| Flying V, Explorer, Firebird [Book] Backbeat Books
(An Odd-Shaped History of Gibson's Weird Electric Guitars). Guitar Reference. So...(+)
(An Odd-Shaped History of Gibson's Weird Electric Guitars). Guitar Reference. Softcover. 144 pages. Published by Backbeat Books
$24.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Fanfare and Jubilation - Beginner Carl Fischer
Band Bass Clarinet, Bass Drum, Bass Trombone, Bassoon, Bells, Clarinet 1, Clarin...(+)
Band Bass Clarinet, Bass Drum, Bass Trombone, Bassoon, Bells, Clarinet 1, Clarinet 2, Crash Cymbals, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Snare Drum, Timpani, Trombone, Trumpet 1 and more. - Grade 1 SKU: CF.BPS137F Composed by Michael Boo. Sws. Bps. Full score. 16 pages. Duration 2:20. Carl Fischer Music #BPS137F. Published by Carl Fischer Music (CF.BPS137F). ISBN 9781491158494. UPC: 680160917099. 9 x 12 inches. Fanfare and Jubilation is a Grade 1 work that is playable by any beginning band with any instrumentation due to extensive doubling. The mood is regal and optimistic and is non-programmatic, conveying no picturesque image or storyline. It is appropriate for any occasion. Accents are to be emphasized more than non-accented notes, but are not to be hammered hard. Stress that accented notes are to be played with the same good tone as the other notes and that pitches should not suffer from the additional emphasis. Think of the accents as more of an additional emphasis from the air column and not the tongue. Percussion accents are to played with more emphasis than non-accented notes, but shouldnat be perceived as being much louder. Timpani is only two pitches and is optional. The piece will not suffer at all if you donat have access to Timpani or a timpanist. Bells cover a wide rangea|the lower octave sections should not be played louder just because theyare low pitched, as those notes will still be appropriately heard while supporting the melody. Do not use brass mallets. Balter 10 Phenolic mallets or equivalent (such as clear Balter Lexan or white Medium Hard Poly models) are most appropriate. Think of the m. 10 accented quarter notes tied to the half notes (and similar later examples) as being akin to Horn rips in a Hollywood movie. They are to be emphasized slightly but should not be blaring. Even though they are the only things happening on counts 2 and 3, care must be given that the young players donat get carried away and give them more emphasis than is musically desired. At m. 21, be careful that the bass line isnat plodding or over-emphasized due to the accents. Those players should be aware of the sudden drop in volume and lack of accents at m. 25. Attention to sudden dynamic shifts will add interest to the piece and present a more musical performance. Throughout this entire section, try to get all winds to sustain a single breath through four bars until the breath marks. If they are unable to do so, please explain the concept of staggered breathing between members of their section. There may be a tendency among the players to blast out m. 57 to the end. Notes should have more power than the section from mm. 21-56, but are still to be approached musically. Explaining such concepts during their early musical development will go far in helping them develop good traits that will pay off dividends in the future. Fanfare and Jubilation is a Grade 1 work that is playable by any beginning band with any instrumentation due to extensive doubling. The mood is regal and optimistic and is non-programmatic, conveying no picturesque image or storyline. It is appropriate for any occasion. Accents are to be emphasized more than non-accented notes, but are not to be hammered hard. Stress that accented notes are to be played with the same good tone as the other notes and that pitches should not suffer from the additional emphasis. Think of the accents as more of an additional emphasis from the air column and not the tongue. Percussion accents are to played with more emphasis than non-accented notes, but shouldn't be perceived as being much louder. Timpani is only two pitches and is optional. The piece will not suffer at all if you don't have access to Timpani or a timpanist. Bells cover a wide range...the lower octave sections should not be played louder just because they're low pitched, as those notes will still be appropriately heard while supporting the melody. Do not use brass mallets. Balter 10 Phenolic mallets or equivalent (such as clear Balter Lexan or white Medium Hard Poly models) are most appropriate. Think of the m. 10 accented quarter notes tied to the half notes (and similar later examples) as being akin to Horn rips in a Hollywood movie. They are to be emphasized slightly but should not be blaring. Even though they are the only things happening on counts 2 and 3, care must be given that the young players don't get carried away and give them more emphasis than is musically desired. At m. 21, be careful that the bass line isn't plodding or over-emphasized due to the accents. Those players should be aware of the sudden drop in volume and lack of accents at m. 25. Attention to sudden dynamic shifts will add interest to the piece and present a more musical performance. Throughout this entire section, try to get all winds to sustain a single breath through four bars until the breath marks. If they are unable to do so, please explain the concept of staggered breathing between members of their section. There may be a tendency among the players to blast out m. 57 to the end. Notes should have more power than the section from mm. 21-56, but are still to be approached musically. Explaining such concepts during their early musical development will go far in helping them develop good traits that will pay off dividends in the future. Fanfare and Jubilation is a Grade 1 work that is playable by any beginning band with any instrumentation due to extensive doubling. The mood is regal and optimistic and is non-programmatic, conveying no picturesque image or storyline. It is appropriate for any occasion.Accents are to be emphasized more than non-accented notes, but are not to be hammered hard. Stress that accented notes are to be played with the same good tone as the other notes and that pitches should not suffer from the additional emphasis. Think of the accents as more of an additional emphasis from the air column and not the tongue.Percussion accents are to played with more emphasis than non-accented notes, but shouldn’t be perceived as being much louder. Timpani is only two pitches and is optional. The piece will not suffer at all if you don’t have access to Timpani or a timpanist. Bells cover a wide range…the lower octave sections should not be played louder just because they’re low pitched, as those notes will still be appropriately heard while supporting the melody. Do not use brass mallets. Balter 10 Phenolic mallets or equivalent (such as clear Balter Lexan or white Medium Hard Poly models) are most appropriate.Think of the m. 10 accented quarter notes tied to the half notes (and similar later examples) as being akin to Horn rips in a Hollywood movie. They are to be emphasized slightly but should not be blaring. Even though they are the only things happening on counts 2 and 3, care must be given that the young players don’t get carried away and give them more emphasis than is musically desired.At m. 21, be careful that the bass line isn’t plodding or over-emphasized due to the accents. Those players should be aware of the sudden drop in volume and lack of accents at m. 25. Attention to sudden dynamic shifts will add interest to the piece and present a more musical performance. Throughout this entire section, try to get all winds to sustain a single breath through four bars until the breath marks. If they are unable to do so, please explain the concept of staggered breathing between members of their section.There may be a tendency among the players to blast out m. 57 to the end. Notes should have more power than the section from mm. 21-56, but are still to be approached musically. Explaining such concepts during their early musical development will go far in helping them develop good traits that will pay off dividends in the future. $7.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Fanfare and Jubilation - Beginner Carl Fischer
Band Bass Clarinet, Bass Drum, Bass Trombone, Bassoon, Bells, Clarinet 1, Clarin...(+)
Band Bass Clarinet, Bass Drum, Bass Trombone, Bassoon, Bells, Clarinet 1, Clarinet 2, Crash Cymbals, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Snare Drum, Timpani, Trombone, Trumpet 1 and more. - Grade 1 SKU: CF.BPS137 Composed by Michael Boo. Folio. Bps. Set of Score and Parts. 4+4+2+4+4+2+2+3+2+2+2+4+4+3+2+2+2+3+1+1+2+1+16 pages. Duration 2:20. Carl Fischer Music #BPS137. Published by Carl Fischer Music (CF.BPS137). ISBN 9781491158487. UPC: 680160917082. 9 x 12 inches. Fanfare and Jubilation is a Grade 1 work that is playable by any beginning band with any instrumentation due to extensive doubling. The mood is regal and optimistic and is non-programmatic, conveying no picturesque image or storyline. It is appropriate for any occasion. Accents are to be emphasized more than non-accented notes, but are not to be hammered hard. Stress that accented notes are to be played with the same good tone as the other notes and that pitches should not suffer from the additional emphasis. Think of the accents as more of an additional emphasis from the air column and not the tongue. Percussion accents are to played with more emphasis than non-accented notes, but shouldnat be perceived as being much louder. Timpani is only two pitches and is optional. The piece will not suffer at all if you donat have access to Timpani or a timpanist. Bells cover a wide rangea|the lower octave sections should not be played louder just because theyare low pitched, as those notes will still be appropriately heard while supporting the melody. Do not use brass mallets. Balter 10 Phenolic mallets or equivalent (such as clear Balter Lexan or white Medium Hard Poly models) are most appropriate. Think of the m. 10 accented quarter notes tied to the half notes (and similar later examples) as being akin to Horn rips in a Hollywood movie. They are to be emphasized slightly but should not be blaring. Even though they are the only things happening on counts 2 and 3, care must be given that the young players donat get carried away and give them more emphasis than is musically desired. At m. 21, be careful that the bass line isnat plodding or over-emphasized due to the accents. Those players should be aware of the sudden drop in volume and lack of accents at m. 25. Attention to sudden dynamic shifts will add interest to the piece and present a more musical performance. Throughout this entire section, try to get all winds to sustain a single breath through four bars until the breath marks. If they are unable to do so, please explain the concept of staggered breathing between members of their section. There may be a tendency among the players to blast out m. 57 to the end. Notes should have more power than the section from mm. 21-56, but are still to be approached musically. Explaining such concepts during their early musical development will go far in helping them develop good traits that will pay off dividends in the future. Fanfare and Jubilation is a Grade 1 work that is playable by any beginning band with any instrumentation due to extensive doubling. The mood is regal and optimistic and is non-programmatic, conveying no picturesque image or storyline. It is appropriate for any occasion. Accents are to be emphasized more than non-accented notes, but are not to be hammered hard. Stress that accented notes are to be played with the same good tone as the other notes and that pitches should not suffer from the additional emphasis. Think of the accents as more of an additional emphasis from the air column and not the tongue. Percussion accents are to played with more emphasis than non-accented notes, but shouldn't be perceived as being much louder. Timpani is only two pitches and is optional. The piece will not suffer at all if you don't have access to Timpani or a timpanist. Bells cover a wide range...the lower octave sections should not be played louder just because they're low pitched, as those notes will still be appropriately heard while supporting the melody. Do not use brass mallets. Balter 10 Phenolic mallets or equivalent (such as clear Balter Lexan or white Medium Hard Poly models) are most appropriate. Think of the m. 10 accented quarter notes tied to the half notes (and similar later examples) as being akin to Horn rips in a Hollywood movie. They are to be emphasized slightly but should not be blaring. Even though they are the only things happening on counts 2 and 3, care must be given that the young players don't get carried away and give them more emphasis than is musically desired. At m. 21, be careful that the bass line isn't plodding or over-emphasized due to the accents. Those players should be aware of the sudden drop in volume and lack of accents at m. 25. Attention to sudden dynamic shifts will add interest to the piece and present a more musical performance. Throughout this entire section, try to get all winds to sustain a single breath through four bars until the breath marks. If they are unable to do so, please explain the concept of staggered breathing between members of their section. There may be a tendency among the players to blast out m. 57 to the end. Notes should have more power than the section from mm. 21-56, but are still to be approached musically. Explaining such concepts during their early musical development will go far in helping them develop good traits that will pay off dividends in the future. Fanfare and Jubilation is a Grade 1 work that is playable by any beginning band with any instrumentation due to extensive doubling. The mood is regal and optimistic and is non-programmatic, conveying no picturesque image or storyline. It is appropriate for any occasion.Accents are to be emphasized more than non-accented notes, but are not to be hammered hard. Stress that accented notes are to be played with the same good tone as the other notes and that pitches should not suffer from the additional emphasis. Think of the accents as more of an additional emphasis from the air column and not the tongue.Percussion accents are to played with more emphasis than non-accented notes, but shouldn’t be perceived as being much louder. Timpani is only two pitches and is optional. The piece will not suffer at all if you don’t have access to Timpani or a timpanist. Bells cover a wide range…the lower octave sections should not be played louder just because they’re low pitched, as those notes will still be appropriately heard while supporting the melody. Do not use brass mallets. Balter 10 Phenolic mallets or equivalent (such as clear Balter Lexan or white Medium Hard Poly models) are most appropriate.Think of the m. 10 accented quarter notes tied to the half notes (and similar later examples) as being akin to Horn rips in a Hollywood movie. They are to be emphasized slightly but should not be blaring. Even though they are the only things happening on counts 2 and 3, care must be given that the young players don’t get carried away and give them more emphasis than is musically desired.At m. 21, be careful that the bass line isn’t plodding or over-emphasized due to the accents. Those players should be aware of the sudden drop in volume and lack of accents at m. 25. Attention to sudden dynamic shifts will add interest to the piece and present a more musical performance. Throughout this entire section, try to get all winds to sustain a single breath through four bars until the breath marks. If they are unable to do so, please explain the concept of staggered breathing between members of their section.There may be a tendency among the players to blast out m. 57 to the end. Notes should have more power than the section from mm. 21-56, but are still to be approached musically. Explaining such concepts during their early musical development will go far in helping them develop good traits that will pay off dividends in the future. $53.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| The Movie Fake Book - 3rd Edition
Fake book [Fake Book] - Intermediate Hal Leonard
C Edition. Fake Book (Includes melody line and chords). Size 9x12 inches. 448 pa...(+)
C Edition. Fake Book (Includes melody line and chords). Size 9x12 inches. 448 pages. Published by Hal Leonard.
(1)$39.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| A Million Dreams (from The Greatest Showman) Choral 3-part SSA Hal Leonard
Discovery Level 2. Composed by Benj Pasek and Justin Paul. Arranged by Roger ...(+)
Discovery Level 2. Composed
by Benj Pasek and Justin
Paul. Arranged by Roger
Emerson. Discovery Choral.
Movies, Pop. Octavo. 16
pages. Published by Hal
Leonard
$2.25 $2.1375 (5% off) See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Early Piano Works Piano solo - Beginner Clifton Edition
Piano - Grade 1-8 SKU: ST.C204 Composed by Ludwig van Beethoven. Edited b...(+)
Piano - Grade 1-8 SKU: ST.C204 Composed by Ludwig van Beethoven. Edited by Pat Goddard. Piano and keyboard music. Great Little Composers. Collection. Clifton Edition #C204. Published by Clifton Edition (ST.C204). ISBN 9790570812042. Pat Goddard was left to ponder what the great composers were doing in their early years. Following meticulous research, the result was a new series for piano: Great Little Composers.
The examples of Beethovenâ??s early piano works included in this album were written when Beethoven was between the ages of 11 and 27 â?? he did not have such an early start as Mozart! All but one have been relegated to the end of the catalogue of his works under the heading â??Werke ohne Opuszahlâ? (works without an Opus number WoO). However, they are varied and interesting and although showing strong traits of Haydn and Mozart, the germ of Beethovenâ??s future strikingly individual expressive language is clear. $10.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| The Early Piano Works Piano solo - Intermediate Clifton Edition
Piano - Grade 3-7 SKU: ST.C205 Composed by Franz Schubert. Edited by Pat ...(+)
Piano - Grade 3-7 SKU: ST.C205 Composed by Franz Schubert. Edited by Pat Goddard. Piano and keyboard music. Great Little Composers. Collection. Clifton Edition #C205. Published by Clifton Edition (ST.C205). ISBN 9790570812059. Pat Goddard was left to ponder what the great composers were doing in their early years. Following meticulous research, the result was a new series for piano: Great Little Composers.
The examples of Schubertâ??s early piano works included in this album were written when Schubert was between the ages of 15 and 24. During this time he was trained in composition by Antonio Salieri and greatly influenced by the symphonies and overtures of Mozart. The last piece, however, shows the maturing of Schubertâ??s harmonic language â?? a harbinger of his future individuality. $10.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Illuminated Baby Piano solo Schott
Piano SKU: HL.49045465 Piano Solo. Composed by Akiko Yamane. This ...(+)
Piano SKU: HL.49045465 Piano Solo. Composed by Akiko Yamane. This edition: Saddle stitching. Sheet music. Piano. Classical. Softcover. Composed 2015. 20 pages. Duration 6'. Schott Music #SJ1199. Published by Schott Music (HL.49045465). ISBN 9784890665037. 9.0x12.0x0.078 inches. The music releases pieces of vivid sound one after another into the performance space. It is a baby's march - right foot, left foot, step by step. Innocent, audaciously powerful and immature, the toddler walks planting each step firmly on the ground. Based on a constant beat, the music is deformed with digital and pop expressions. Cute and pop contents and textures are produced and consumed on a massive scale every day. I find beauty in such artificial textures around us. Into this piece of music I put my love and prayers for children and future generations to come. Akiko Yamane. $14.99 - See more - Buy online | | |
| Diary of A Journey Theodore Presser Co.
Chamber Music Bassoon, Flute, Violoncello SKU: PR.114408750 Composed by S...(+)
Chamber Music Bassoon, Flute, Violoncello SKU: PR.114408750 Composed by Samuel Adler. Set of Score and Parts. With Standard notation. Composed 1995. 40+14+15+15 pages. Duration 20 minutes. Theodore Presser Company #114-40875. Published by Theodore Presser Company (PR.114408750). UPC: 680160013289. 8.5 x 11 inches. This work was commissioned by the Friends of the Phoenix Public Library for the dedication of the new Music Room and made possible in part through the funds from the Arizona Commission on the Arts, and Meet the Composer-Arizona. Diary of a Journey was composed between July and September 1995 for the group Arpeggio. During the early summer of 1995, my wife and I took a vacation to Prague and Budapest. It was the first trip for both of us to these former Iron Curtain capitals. The train ride through the beautiful country-side, the dilapidated small villages and towns, the magnificent architecture and the feeling of grandeur in the two major cities left an indelible impression on me. I longed to write some kind of an essay about it. Diary of a Journey is the result of some of these thoughts, which were sketched (musically) as we visited each place. There are four 'snapshots' or movements which do not portray a specific scene, but rather try to capture the impressions I gathered from the people we observed and met, and the many awe-inspiring experiences we had. Throughout the journey, I felt that people were clinging to a tenacious hope for a better future, no matter how long it will take to realize it. In the first movement each player portrays a struggle against all odds, and with great energy and even wit tries to overcome the obstacles, ending on one serene high note as a resting point after all the conflict. The second 'snapshot' tries to capture the deep faith of a newly regained religiosity. It is chant-like, and uses as its basic melodic material a famous Czech hymn, penned by the great religious reformer John Huss. This movement is played very freely, without bar-lines and with the hymn shining through the fervent chanting. The third movement is a kind of 'demonic' scherzo. Fast and furious, the three instruments vie with one another in a true perpetual motion frenzy, which is at times relieved by short, more pastoral melodic fragments. A rather wild ending should leave everyone breathless. Finally, in the fourth 'snapshot' the instruments play a bit more as a team, meaning that is that there is more melody with accompaniment, and more imitative music giving the impression of a group effort. The energy is still at a high level but long lyrical lines abound, accompanied and interrupted at times by undulating fast notes still depicting the struggle against the blight which any visitor notices all around these countries, yet also showing the determination of the people to conquer adversity. --Samuel Adler. $75.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| The Easy Movie Fake Book Fake Book [Fake Book] - Easy Hal Leonard
100 Songs in the Key of C. By Various. Fake Book (Includes melody line and chord...(+)
100 Songs in the Key of C. By Various. Fake Book (Includes melody line and chords). Softcover. 230 pages. Published by Hal Leonard.
(2)$24.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| On the Beaten Path Metal Drums [Sheet music + CD] Alfred Publishing
(The Drummerâ??s Guide to the Genre and the Legends Who Defined It). By Rich La...(+)
(The Drummerâ??s Guide to the Genre and the Legends Who Defined It). By Rich Lackowski. For Drumset. Artist/Personality; Method/Instruction; Percussion - Drum Set Method or Collection. On the Beaten Path. Metal; Rock. Book and CD. 104 pages. Published by Alfred Music Publishing
$20.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
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