorenz Publishing Company
By Hugh Livingston. Piano. Level: Moderately easy. Sacred Piano. Published by Lo...(+)
By Hugh Livingston. Piano. Level: Moderately easy. Sacred Piano. Published by Lorenz Publishing Company.
$26.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| tellement froid que Carus Verlag
Bass Flute, Electronics, Scene SKU: CA.1631000 (georgiques I), fur bas...(+)
Bass Flute, Electronics, Scene SKU: CA.1631000 (georgiques I), fur bass flute and live electronics. Composed by Walter Feldmann. This edition: Paperbound. (r)TELLEMENT FROID QUE- (GEORGIQUES I). Full score. Composed 1995-96. 66 pages. Duration 20 minutes. Carus Verlag #CV 16.310/00. Published by Carus Verlag (CA.1631000). ISBN 9790007242800. Language: all languages. 1989. Stay in Aix-en-Provence, France, doing a language course. Reading, discussing and analyzing Les Georgiques; this pursuit is going to be the foundation of the multiple intellectual and literary levels of my composing. 2. THE WOODEN PLATFORM IS COVERED WITH FINE WHITE SAND (OR SALT), THE TWO SHELVES WITH BLACK CLOTH ... At the time I work on my first serious piece, still a far cry from the under-standing of writing music I have today. << tellement froid que >> (georgiques I) for bass flute, electronics and scene (1995-96), sections 1-7. << comme si le froid >> (georgiques II) for baritone saxophone, timpani and piano (1998), sections 18-24. << n'etait le froid >> (georgiques III) for orchestra (2000-2002), sections not yet decided. 3. THE INTERPRETER WILL BE DRESSED IN BLACK AND WHITE, MAINLY WHITE IF BLUISH LIGHT IS AT HAND ... The enormously rich vocabulary and the accuracy of expression - in temporal, spatial and material terms - is particularly impressive. To comprehend all of it, a reading on three different levels is called for: a first reading of one passage, then the acquisition of unknown vocabulary; thirdly a repeated - knowing - reading, which points out the utopia of precise expression: The text is treated in a rather problematic (cold: le froid?) manner: it's not the semantic content that is primarily dominant, but rather the outward appearance, the mise en page and the syntactic structure. 4. THE INTERPRETER ENTERS THE STAGE WITH ALL THE FLUTES (S)HE WILL PLAY DURING THE CONCERT AND DEPOSITS THEM - EXCEPT FOR THE BASS FLUTE - ON SHELF B; IF (S)HE ONLY PLAYS THIS PIECE, (S)HE SHOULD PUT THE PROGRAMME OF THE CONCERT THERE; IN ANY CASE THE INSTRUCTIONS IN BAR 195 MUST BE FOLLOWED ... In concrete terms the 10 centimetres of a line in the minuit edition correspond to 10 seconds of musical structure (which is three times as slow as the average reading speed). Only seven years later is the term / expression casse ferique changed into casse ferrique, and thus its secret is revealed, which almost becomes - due to its unreadability - the key to the planned musical cycle. The text is measured from section to section (big format: each section is marked with a continuous, ,,cold chord by the bass flute, played on tape recorder), from full stop to full stop (new entry of keynote material), from comma to comma (tripling of continuous resonances) etc. 5. DURING THE PERFORMANCE UP TO BAR 195, THE INTERPRETER WILL TRY - IN A KIND OF THEATRICAL ADAPTATION - TO EXPRESS HIS/HER OWN FEELING OF IRREPRESSIBLY GROWING FRUSTRATION; FROM BAR 195 ONWARDS (S)HE WILL DEFINITELY HAVE PUT UP WITH THE BASS FLUTE ... Brackets in the text bring about a reduction of sound (the differentiating micro tones are no longer used), the syntactical progression to subordinate clauses of the remotest degree has its immediate effect on dynamics (degree of volume). Then: the perception of a logical and yet erratic syntax, vastly progressive layers of subordinate clauses and brackets (lowering tone of voice?), a polyphony of ,,memoire, which leads to a maelstrom of attention, a tonally centric / concentrated (main material?) and progressive (subordinate and brackets-material?) reading, listening and proceeding. The different levels are constantly in touch - transferring the sensuous moment of scenes of bodily encounter (Tryptique) that are evoked again and again - in perpetual excitement of text and imagination, memory and remembering sensitivity. 6. THE BODY MOVEMENTS AND FIXATION (FIGE) , BOTH CLEARLY PERCEPTIBLE, WILL EVOKE AND SUPPORT THE SAME EMOTIONS ... The basic moods of the text will be reflected in the relationship (which is very important here) of the interpreter to the music; (s)he is somehow at the mercy of given (and not always transparent) structures on the one hand and the complexity of musical sensations on the other, which has to be defeated inspite of exhaustion. It's not only here that semantic agreement (besides the materialistic structure) of music and text can be felt: On top of that there's the existential helplessness in view of the mercilessly flowing polyphony of levels and events -- as a mirror of this there are the remembered scenes of the Flemish cold in the second chapter (Les Georgiques). The interpreters are confronted with unusual directions which correspond to the adjectives in the respective passages of the text: anachronique, engourdi, glace et acre, monotone et desert etc. The possibilities of interpretation are amplified, the ability to perceive and personal reaction is opened. The impression of this inexorability is multiplied in the extremest way by the fact that the particular layers can be found in Simon's complete works. It's a continuous work of art in which each novel turns into a chapter of a complex, cyclic whole; its title denoting only one main strand, as it were. A personal comment is made also as regards the clearly defined stage; the mise en scene points out the extra-musical elements and the correlation between text, human being and music. 7. THE INTERPRETER IS ASKED TO MOVE FREELY WITHIN A DEFINED SPOT WITHOUT LOOKING ARTIFICIAL; SOUNDS CAUSED BY THE FEET MOVING ON THE SAND ARE WELCOME DURING THE WHOLE PIECE ... And here the idea of a cycle is born, an attempt to transfer these nuances of memorized structures, this clarity and coldness, to transform the text into musical material. Walter Feldmann. $45.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
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