| Singer's Library of Musical Theatre, Volume 1 Tenor voice [Sheet music + CD] Alfred Publishing
(Tenor Voice). For Voice (Tenor voice). Vocal Collection. Singer's Library of Mu...(+)
(Tenor Voice). For Voice (Tenor voice). Vocal Collection. Singer's Library of Musical Theatre. Broadway. Book and 2 CDs. 208 pages
$29.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Keith Green: Ministry Years 1977-1979, Volume 1 Piano, Voice [Sheet music] - Intermediate Hal Leonard
Performed by Keith Green. For voice and piano. Format: piano/vocal/chords songbo...(+)
Performed by Keith Green. For voice and piano. Format: piano/vocal/chords songbook. With vocal melody, piano accompaniment, lyrics and chord names. Inspirational and contemporary christian. 242 pages. 8.5x11 inches. Published by Hal Leonard.
(7)$34.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Fenton Songs (Version 1) Peters
Soprano/Mezzo-Soprano Voice, piano, violin, cello SKU: PE.EP67836AA Fo...(+)
Soprano/Mezzo-Soprano Voice, piano, violin, cello SKU: PE.EP67836AA For Soprano, Violin, Violoncello and Piano. Composed by Charles Wuorinen. Vocal Soloist Book. Edition Peters. 20th Century. Set of parts. 64 pages. Duration 00:08:00. Edition Peters #98-EP67836AA. Published by Edition Peters (PE.EP67836AA). ISBN 9790300746753. Fenton Songs are settings of four poems from James Fenton’s collection Out of Danger. Wuorinen undertook these in 1997 as a preparation for setting Fenton’s libretto based on Salman Rushdie’s Haroun and the Sea of Stories. The first performances took place in New York at the Guggenheim Museum on May 17 and 18, 1998. Wuorinen writes I see the sequence of poems as proceeding from public to private, from agitation to repose, with local ups and downs along the way. This product is Printed on Demand and may take several weeks to fulfill. Please order from your favorite retailer. $75.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Petrushka, Complete (Original) Lucks Music Library
(4D2.4D1.4D1.4D1/4.2+2.3. 1,timp,perc,2hp,cel,pf,st r) SKU: TM.09145SC Co...(+)
(4D2.4D1.4D1.4D1/4.2+2.3.1,timp,perc,2hp,cel,pf,str) SKU: TM.09145SC Composed by Igor Stravinsky. Score. Lucks Music Library #A2135. Published by Lucks Music Library (TM.09145SC). Pf in set. $100.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Pipette und Airbrush / Stimmensatz Hofmeister Musikverlag
String orchestra - Level 4 SKU: HF.FH-8019 Eine Farbstudie fur Streich...(+)
String orchestra - Level 4 SKU: HF.FH-8019 Eine Farbstudie fur Streichorchester. Composed by Altug Unlu. Sheet music. Friedrich Hofmeister Musikverlag #FH 8019. Published by Friedrich Hofmeister Musikverlag (HF.FH-8019). ISBN 9790203480198. 9 x 12 inches. 1. Fantasie; 2. Variationen. $47.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| The Big Book of Nursery Rhymes and Children's Songs Piano, Vocal and Guitar [Sheet music] - Beginner Music Sales
Music Sales. Children's. Composed 11-1-2004. 208 pages. Published by Music Sales...(+)
Music Sales. Children's. Composed 11-1-2004. 208 pages. Published by Music Sales.
(1)$21.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| I've Got a Crush on You Choral Alfred Publishing
By Ira Gershwin, George Gershwin. Arranged by Teena Chinn. For Choir. Choral Oct...(+)
By Ira Gershwin, George Gershwin. Arranged by Teena Chinn. For Choir. Choral Octavo. CD. 1 pages. Published by Alfred Publishing.
$19.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| PETRUSHKA: Danse Russe Lucks Music Library
(4D1.4D1.4D1.4D1/4.2+2.3. 1,timp,perc,2hp,cel,pf,st r) SKU: TM.10204SET C...(+)
(4D1.4D1.4D1.4D1/4.2+2.3.1,timp,perc,2hp,cel,pf,str) SKU: TM.10204SET Composed by Igor Stravinsky. Set Type: D. Set of parts. Lucks Music Library #A4118. Published by Lucks Music Library (TM.10204SET). Pf in set. $95.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| PETRUSHKA: From 3rd Tableaux, At the Moors Lucks Music Library
(4D2.4D1.4D1.4D1/4.2+2.3. 1,timp,perc,2hp,cel,pf,st r) SKU: TM.10224SC Co...(+)
(4D2.4D1.4D1.4D1/4.2+2.3.1,timp,perc,2hp,cel,pf,str) SKU: TM.10224SC Composed by Igor Stravinsky. Score. Published by Lucks Music Library (TM.10224SC). Pf in set. $25.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Grushitza - Easy Carus Verlag
SSAM choir - Level 2 SKU: CA.316930 Composed by Anonymous. Folk songs and...(+)
SSAM choir - Level 2 SKU: CA.316930 Composed by Anonymous. Folk songs and Folksong settings. Separate edition with choral collection. Folk songs and settings of folk songs. Full score. Duration 1 minute. Carus Verlag #CV 03.169/30. Published by Carus Verlag (CA.316930). ISBN 9790007154653. Key: C minor. Language: Russian. $1.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Mount Rushmore Concert band - Beginner Belwin
Concert Band - Grade 1 SKU: AP.BD01083C Composed by Michael Story and Mik...(+)
Concert Band - Grade 1 SKU: AP.BD01083C Composed by Michael Story and Mike Story. Concert Band; Performance Music Ensemble; Single Titles. Belwin Beginning Band. Patriotic; programmatic. Score. 8 pages. Belwin Music #00-BD01083C. Published by Belwin Music (AP.BD01083C). UPC: 029156102147. English. The mountain upon which has been carved the likeness of four of our Presidents serves as the inspiration for this concert overture. Block chords give spatial grandeur akin to the geographical local, and a stately melodic line signifies the national importance of the area. Easy to prepare and perform. $8.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| PETRUSHKA: Danse Russe Lucks Music Library
(4D1.4D1.4D1.4D1/4.2+2.3. 1,timp,perc,2hp,cel,pf,st r) SKU: TM.10204SC Co...(+)
(4D1.4D1.4D1.4D1/4.2+2.3.1,timp,perc,2hp,cel,pf,str) SKU: TM.10204SC Composed by Igor Stravinsky. Score. Lucks Music Library #A4118. Published by Lucks Music Library (TM.10204SC). Pf in set. $25.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| PETRUSHKA: The Fair Lucks Music Library
(4D2.4D1.4D1.4D1/4.2+2.3. 1,timp,perc,2hp,cel,pf,st r) SKU: TM.10223SET C...(+)
(4D2.4D1.4D1.4D1/4.2+2.3.1,timp,perc,2hp,cel,pf,str) SKU: TM.10223SET Composed by Igor Stravinsky. Set Type: D. Set of parts. Lucks Music Library #A4117. Published by Lucks Music Library (TM.10223SET). Pf in set. $160.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Bateria Timpani [Score] - Intermediate Tapspace Publications
(for solo timpani). By Darin Kamstra. Timpani Solo. For 4 timpani (23 , 26 , 29 ...(+)
(for solo timpani). By Darin Kamstra. Timpani Solo. For 4 timpani (23 , 26 , 29 , 32 ), optional 5th drum (20 ) (1 player). Percussion Solos. Medium. Score. 8 pages. Duration 6'30 . Published by Tapspace Publications
$15.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Nutcracker Suite Selections - Intermediate 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 3.5 SKU: CF.CAS110 Composed by Peter Ilyich Tchaikovsky. Arranged by Bud Caputo. Concert String Orchestra (CAS). Set of Score and Parts. With Standard notation. 24+24+6+15+15+15+7+24 pages. Duration 5:57. Carl Fischer Music #CAS110. Published by Carl Fischer Music (CF.CAS110). ISBN 9781491151297. UPC: 680160908790. 9 x 12 inches. Key: E minor. Bud Caputo presents Nutcracker Suite Selections for string orchestra featuring three abridged movements of?Tchaikovsky's Nutcracker Suite:?Dance of the Sugar Plum Fairy, March, and Trepak. These abridged movements are sure to be crowd-pleasers around the?winter holidays or a favorite for?any time of the year. This arrangement will challenge students, while fostering rhythmic independence, execution of bowing and pizzicato, and the ability to balance the melody with the accompaniment throughout the arrangement. However, ranges remain primarily in first position with some optional 8va passages, allowing intermediate groups to perform this in time for the winter holiday concert. Suitable for Grades 3 through 5. To the Director: Dance of the Sugar Plum Fairy: A steady tempo is critical when performing this movement, as students may have a tendency to rush during the pizzicato sections. There is a regularly occurring descending sixteenth-note rhythmic figure that is transcribed form the bass clarinet part in the original. It is important to maintain clarity and balance in performing these passages as seen in mm. 16-19, in the Basses and m. 34 in the Cello and Bass. The balancing of the chords will be a challenge in the execution of the many sforzandos in this movement. March: Measures 2 and 4, and similar melodic patterns that follow, require the performers to carefully balance their forte/pianos on beats 3 and 4, along with the rapid diminuendo. The contrasting rhythmic patterns in mm. 5-8, and later throughout this movement must line up precisely. Strings playing the pizzicato eight note, walking bass line, must not rush, and the upper strings playing the eighth-note/eight-rest figure must follow their section leaders in executing this in a unified manner. While there is no formal tempo change from mm. 40 to 41, directors may need to relax the tempo at the beginning of the movement to accommodate the technical challenge of the double time feel that happens in m. 41. Trepak: Tchaikovsky was careful to notate the p, f and sf, requiring the performers to recognize the difference between all three markings that frame the chief melody. The upper strings must be careful to support the melody in the lower strings that begins in m. 33. Directors will challenge their students to have fun in the last twelve measures with the accelerando passage to the end. Care must be taken to use an accelerando that works for all the players in the particular ensemble.. This arrangement will challenge students, while fostering rhythmic independence, execution of bowing and pizzicato, and the ability to balance the melody with the accompaniment throughout the arrangement. However, ranges remain primarily in first position with some optional 8va passages, allowing intermediate groups to perform this in time for the winter holiday concert.A Suitable for Grades 3 through 5. To the Director: Dance of the Sugar Plum Fairy: A steady tempo is critical when performing this movement, as students may have a tendency to rush during the pizzicato sections. There is a regularly occurring descending sixteenth-note rhythmic figure that is transcribed form the bass clarinet part in the original. It is important to maintain clarity and balance in performing these passages as seen in mm.A 16-19, in the Basses and m.A 34A in the Cello and Bass. The balancing of the chords will be a challenge in the execution of the many sforzandosA in this movement. March: A Measures 2 and 4, and similar melodic patterns that follow, require the performers to carefully balance their forte/pianos on beats 3 and 4, along with the rapid diminuendo. The contrasting rhythmic patterns in mm. 5-8, and later throughout this movement must line up precisely. Strings playing the pizzicato eight note, walking bass line, must not rush, and the upper strings playing the eighth-note/eight-restA figure must follow their section leaders in executing this in a unified manner. While there is no formal tempo change from mm. 40 to 41, directors may need to relax the tempo at the beginning of the movement toA accommodate the technical challenge of the double time feel that happens in m. 41. Trepak: A Tchaikovsky was careful to notate the p, f and sf, requiring the performers to recognize the difference between all three markings that frame the chief melody. The upper strings must be careful to support the melody in the lower strings that begins in m. 33. Directors will challenge their students to have fun in the last twelve measures with the accelerando passage to the end. Care must be taken to use an accelerando that works for all the players in the particular ensemble.. This arrangement will challenge students, while fostering rhythmic independence, execution of bowing and pizzicato, and the ability to balance the melody with the accompaniment throughout the arrangement. However, ranges remain primarily in first position with some optional 8va passages, allowing intermediate groups to perform this in time for the winter holiday concert.A Suitable for Grades 3 through 5. To the Director: Dance of the Sugar Plum Fairy: A steady tempo is critical when performing this movement, as students may have a tendency to rush during the pizzicato sections. There is a regularly occurring descending sixteenth-note rhythmic figure that is transcribed form the bass clarinet part in the original. It is important to maintain clarity and balance in performing these passages as seen in mm.A 16-19, in the Basses and m.A 34A in the Cello and Bass. The balancing of the chords will be a challenge in the execution of the many sforzandosA in this movement. March: A Measures 2 and 4, and similar melodic patterns that follow, require the performers to carefully balance their forte/pianos on beats 3 and 4, along with the rapid diminuendo. The contrasting rhythmic patterns in mm. 5-8, and later throughout this movement must line up precisely. Strings playing the pizzicato eight note, walking bass line, must not rush, and the upper strings playing the eighth-note/eight-restA figure must follow their section leaders in executing this in a unified manner. While there is no formal tempo change from mm. 40 to 41, directors may need to relax the tempo at the beginning of the movement toA accommodate the technical challenge of the double time feel that happens in m. 41. Trepak: A Tchaikovsky was careful to notate the p, f and sf, requiring the performers to recognize the difference between all three markings that frame the chief melody. The upper strings must be careful to support the melody in the lower strings that begins in m. 33. Directors will challenge their students to have fun in the last twelve measures with the accelerando passage to the end. Care must be taken to use an accelerando that works for all the players in the particular ensemble.. This arrangement will challenge students, while fostering rhythmic independence, execution of bowing and pizzicato, and the ability to balance the melody with the accompaniment throughout the arrangement. However, ranges remain primarily in first position with some optional 8va passages, allowing intermediate groups to perform this in time for the winter holiday concert. Suitable for Grades 3 through 5. To the Director: Dance of the Sugar Plum Fairy: A steady tempo is critical when performing this movement, as students may have a tendency to rush during the pizzicato sections. There is a regularly occurring descending sixteenth-note rhythmic figure that is transcribed form the bass clarinet part in the original. It is important to maintain clarity and balance in performing these passages as seen in mm. 16-19, in the Basses and m. 34 in the Cello and Bass. The balancing of the chords will be a challenge in the execution of the many sforzandos in this movement. March: Measures 2 and 4, and similar melodic patterns that follow, require the performers to carefully balance their forte/pianos on beats 3 and 4, along with the rapid diminuendo. The contrasting rhythmic patterns in mm. 5-8, and later throughout this movement must line up precisely. Strings playing the pizzicato eight note, walking bass line, must not rush, and the upper strings playing the eighth-note/eight-rest figure must follow their section leaders in executing this in a unified manner. While there is no formal tempo change from mm. 40 to 41, directors may need to relax the tempo at the beginning of the movement to accommodate the technical challenge of the double time feel that happens in m. 41. Trepak: Tchaikovsky was careful to notate the p, f and sf, requiring the performers to recognize the difference between all three markings that frame the chief melody. The upper strings must be careful to support the melody in the lower strings that begins in m. 33. Directors will challenge their students to have fun in the last twelve measures with the accelerando passage to the end. Care must be taken to use an accelerando that works for all the players in the particular ensemble.. This arrangement will challenge students, while fostering rhythmic independence, execution of bowing and pizzicato, and the ability to balance the melody with the accompaniment throughout the arrangement. However, ranges remain primarily in first position with some optional 8va passages, allowing intermediate groups to perform this in time for the winter holiday concert. Suitable for Grades 3 through 5. To the Director: Dance of the Sugar Plum Fairy: A steady tempo is critical when performing this movement, as students may have a tendency to rush during the pizzicato sections. There is a regularly occurring descending sixteenth-note rhythmic figure that is transcribed form the bass clarinet part in the original. It is important to maintain clarity and balance in performing these passages as seen in mm. 16-19, in the Basses and m. 34 in the Cello and Bass. The balancing of the chords will be a challenge in the execution of the many sforzandos in this movement. March: Measures 2 and 4, and similar melodic patterns that follow, require the performers to carefully balance their forte/pianos on beats 3 and 4, along with the rapid diminuendo. The contrasting rhythmic patterns in mm. 5-8, and later throughout this movement must line up precisely. Strings playing the pizzicato eight note, walking bass line, must not rush, and the upper strings playing the eighth-note/eight-rest figure must follow their section leaders in executing this in a unified manner. While there is no formal tempo change from mm. 40 to 41, directors may need to relax the tempo at the beginning of the movement to accommodate the technical challenge of the double time feel that happens in m. 41. Trepak: Tchaikovsky was careful to notate the p, f and sf, requiring the performers to recognize the difference between all three markings that frame the chief melody. The upper strings must be careful to support the melody in the lower strings that begins in m. 33. Directors will challenge their students to have fun in the last twelve measures with the accelerando passage to the end. Care must be taken to use an accelerando that works for all the players in the particular ensemble. This arrangement will challenge students, while fostering rhythmic independence, execution of bowing and pizzicato, and the ability to balance the melody with the accompaniment throughout the arrangement. However, ranges remain primarily in first position with some optional 8va passages, allowing intermediate groups to perform this in time for the winter holiday concert. Suitable for Grades 3 through 5.To the Director:Dance of the Sugar Plum Fairy: A steady tempo is critical when performing this movement, as students may have a tendency to rush during the pizzicato sections. There is a regularly occurring descending sixteenth-note rhythmic figure that is transcribed form the bass clarinet part in the original. It is important to maintain clarity and balance in performing these passages as seen in mm. 16-19, in the Basses and m. 34 in the Cello and Bass. The balancing of the chords will be a challenge in the execution of the many sforzandos in this movement. March:  Measures 2 and 4, and similar melodic patterns that follow, require the performers to carefully balance their forte/pianos on beats 3 and 4, along with the rapid diminuendo. The contrasting rhythmic patterns in mm. 5-8, and later throughout this movement must line up precisely. Strings playing the pizzicato eight note, walking bass line, must not rush, and the upper strings playing the eighth-note/eight-rest figure must follow their section leaders in executing this in a unified manner. While there is no formal tempo change from mm. 40 to 41, directors may need to relax the tempo at the beginning of the movement to accommodate the technical challenge of the double time feel that happens in m. 41. Trepak:  Tchaikovsky was careful to notate the p, f and sf, requiring the performers to recognize the difference between all three markings that frame the chief melody. The upper strings must be careful to support the melody in the lower strings that begins in m. 33. Directors will challenge their students to have fun in the last twelve measures with the accelerando passage to the end. Care must be taken to use an accelerando that works for all the players in the particular ensemble. About Carl Fischer Concert String Orchestra Series This series of pieces (Grade 3 and higher) is designed for advancing ensembles. The pieces in this series are characterized by: - Expanded use of rhythms, ranges and keys but technical demands are still carefully considered
- More comprehensive bowing techniques
- Viola T.C. included
- Careful selection of keys and degree of difficulty for advancing musicians
$60.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Nutcracker Suite Selections - Intermediate 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 3.5 SKU: CF.CAS110F Composed by Peter Ilyich Tchaikovsky. Arranged by Bud Caputo. Concert String Orchestra (CAS). Full score. With Standard notation. 24 pages. Carl Fischer Music #CAS110F. Published by Carl Fischer Music (CF.CAS110F). ISBN 9781491151662. UPC: 680160909162. 9 x 12 inches. Bud Caputo presents Nutcracker Suite Selections for string orchestra featuring three abridged movements of?Tchaikovsky's Nutcracker Suite:?Dance of the Sugar Plum Fairy, March, and Trepak. These abridged movements are sure to be crowd-pleasers around the?winter holidays or a favorite for?any time of the year. This arrangement will challenge students, while fostering rhythmic independence, execution of bowing and pizzicato, and the ability to balance the melody with the accompaniment throughout the arrangement. However, ranges remain primarily in first position with some optional 8va passages, allowing intermediate groups to perform this in time for the winter holiday concert. Suitable for Grades 3 through 5. To the Director: Dance of the Sugar Plum Fairy: A steady tempo is critical when performing this movement, as students may have a tendency to rush during the pizzicato sections. There is a regularly occurring descending sixteenth-note rhythmic figure that is transcribed form the bass clarinet part in the original. It is important to maintain clarity and balance in performing these passages as seen in mm. 16-19, in the Basses and m. 34 in the Cello and Bass. The balancing of the chords will be a challenge in the execution of the many sforzandos in this movement. March: Measures 2 and 4, and similar melodic patterns that follow, require the performers to carefully balance their forte/pianos on beats 3 and 4, along with the rapid diminuendo. The contrasting rhythmic patterns in mm. 5-8, and later throughout this movement must line up precisely. Strings playing the pizzicato eight note, walking bass line, must not rush, and the upper strings playing the eighth-note/eight-rest figure must follow their section leaders in executing this in a unified manner. While there is no formal tempo change from mm. 40 to 41, directors may need to relax the tempo at the beginning of the movement to accommodate the technical challenge of the double time feel that happens in m. 41. Trepak: Tchaikovsky was careful to notate the p, f and sf, requiring the performers to recognize the difference between all three markings that frame the chief melody. The upper strings must be careful to support the melody in the lower strings that begins in m. 33. Directors will challenge their students to have fun in the last twelve measures with the accelerando passage to the end. Care must be taken to use an accelerando that works for all the players in the particular ensemble.. This arrangement will challenge students, while fostering rhythmic independence, execution of bowing and pizzicato, and the ability to balance the melody with the accompaniment throughout the arrangement. However, ranges remain primarily in first position with some optional 8va passages, allowing intermediate groups to perform this in time for the winter holiday concert.A Suitable for Grades 3 through 5. To the Director: Dance of the Sugar Plum Fairy: A steady tempo is critical when performing this movement, as students may have a tendency to rush during the pizzicato sections. There is a regularly occurring descending sixteenth-note rhythmic figure that is transcribed form the bass clarinet part in the original. It is important to maintain clarity and balance in performing these passages as seen in mm.A 16-19, in the Basses and m.A 34A in the Cello and Bass. The balancing of the chords will be a challenge in the execution of the many sforzandosA in this movement. March: A Measures 2 and 4, and similar melodic patterns that follow, require the performers to carefully balance their forte/pianos on beats 3 and 4, along with the rapid diminuendo. The contrasting rhythmic patterns in mm. 5-8, and later throughout this movement must line up precisely. Strings playing the pizzicato eight note, walking bass line, must not rush, and the upper strings playing the eighth-note/eight-restA figure must follow their section leaders in executing this in a unified manner. While there is no formal tempo change from mm. 40 to 41, directors may need to relax the tempo at the beginning of the movement toA accommodate the technical challenge of the double time feel that happens in m. 41. Trepak: A Tchaikovsky was careful to notate the p, f and sf, requiring the performers to recognize the difference between all three markings that frame the chief melody. The upper strings must be careful to support the melody in the lower strings that begins in m. 33. Directors will challenge their students to have fun in the last twelve measures with the accelerando passage to the end. Care must be taken to use an accelerando that works for all the players in the particular ensemble.. This arrangement will challenge students, while fostering rhythmic independence, execution of bowing and pizzicato, and the ability to balance the melody with the accompaniment throughout the arrangement. However, ranges remain primarily in first position with some optional 8va passages, allowing intermediate groups to perform this in time for the winter holiday concert.A Suitable for Grades 3 through 5. To the Director: Dance of the Sugar Plum Fairy: A steady tempo is critical when performing this movement, as students may have a tendency to rush during the pizzicato sections. There is a regularly occurring descending sixteenth-note rhythmic figure that is transcribed form the bass clarinet part in the original. It is important to maintain clarity and balance in performing these passages as seen in mm.A 16-19, in the Basses and m.A 34A in the Cello and Bass. The balancing of the chords will be a challenge in the execution of the many sforzandosA in this movement. March: A Measures 2 and 4, and similar melodic patterns that follow, require the performers to carefully balance their forte/pianos on beats 3 and 4, along with the rapid diminuendo. The contrasting rhythmic patterns in mm. 5-8, and later throughout this movement must line up precisely. Strings playing the pizzicato eight note, walking bass line, must not rush, and the upper strings playing the eighth-note/eight-restA figure must follow their section leaders in executing this in a unified manner. While there is no formal tempo change from mm. 40 to 41, directors may need to relax the tempo at the beginning of the movement toA accommodate the technical challenge of the double time feel that happens in m. 41. Trepak: A Tchaikovsky was careful to notate the p, f and sf, requiring the performers to recognize the difference between all three markings that frame the chief melody. The upper strings must be careful to support the melody in the lower strings that begins in m. 33. Directors will challenge their students to have fun in the last twelve measures with the accelerando passage to the end. Care must be taken to use an accelerando that works for all the players in the particular ensemble.. This arrangement will challenge students, while fostering rhythmic independence, execution of bowing and pizzicato, and the ability to balance the melody with the accompaniment throughout the arrangement. However, ranges remain primarily in first position with some optional 8va passages, allowing intermediate groups to perform this in time for the winter holiday concert. Suitable for Grades 3 through 5. To the Director: Dance of the Sugar Plum Fairy: A steady tempo is critical when performing this movement, as students may have a tendency to rush during the pizzicato sections. There is a regularly occurring descending sixteenth-note rhythmic figure that is transcribed form the bass clarinet part in the original. It is important to maintain clarity and balance in performing these passages as seen in mm. 16-19, in the Basses and m. 34 in the Cello and Bass. The balancing of the chords will be a challenge in the execution of the many sforzandos in this movement. March: Measures 2 and 4, and similar melodic patterns that follow, require the performers to carefully balance their forte/pianos on beats 3 and 4, along with the rapid diminuendo. The contrasting rhythmic patterns in mm. 5-8, and later throughout this movement must line up precisely. Strings playing the pizzicato eight note, walking bass line, must not rush, and the upper strings playing the eighth-note/eight-rest figure must follow their section leaders in executing this in a unified manner. While there is no formal tempo change from mm. 40 to 41, directors may need to relax the tempo at the beginning of the movement to accommodate the technical challenge of the double time feel that happens in m. 41. Trepak: Tchaikovsky was careful to notate the p, f and sf, requiring the performers to recognize the difference between all three markings that frame the chief melody. The upper strings must be careful to support the melody in the lower strings that begins in m. 33. Directors will challenge their students to have fun in the last twelve measures with the accelerando passage to the end. Care must be taken to use an accelerando that works for all the players in the particular ensemble.. This arrangement will challenge students, while fostering rhythmic independence, execution of bowing and pizzicato, and the ability to balance the melody with the accompaniment throughout the arrangement. However, ranges remain primarily in first position with some optional 8va passages, allowing intermediate groups to perform this in time for the winter holiday concert. Suitable for Grades 3 through 5. To the Director: Dance of the Sugar Plum Fairy: A steady tempo is critical when performing this movement, as students may have a tendency to rush during the pizzicato sections. There is a regularly occurring descending sixteenth-note rhythmic figure that is transcribed form the bass clarinet part in the original. It is important to maintain clarity and balance in performing these passages as seen in mm. 16-19, in the Basses and m. 34 in the Cello and Bass. The balancing of the chords will be a challenge in the execution of the many sforzandos in this movement. March: Measures 2 and 4, and similar melodic patterns that follow, require the performers to carefully balance their forte/pianos on beats 3 and 4, along with the rapid diminuendo. The contrasting rhythmic patterns in mm. 5-8, and later throughout this movement must line up precisely. Strings playing the pizzicato eight note, walking bass line, must not rush, and the upper strings playing the eighth-note/eight-rest figure must follow their section leaders in executing this in a unified manner. While there is no formal tempo change from mm. 40 to 41, directors may need to relax the tempo at the beginning of the movement to accommodate the technical challenge of the double time feel that happens in m. 41. Trepak: Tchaikovsky was careful to notate the p, f and sf, requiring the performers to recognize the difference between all three markings that frame the chief melody. The upper strings must be careful to support the melody in the lower strings that begins in m. 33. Directors will challenge their students to have fun in the last twelve measures with the accelerando passage to the end. Care must be taken to use an accelerando that works for all the players in the particular ensemble. This arrangement will challenge students, while fostering rhythmic independence, execution of bowing and pizzicato, and the ability to balance the melody with the accompaniment throughout the arrangement. However, ranges remain primarily in first position with some optional 8va passages, allowing intermediate groups to perform this in time for the winter holiday concert. Suitable for Grades 3 through 5.To the Director:Dance of the Sugar Plum Fairy: A steady tempo is critical when performing this movement, as students may have a tendency to rush during the pizzicato sections. There is a regularly occurring descending sixteenth-note rhythmic figure that is transcribed form the bass clarinet part in the original. It is important to maintain clarity and balance in performing these passages as seen in mm. 16-19, in the Basses and m. 34 in the Cello and Bass. The balancing of the chords will be a challenge in the execution of the many sforzandos in this movement. March:  Measures 2 and 4, and similar melodic patterns that follow, require the performers to carefully balance their forte/pianos on beats 3 and 4, along with the rapid diminuendo. The contrasting rhythmic patterns in mm. 5-8, and later throughout this movement must line up precisely. Strings playing the pizzicato eight note, walking bass line, must not rush, and the upper strings playing the eighth-note/eight-rest figure must follow their section leaders in executing this in a unified manner. While there is no formal tempo change from mm. 40 to 41, directors may need to relax the tempo at the beginning of the movement to accommodate the technical challenge of the double time feel that happens in m. 41. Trepak:  Tchaikovsky was careful to notate the p, f and sf, requiring the performers to recognize the difference between all three markings that frame the chief melody. The upper strings must be careful to support the melody in the lower strings that begins in m. 33. Directors will challenge their students to have fun in the last twelve measures with the accelerando passage to the end. Care must be taken to use an accelerando that works for all the players in the particular ensemble. About Carl Fischer Concert String Orchestra Series This series of pieces (Grade 3 and higher) is designed for advancing ensembles. The pieces in this series are characterized by: - Expanded use of rhythms, ranges and keys but technical demands are still carefully considered
- More comprehensive bowing techniques
- Viola T.C. included
- Careful selection of keys and degree of difficulty for advancing musicians
$9.50 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Chanukah O Chanukah String Orchestra - Easy Carl Fischer
Orchestra String Orchestra - Grade 2-2.5 SKU: CF.YAS15 Composed by Tradit...(+)
Orchestra String Orchestra - Grade 2-2.5 SKU: CF.YAS15 Composed by Traditional Holiday Song. Edited by Amy Rosen. Arranged by Bud Caputo. SWS FS. Carl Fischer Young String Orchestra Series. Score and Parts. With Standard notation. 16+2+4+16+10+10+3+10+12 pages. Carl Fischer Music #YAS15. Published by Carl Fischer Music (CF.YAS15). ISBN 9780825851995. UPC: 798408051990. 8.5 X 11 inches. Key: D minor. Lower strings be sure to maintain a steady pulse and dont rush the walking figure at the opening. When the melody is transferred to the lower strings (pick-up to m. 10 and m. 13), play with a full sound. Be careful of the balance and allow the soloist to dominate in mm. 121. If the soloist is comfortable using third position, play mm. 119 and the first half of m. 20 one octave higher. All parts should be in a solid marcato style in the fast section (m. 22 to the end). In m.50, Violin I should bring out the Hava Nagila quote equal to the volume of the rest of the orchestra. Be sure to observe all the soft dynamics to add interest to the performance. String editing by Amy Rosen. Lower strings be sure to maintain a steady pulse and donat rush the walking figure at the opening. When the melody is transferred to the lower strings (pick-up to m. 10 and m. 13), play with a full sound. Be careful of the balance and allow the soloist to dominate in mm. 1a21. If the soloist is comfortable using third position, play mm. 1a19 and the first half of m. 20 one octave higher. All parts should be in a solid marcato style in the fast section (m. 22 to the end). In m.50, Violin I should bring out the Hava Nagila quote equal to the volume of the rest of the orchestra. Be sure to observe all the soft dynamics to add interest to the performance. String editing by Amy Rosen. Lower strings be sure to maintain a steady pulse and don't rush the walking figure at the opening. When the melody is transferred to the lower strings (pick-up to m. 10 and m. 13), play with a full sound. Be careful of the balance and allow the soloist to dominate in mm. 1-21. If the soloist is comfortable using third position, play mm. 1-19 and the first half of m. 20 one octave higher. All parts should be in a solid marcato style in the fast section (m. 22 to the end). In m.50, Violin I should bring out the Hava Nagila quote equal to the volume of the rest of the orchestra. Be sure to observe all the soft dynamics to add interest to the performance. String editing by Amy Rosen. Lower strings be sure to maintain a steady pulse and don’t rush the walking figure at the opening. When the melody is transferred to the lower strings (pick-up to m. 10 and m. 13), play with a full sound. Be careful of the balance and allow the soloist to dominate in mm. 1–21. If the soloist is comfortable using third position, play mm. 1–19 and the first half of m. 20 one octave higher.All parts should be in a solid marcato style in the fast section (m. 22 to the end). In m.50, Violin I should bring out the Hava Nagila quote equal to the volume of the rest of the orchestra. Be sure to observe all the soft dynamics to add interest to the performance.String editing by Amy Rosen. About Carl Fischer Young String Orchestra Series This series of Grade 2/Grade 2.5 pieces is designed for second and third year ensembles. The pieces in this series are characterized by: --Occasionally extending to third position --Keys carefully considered for appropriate difficulty --Addition of separate 2nd violin and viola parts --Viola T.C. part included --Increase in independence of parts over beginning levels $55.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Unleashed - Intermediate 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 3 SKU: CF.CAS112F Composed by Peter Terry. Concert String Orchestra (CAS). Full score. With Standard notation. 12 pages. Carl Fischer Music #CAS112F. Published by Carl Fischer Music (CF.CAS112F). ISBN 9781491151686. UPC: 680160909186. 9 x 12 inches. Peter Terry's Unleashed?makes for an impressive concert opener that is the musical equivalent of unleashing a caged animal. The piece is exciting from start to finish, with energetic and bold material that students will love to play. Everyone wants to be unleashed, to be set free of restraints. This piece captures the exhilaration of being set into motion with unlimited optimism and energy. The piece is a rhythmic and propulsive gallop that spins off lyrical material as it drives to a climactic finish that is both exciting and fun. The piece opens with a robust first theme, then transitions on a rhythmic figure spun off from the opening material. The opening section repeats in variation with different orchestration. The more lyrical material that emerges should be brought out to balance the first theme and rhythmic figures from the first section. A development of the material from the opening follows, driving to a brief pause. This pause feels like it will lead to a contrasting lyrical theme, but the energy is just suspended for a second before the piece takes off again. The work finishes with a repeated-note transition back to variations on the opening material and a propulsive rush to the end. I enjoyed writing this piece and hope your students will enjoy playing these contrasting styles and that you will find the piece beneficial in teaching important musical concepts. ?????????Peter Terry, 2018. Everyone wants to be unleashed, to be set free of restraints. This piece captures the exhilaration of being set into motion with unlimited optimism and energy.A The piece is a rhythmic and propulsive gallop that spins off lyrical material as it drives to a climactic finish that is both exciting and fun. The piece opens with a robust first theme, then transitions on a rhythmic figure spun off from the opening material. The opening section repeats in variation with different orchestration. The more lyrical material that emerges should be brought out to balance the first theme and rhythmic figures from the first section. A development of the material from the opening follows, driving to a brief pause. This pause feels like it will lead to a contrasting lyrical theme, but the energy is just suspended for a second before the piece takes off again. The work finishes with a repeated-note transition back to variations on the opening material and a propulsive rush to the end. I enjoyed writing this piece and hope your students will enjoy playing these contrasting styles and that you will find the piece beneficial in teaching important musical concepts. ?????????Peter Terry, 2018. Everyone wants to be unleashed, to be set free of restraints. This piece captures the exhilaration of being set into motion with unlimited optimism and energy.A The piece is a rhythmic and propulsive gallop that spins off lyrical material as it drives to a climactic finish that is both exciting and fun. The piece opens with a robust first theme, then transitions on a rhythmic figure spun off from the opening material. The opening section repeats in variation with different orchestration. The more lyrical material that emerges should be brought out to balance the first theme and rhythmic figures from the first section. A development of the material from the opening follows, driving to a brief pause. This pause feels like it will lead to a contrasting lyrical theme, but the energy is just suspended for a second before the piece takes off again. The work finishes with a repeated-note transition back to variations on the opening material and a propulsive rush to the end. I enjoyed writing this piece and hope your students will enjoy playing these contrasting styles and that you will find the piece beneficial in teaching important musical concepts. ?????????Peter Terry, 2018. Everyone wants to be unleashed, to be set free of restraints. This piece captures the exhilaration of being set into motion with unlimited optimism and energy. The piece is a rhythmic and propulsive gallop that spins off lyrical material as it drives to a climactic finish that is both exciting and fun. The piece opens with a robust first theme, then transitions on a rhythmic figure spun off from the opening material. The opening section repeats in variation with different orchestration. The more lyrical material that emerges should be brought out to balance the first theme and rhythmic figures from the first section. A development of the material from the opening follows, driving to a brief pause. This pause feels like it will lead to a contrasting lyrical theme, but the energy is just suspended for a second before the piece takes off again. The work finishes with a repeated-note transition back to variations on the opening material and a propulsive rush to the end. I enjoyed writing this piece and hope your students will enjoy playing these contrasting styles and that you will find the piece beneficial in teaching important musical concepts. ?????????Peter Terry, 2018. Everyone wants to be unleashed, to be set free of restraints. This piece captures the exhilaration of being set into motion with unlimited optimism and energy. The piece is a rhythmic and propulsive gallop that spins off lyrical material as it drives to a climactic finish that is both exciting and fun. The piece opens with a robust first theme, then transitions on a rhythmic figure spun off from the opening material. The opening section repeats in variation with different orchestration. The more lyrical material that emerges should be brought out to balance the first theme and rhythmic figures from the first section. A development of the material from the opening follows, driving to a brief pause. This pause feels like it will lead to a contrasting lyrical theme, but the energy is just suspended for a second before the piece takes off again. The work finishes with a repeated-note transition back to variations on the opening material and a propulsive rush to the end. I enjoyed writing this piece and hope your students will enjoy playing these contrasting styles and that you will find the piece beneficial in teaching important musical concepts. Peter Terry, 2018. Everyone wants to be unleashed, to be set free of restraints. This piece captures the exhilaration of being set into motion with unlimited optimism and energy. The piece is a rhythmic and propulsive gallop that spins off lyrical material as it drives to a climactic finish that is both exciting and fun.The piece opens with a robust first theme, then transitions on a rhythmic figure spun off from the opening material. The opening section repeats in variation with different orchestration. The more lyrical material that emerges should be brought out to balance the first theme and rhythmic figures from the first section. A development of the material from the opening follows, driving to a brief pause. This pause feels like it will lead to a contrasting lyrical theme, but the energy is just suspended for a second before the piece takes off again. The work finishes with a repeated-note transition back to variations on the opening material and a propulsive rush to the end.I enjoyed writing this piece and hope your students will enjoy playing these contrasting styles and that you will find the piece beneficial in teaching important musical concepts.​​​​​​​​​Peter Terry, 2018. About Carl Fischer Concert String Orchestra Series This series of pieces (Grade 3 and higher) is designed for advancing ensembles. The pieces in this series are characterized by: - Expanded use of rhythms, ranges and keys but technical demands are still carefully considered
- More comprehensive bowing techniques
- Viola T.C. included
- Careful selection of keys and degree of difficulty for advancing musicians
$9.50 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Unleashed - Intermediate 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 3 SKU: CF.CAS112 Composed by Peter Terry. Concert String Orchestra (CAS). Set of Score and Parts. With Standard notation. 16+4+16+10+10+10+4+12 pages. Duration 2 minutes, 57 seconds. Carl Fischer Music #CAS112. Published by Carl Fischer Music (CF.CAS112). ISBN 9781491151310. UPC: 680160908813. 9 x 12 inches. Key: E minor. Peter Terry's Unleashed?makes for an impressive concert opener that is the musical equivalent of unleashing a caged animal. The piece is exciting from start to finish, with energetic and bold material that students will love to play. Everyone wants to be unleashed, to be set free of restraints. This piece captures the exhilaration of being set into motion with unlimited optimism and energy. The piece is a rhythmic and propulsive gallop that spins off lyrical material as it drives to a climactic finish that is both exciting and fun. The piece opens with a robust first theme, then transitions on a rhythmic figure spun off from the opening material. The opening section repeats in variation with different orchestration. The more lyrical material that emerges should be brought out to balance the first theme and rhythmic figures from the first section. A development of the material from the opening follows, driving to a brief pause. This pause feels like it will lead to a contrasting lyrical theme, but the energy is just suspended for a second before the piece takes off again. The work finishes with a repeated-note transition back to variations on the opening material and a propulsive rush to the end. I enjoyed writing this piece and hope your students will enjoy playing these contrasting styles and that you will find the piece beneficial in teaching important musical concepts. ?????????Peter Terry, 2018. Everyone wants to be unleashed, to be set free of restraints. This piece captures the exhilaration of being set into motion with unlimited optimism and energy.A The piece is a rhythmic and propulsive gallop that spins off lyrical material as it drives to a climactic finish that is both exciting and fun. The piece opens with a robust first theme, then transitions on a rhythmic figure spun off from the opening material. The opening section repeats in variation with different orchestration. The more lyrical material that emerges should be brought out to balance the first theme and rhythmic figures from the first section. A development of the material from the opening follows, driving to a brief pause. This pause feels like it will lead to a contrasting lyrical theme, but the energy is just suspended for a second before the piece takes off again. The work finishes with a repeated-note transition back to variations on the opening material and a propulsive rush to the end. I enjoyed writing this piece and hope your students will enjoy playing these contrasting styles and that you will find the piece beneficial in teaching important musical concepts. ?????????Peter Terry, 2018. Everyone wants to be unleashed, to be set free of restraints. This piece captures the exhilaration of being set into motion with unlimited optimism and energy.A The piece is a rhythmic and propulsive gallop that spins off lyrical material as it drives to a climactic finish that is both exciting and fun. The piece opens with a robust first theme, then transitions on a rhythmic figure spun off from the opening material. The opening section repeats in variation with different orchestration. The more lyrical material that emerges should be brought out to balance the first theme and rhythmic figures from the first section. A development of the material from the opening follows, driving to a brief pause. This pause feels like it will lead to a contrasting lyrical theme, but the energy is just suspended for a second before the piece takes off again. The work finishes with a repeated-note transition back to variations on the opening material and a propulsive rush to the end. I enjoyed writing this piece and hope your students will enjoy playing these contrasting styles and that you will find the piece beneficial in teaching important musical concepts. ?????????Peter Terry, 2018. Everyone wants to be unleashed, to be set free of restraints. This piece captures the exhilaration of being set into motion with unlimited optimism and energy. The piece is a rhythmic and propulsive gallop that spins off lyrical material as it drives to a climactic finish that is both exciting and fun. The piece opens with a robust first theme, then transitions on a rhythmic figure spun off from the opening material. The opening section repeats in variation with different orchestration. The more lyrical material that emerges should be brought out to balance the first theme and rhythmic figures from the first section. A development of the material from the opening follows, driving to a brief pause. This pause feels like it will lead to a contrasting lyrical theme, but the energy is just suspended for a second before the piece takes off again. The work finishes with a repeated-note transition back to variations on the opening material and a propulsive rush to the end. I enjoyed writing this piece and hope your students will enjoy playing these contrasting styles and that you will find the piece beneficial in teaching important musical concepts. ?????????Peter Terry, 2018. Everyone wants to be unleashed, to be set free of restraints. This piece captures the exhilaration of being set into motion with unlimited optimism and energy. The piece is a rhythmic and propulsive gallop that spins off lyrical material as it drives to a climactic finish that is both exciting and fun. The piece opens with a robust first theme, then transitions on a rhythmic figure spun off from the opening material. The opening section repeats in variation with different orchestration. The more lyrical material that emerges should be brought out to balance the first theme and rhythmic figures from the first section. A development of the material from the opening follows, driving to a brief pause. This pause feels like it will lead to a contrasting lyrical theme, but the energy is just suspended for a second before the piece takes off again. The work finishes with a repeated-note transition back to variations on the opening material and a propulsive rush to the end. I enjoyed writing this piece and hope your students will enjoy playing these contrasting styles and that you will find the piece beneficial in teaching important musical concepts. Peter Terry, 2018. Everyone wants to be unleashed, to be set free of restraints. This piece captures the exhilaration of being set into motion with unlimited optimism and energy. The piece is a rhythmic and propulsive gallop that spins off lyrical material as it drives to a climactic finish that is both exciting and fun.The piece opens with a robust first theme, then transitions on a rhythmic figure spun off from the opening material. The opening section repeats in variation with different orchestration. The more lyrical material that emerges should be brought out to balance the first theme and rhythmic figures from the first section. A development of the material from the opening follows, driving to a brief pause. This pause feels like it will lead to a contrasting lyrical theme, but the energy is just suspended for a second before the piece takes off again. The work finishes with a repeated-note transition back to variations on the opening material and a propulsive rush to the end.I enjoyed writing this piece and hope your students will enjoy playing these contrasting styles and that you will find the piece beneficial in teaching important musical concepts.​​​​​​​​​Peter Terry, 2018. About Carl Fischer Concert String Orchestra Series This series of pieces (Grade 3 and higher) is designed for advancing ensembles. The pieces in this series are characterized by: - Expanded use of rhythms, ranges and keys but technical demands are still carefully considered
- More comprehensive bowing techniques
- Viola T.C. included
- Careful selection of keys and degree of difficulty for advancing musicians
$60.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Moonlight Odyssey - Intermediate 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 3 SKU: CF.CAS111 Composed by Matt Turner. Concert String Orchestra (CAS). Set of Score and Parts. With Standard notation. 16+16+4+10+10+10+4+16 pages. Duration 4 minutes, 14 seconds. Carl Fischer Music #CAS111. Published by Carl Fischer Music (CF.CAS111). ISBN 9781491151303. UPC: 680160908806. 9 x 12 inches. Key: G minor. Composed by Matt Turner, Moonlight Odyssey for string orchestra is a hard-driving piece which takes the listener on an adventure full of rhythmic twists and turns as well as Middle Eastern-flavored melodies. The piece begins rubato with a quiet drone. The soloist should take time at the beginningdont hurry through the introduction. The tremolos in mm. 3 and 7 should shimmerplay very quietly but intensely. Exaggerate and move quickly through the crescendo in mm. 12 and 16. The ostinato section beginning in m. 10 should be staccato (as marked) and precisebe careful not to rush! Cellists and bassists should rock out and emphasize the accented notes in mm. 50 and 51 to set up the next section. Exaggerate dynamics throughout. The piece begins rubato with a quiet drone. The soloist should take time at the beginningadonat hurry through the introduction. The tremolos in mm. 3 and 7 should shimmeraplay very quietly but intensely. Exaggerate and move quickly through the crescendo in mm. 12 and 16. The ostinato section beginning in m. 10 should be staccato (as marked) and preciseabe careful not to rush! Cellists and bassists should arock outa and emphasize the accented notes in mm. 50 and 51 to set up the next section. Exaggerate dynamics throughout. The piece begins rubato with a quiet drone. The soloist should take time at the beginning--don't hurry through the introduction. The tremolos in mm. 3 and 7 should shimmer--play very quietly but intensely. Exaggerate and move quickly through the crescendo in mm. 12 and 16. The ostinato section beginning in m. 10 should be staccato (as marked) and precise--be careful not to rush! Cellists and bassists should rock out and emphasize the accented notes in mm. 50 and 51 to set up the next section. Exaggerate dynamics throughout. The piece begins rubato with a quiet drone. The soloist should take time at the beginning—don’t hurry through the introduction. The tremolos in mm. 3 and 7 should shimmer—play very quietly but intensely. Exaggerate and move quickly through the crescendo in mm. 12 and 16. The ostinato section beginning in m. 10 should be staccato (as marked) and precise—be careful not to rush! Cellists and bassists should “rock out†and emphasize the accented notes in mm. 50 and 51 to set up the next section. Exaggerate dynamics throughout. About Carl Fischer Concert String Orchestra Series This series of pieces (Grade 3 and higher) is designed for advancing ensembles. The pieces in this series are characterized by: - Expanded use of rhythms, ranges and keys but technical demands are still carefully considered
- More comprehensive bowing techniques
- Viola T.C. included
- Careful selection of keys and degree of difficulty for advancing musicians
$60.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Moonlight Odyssey - Intermediate 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 3 SKU: CF.CAS111F Composed by Matt Turner. Concert String Orchestra (CAS). Full score. With Standard notation. 16 pages. Carl Fischer Music #CAS111F. Published by Carl Fischer Music (CF.CAS111F). ISBN 9781491151679. UPC: 680160909179. 9 x 12 inches. Composed by Matt Turner, Moonlight Odyssey for string orchestra is a hard-driving piece which takes the listener on an adventure full of rhythmic twists and turns as well as Middle Eastern-flavored melodies. The piece begins rubato with a quiet drone. The soloist should take time at the beginningdont hurry through the introduction. The tremolos in mm. 3 and 7 should shimmerplay very quietly but intensely. Exaggerate and move quickly through the crescendo in mm. 12 and 16. The ostinato section beginning in m. 10 should be staccato (as marked) and precisebe careful not to rush! Cellists and bassists should rock out and emphasize the accented notes in mm. 50 and 51 to set up the next section. Exaggerate dynamics throughout. The piece begins rubato with a quiet drone. The soloist should take time at the beginningadonat hurry through the introduction. The tremolos in mm. 3 and 7 should shimmeraplay very quietly but intensely. Exaggerate and move quickly through the crescendo in mm. 12 and 16. The ostinato section beginning in m. 10 should be staccato (as marked) and preciseabe careful not to rush! Cellists and bassists should arock outa and emphasize the accented notes in mm. 50 and 51 to set up the next section. Exaggerate dynamics throughout. The piece begins rubato with a quiet drone. The soloist should take time at the beginning--don't hurry through the introduction. The tremolos in mm. 3 and 7 should shimmer--play very quietly but intensely. Exaggerate and move quickly through the crescendo in mm. 12 and 16. The ostinato section beginning in m. 10 should be staccato (as marked) and precise--be careful not to rush! Cellists and bassists should rock out and emphasize the accented notes in mm. 50 and 51 to set up the next section. Exaggerate dynamics throughout. The piece begins rubato with a quiet drone. The soloist should take time at the beginning—don’t hurry through the introduction. The tremolos in mm. 3 and 7 should shimmer—play very quietly but intensely. Exaggerate and move quickly through the crescendo in mm. 12 and 16. The ostinato section beginning in m. 10 should be staccato (as marked) and precise—be careful not to rush! Cellists and bassists should “rock out†and emphasize the accented notes in mm. 50 and 51 to set up the next section. Exaggerate dynamics throughout. About Carl Fischer Concert String Orchestra Series This series of pieces (Grade 3 and higher) is designed for advancing ensembles. The pieces in this series are characterized by: - Expanded use of rhythms, ranges and keys but technical demands are still carefully considered
- More comprehensive bowing techniques
- Viola T.C. included
- Careful selection of keys and degree of difficulty for advancing musicians
$9.50 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| On the Beaten Path -- Beginning Drumset Course, Complete Drums [DVD] Alfred Publishing
(An Inspiring Method to Playing the Drums, Guided by the Legends). By Rich Lacko...(+)
(An Inspiring Method to Playing the Drums, Guided by the Legends). By Rich Lackowski. For Drumset. Artist/Personality; Book; DVD; Method/Instruction; Percussion - Drum Set Method or Collection. On the Beaten Path. Beginner. 136 pages. Published by Alfred Music Publishing
$29.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| On the Beaten Path -- Beginning Drumset Course, Level 3 Drums [Sheet music + DVD] - Beginner Alfred Publishing
(An Inspiring Method to Playing the Drums, Guided by the Legends). By Rich Lacko...(+)
(An Inspiring Method to Playing the Drums, Guided by the Legends). By Rich Lackowski. For Drumset. Artist/Personality; DVD; Method/Instruction; Percussion - Drum Set Method or Collection. On the Beaten Path. Beginner. Published by Alfred Music
$12.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Traffic Jam Concert band - Beginner FJH
Concert Band Concert Band - Grade 1 SKU: FJ.B1380S Score Only. Com...(+)
Concert Band Concert Band - Grade 1 SKU: FJ.B1380S Score Only. Composed by Timothy Loest. Concert Band. FJH Beginning Band. Light Concert; Novelty; Rock. Score. Duration 1:10. The FJH Music Company Inc #98-B1380S. Published by The FJH Music Company Inc (FJ.B1380S). English. Experience 'rush-hour rock' like you've never experienced before! This easy-grooving, well-crafted original derives its automotive charm from the various car horn effects played throughout. Various novelty percussion instruments such as the police whistle and bulb horn will car pool your audience from the concert hall to the expressway. A charming piece that will put a smile on everyone's face, even if they get stuck in traffic on the way home from the concert!
Traffic Jam represents my idea of rush hour rock. This work derives its automotive charm from the various car horn effects played throughout. The most important articulation in the work is the marcato accent. Whenever this articulation appears, a car horn is being honked. Each honk should be percussive and short. Although the honks are dissonant, their composite notes should be balanced. It is recommended that the various honks be isolated during rehearsal, so that just the right sound and feel is achieved. Other important sounds include the police whistle and bulb horn. These novelty instruments should be held high for the audience to see and hear. With over 4 million miles of roads in the United States, one is destined to experience automotive gridlock. So before giving into road rage, roll down the windows, turn on the radio, and enjoy a traffic jam! Score only. Full set (score and parts) also available: B1380. About FJH Beginning Band Appropriate within the first year of instruction and beginning of the second year. Clarinets do not go above the break, and there is limited use of accidentals. Plenty of doublings in the lower voices. Grade 1. $5.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| On the Beaten Path -- Beginning Drumset Course, Level 3 Drums [CD] Alfred Publishing
(An Inspiring Method to Playing the Drums, Guided by the Legends). By Rich Lacko...(+)
(An Inspiring Method to Playing the Drums, Guided by the Legends). By Rich Lackowski. For Drumset. Book; CD; Method/Instruction; Percussion - Drum Set Method or Collection. Beginner. 48 pages. Published by Alfred Music Publishing
$14.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| On the Beaten Path -- Beginning Drumset Course, Level 3 Drums [Sheet music + CD + DVD] - Easy Alfred Publishing
(An Inspiring Method to Playing the Drums, Guided by the Legends). Composed by R...(+)
(An Inspiring Method to Playing the Drums, Guided by the Legends). Composed by Rich Lackowski. For Drumset. Artist/Personality; Book; CD; DVD; Method/Instruction; Percussion - Drum Set Method or Collection. On the Beaten Path. Beginner. Published by Alfred Music
$24.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| The Ultimate Fake Book - C Instruments (3rd Edition)
Fake Book [Fake Book] Hal Leonard
C Edition. Fake Book (Includes melody line and chords). Size 9x12 inches. 816 pa...(+)
C Edition. Fake Book (Includes melody line and chords). Size 9x12 inches. 816 pages. Published by Hal Leonard.
(31)$55.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| American Ragtime Music Hall Piano Music (Version 2.0)
Piano solo [CD Sheet Music] Subito Music
By Scott Joplin. For Piano. (Piano Solo). CD Sheet Music (Version 2.0). PDF file...(+)
By Scott Joplin. For Piano. (Piano Solo). CD Sheet Music (Version 2.0). PDF file on CD. 850 pages. Published by Subito Music.
(4)$19.95 - See more - Buy onlinePre-shipment lead time: 3 to 5 business days | | |
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