| The Big Book Of Childrens Songs For Little Guitar Pickers Guitar notes and tablatures Santorella Publications
The Big Book of Childrens Songs for Little Guitar Pickers composed by Tony Santo...(+)
The Big Book of Childrens Songs for Little Guitar Pickers composed by Tony Santorella. For guitar and voice. This edition: Paperback. Collection. Little Picker series. Childrens. Book. Text Language: English; Tablature, chords and lyrics. 180 pages. Published by Santorella Publications
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| J. S. Bach: Sacred Songs and Arias from Schmelli's Hymnal for Voice and Guitar BWV 439-507 Guitar - Intermediate Mel Bay
Guitar - Intermediate SKU: MB.30667M With Guitar Transcriptions of Bac...(+)
Guitar - Intermediate SKU: MB.30667M With Guitar Transcriptions of Bach's Figured Bass Accompaniment. Composed by Matthias Stegmann. Gospel/Sacred, Squareback saddle stitch, Christian. Gospel. Book and online PDF. 238 pages. Mel Bay Publications, Inc #30667M. Published by Mel Bay Publications, Inc (MB.30667M). ISBN 9781513463971. 8.75 x 11.75 inches. Johann Sebastian Bachâ??s arrangements of the â??69 Sacred Songsâ? from the Musical Hymnal by Georg Christian Schemelli (Leipzig, 1736) have long been part of the German language vocal concert repertoire and a mainstay in vocal pedagogy. Originally, only these 69 of the 954 hymns in the collection were published with a single bass line as the accompaniment. Bachâ??s contribution was to specify harmonies to be played over those same bass lines by adding figured bass numbers and symbols beneath each note. A figured bass line can easily be turned into a relatively simple guitar accompaniment or a more elaborate setting, offering a range of possibilities that make working with this music both interesting and rewarding for the guitarist. While other period and modern editions of the â??69 Sacred Songsâ? offer accompaniments for keyboard instruments, this Mel Bay publication features intermediate to advanced transcriptions exclusively for the guitar. Best suited to college-level players or advanced aficionados, this special Mel Bay Publications edition includes the vocal line with German lyrics and the guitar accompaniment transcribed from Bachâ??s figured bass lines. Written in guitar-friendly keys, 29 of the transcriptions employ a capo to achieve the original key designed for high voices. Without the capo, these same arrangements would be suitable to be sung by lower voices. The remaining 40 hymns are in their original guitar-friendly keys and so do not require a capo. This volume contains accompaniment settings of all 69 of the sacred songs and arias for which Bach wrote figured bass annotation. For performance variety and convenience, this book includes â??Scores in their Original Keys,â? and stand-alone â??Guitar Accompaniment,â? and â??Bass Parts. $24.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Library Of Children's Song Classics
Piano, Voice [Sheet music] Music Sales
Edited by Amy Appleby, Liz Seelhoff Byrum. For voice and piano. Format: piano/vo...(+)
Edited by Amy Appleby, Liz Seelhoff Byrum. For voice and piano. Format: piano/vocal/chords songbook (spiral bound). With vocal melody, piano accompaniment, lyrics, chord names, illustrations and introductory text. Children's and Folk. 240 pages. 9x12 inches. Published by Music Sales.
(3)$27.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Complete Songs Volume 2 (urtext) Piano, Voice Peters
By Edvard Grieg. Edited by Fog/Grinde. For voice, piano. Op. 58,59,60,61,67,69, ...(+)
By Edvard Grieg. Edited by Fog/Grinde. For voice, piano. Op. 58,59,60,61,67,69, and 70; EG 121-157, Edition in original keys in accordance with Edvard Grieg: Complete Works (volume 14), edited by the Edvard Grieg Committee, Oslo (urtext). Published by C.F. Peters.
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| Simple Songs [Sheet music + Audio access] Hal Leonard
Keyboard Percussion (Percussion Parts) SKU: HL.249094 Keyboard Percuss...(+)
Keyboard Percussion (Percussion Parts) SKU: HL.249094 Keyboard Percussion. Composed by Various. Instrumental Play-Along. Pop. Softcover Audio Online. 16 pages. Published by Hal Leonard (HL.249094). ISBN 9781540004574. UPC: 888680710552. 9x12 inches. Book/Online Audio. Solo arrangements of 14 well-known melodies are featured in this collection for beginning instrumentalists. It features online access to audio demonstration tracks for download or streaming to help you hear how the song should sound and so you can sound great while playing along with the backing tracks! Songs include: All of Me • Evermore • Hallelujah • Happy • I Gotta Feeling • I'm Yours • Lava • Rolling in the Deep • Viva la Vida • You Raise Me Up • and more. The audio is accessed online using the unique code inside each book and can be streamed or downloaded. The audio files include PLAYBACK+, a multi-functional audio player that allows you to slow down audio without changing pitch, set loop points, change keys, and pan left or right. $12.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| How to Write Songs on Keyboards Book + CD [Sheet music + CD] Backbeat Books
A Complete Course to Help You Write Better Songs. Book (not sheet music). Book a...(+)
A Complete Course to Help You Write Better Songs. Book (not sheet music). Book and CD Package. Size 8.5x11 inches. 256 pages. Published by Backbeat Books.
$34.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Fake Book Of The World's Favorite Songs - C Instruments - 4th Edition
C Instruments [Fake Book] Hal Leonard
For voice and C instrument. Format: fakebook. With vocal melody, lyrics and chor...(+)
For voice and C instrument. Format: fakebook. With vocal melody, lyrics and chord names. Traditional pop and vocal standards. Series: Hal Leonard Fake Books. 424 pages. 9x12 inches. Published by Hal Leonard.
(14)$34.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Clawhammer Style Banjo Centerstream Publications
Book Banjo SKU: HL.118 Banjo. Instructional and Bluegrass. Instructional ...(+)
Book Banjo SKU: HL.118 Banjo. Instructional and Bluegrass. Instructional book. With banjo tablature, introductory text, instructional photos and instructional text. 208 pages. Published by Centerstream Publications (HL.118). ISBN 9780931759338. UPC: 073999255065. 9x12 inches. Clawhammer Style Banjo - A Complete Guide For Beginning And Advanced Banjo Players| From Ken Perlman, here is a brilliant teaching guide that is destined to become the handbook on how to play the banjo. The style is easy to learn, and covers the instruction itself, basic right and left-hand positions, simple chords, and fundamental clawhammer techniques; the brush, the 'bumm-titty' strum, pull-offs, and slides. For the advanced player, there is instruction on more complicated picking, double thumbing, quick slides, fretted pull-offs, harmonics, improvisation, and more. The book includes more than 40 fun-to-play banjo tunes. (1)$24.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Simple Gifts of Christmas String Orchestra [Score and Parts] - Beginner Carl Fischer
Orchestra String Orchestra - Grade 1 SKU: CF.BAS27 Composed by Traditiona...(+)
Orchestra String Orchestra - Grade 1 SKU: CF.BAS27 Composed by Traditional. Arranged by Larry Clark. Carl Fischer Beginning String Orchestra Series. Score and Parts. With Standard notation. 8+8+5+5+5+2+8 pages. Carl Fischer Music #BAS27. Published by Carl Fischer Music (CF.BAS27). ISBN 9780825858024. UPC: 798408058029. 8.5 X 11 inches. Key: D major. Combining the popular Shaker tune Simple Gifts with holiday favorites, Larry Clark has created a wonderful novelty piece that is perfect for the holidays. The piece incorporates the positive essence of this truly American song and unites it with the good. About Carl Fischer Beginning String Orchestra Series This series of Grade 1 pieces is designed for first year string groups. The pieces in this series are characterized by: - Limited parts (often 2nd violin and viola are the same part, cello and bass are same part)
- Limited keys and rhythms - only simple 8th note patterns
- Limited independence of parts
- Playable after limited study time
- First position and natural bowings
- Piano for rehearsal and reinforcement
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| Piano Ballads - In Easy Keys Piano solo - Easy Hal Leonard
ISBN 9781705143254. 9.0x12.0x0.322 inches. You'll love playing from the Hal L...(+)
ISBN 9781705143254.
9.0x12.0x0.322 inches.
You'll love playing from the
Hal Leonard "In Easy Keys"
series! Each collection in
this series includes over 20
songs written in an "easy"
key - never more than one
sharp or flat in the key
signature. Melody, harmony,
simple rhythms, and fingering
are included. Playing your
favorite songs has never been
easier! The Piano Ballads
collection includes 25 songs:
All of Me (John Legend) *
Bridge over Troubled Water
(Simon and Garfunkel) * Candle
in the Wind (Elton John) *
Hero (Mariah Carey) * Imagine
(John Lennon) * Piano Man
(Billy Joel) * Ribbon in the
Sky (Stevie Wonder) * and
more.
$15.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Uke'n Play Ukulele For Kids Ukulele [Sheet music + Audio access] - Beginner Amsco Wise Publications
Ukulele - Grade 1 SKU: BT.MUSAM1011626 Composed by Mike Jackson. Uke'n Pl...(+)
Ukulele - Grade 1 SKU: BT.MUSAM1011626 Composed by Mike Jackson. Uke'n Play Ukulele. Tuition. Book with Online Audio. Composed 2016. 48 pages. Wise Publications #MUSAM1011626. Published by Wise Publications (BT.MUSAM1011626). ISBN 9781785582554. English. This updated Kids  edition of the bestselling Uke'n Play Ukulele  series will get young beginners strumming, singing and playing easy songs that only feature 3 chords. Written by professional player and educator Mike Jackson , the book features his unique instant play method, some simple songs that are familiar to all children, together with downloadable play-along audio. The book opens with how to tune up, before detailing Jackson 's innovative instant play method, which kids are guaranteed to love. Once they've mastered this, Uke'n Play Ukulele For Kids teaches 25 simple songs that are instantly-recognisable and well-known. The first few songs use justone chord, before introducing two more. Each features chord diagrams, lyrics and chord symbols, helping children learn to play the Ukulele by practising strumming the chords and getting used to finger positions, while also playing fun tunes. Songs include Row, Row, Row Your Boat, The Lion Sleeps Tonight, Jingle Bells , and many more. The accompanying audio downloads will help you tune up, get familiar with the songs, then play along with a full backing band. Some songs also feature Mike 's handy hints so learning the Uke goes as smoothly as possible. Uke'n Play Supa Easy Ukulele  is a fantastic resource for the classroom, or other groups of young beginners. Featuring valuable advice for introducing children to music through the Ukulele, the book will enable them to start making music straight away. With well-known songs like My Darling Clementine  and Michael Finnegan , this is a beginner's instant play method for kids that truly does work. Mike Jackson  is a professional Ukulele player and multi-instrumentalist who has sold over 250,000 albums and performed extensively across Australia and the rest of the world. $15.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Piano by Ear Piano solo Faber Music Limited
Learn to Play by Ear, Improvise, and Accompany Songs in Simple Steps. Comp...(+)
Learn to Play by Ear,
Improvise, and Accompany
Songs in Simple Steps.
Composed by Lucinda
Mackworth-Young. Book; Piano
Musicianship; Technique
Musicianship. Faber Edition.
Published by Faber Music
$20.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Linda Lehun: Bornenes Favoritter Piano, Vocal and Guitar Wilhelm Hansen
Piano, Vocal and Guitar SKU: HL.14004875 Composed by Linda Lehun. Music S...(+)
Piano, Vocal and Guitar SKU: HL.14004875 Composed by Linda Lehun. Music Sales America. Educational Tool. Book [Softcover]. Edition Wilhelm Hansen #WH30416. Published by Edition Wilhelm Hansen (HL.14004875). ISBN 9788759809433. Danish. The favourites of children - 120 favourites in one book! The music teacher's indispensable handbook. Linda Lehun has through her years as a teacher of music in the primary school collected a large number of songs that the children have chosen themselves. The songs range from the simple songs usually sung by the younger pupils till the older classes, where eg Mona, Mona, Mona, hvornar kommer den dag ... still is a hit. With Bornenes Favoritter the teacher is well dressed for teaching, singing etc. All songs are written in keys easy to sing and with contemporary chords. Anne Lassen has illustrated everything. $29.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Gustave Vogt's Musical Album of Autographs English horn, Piano Carl Fischer
Chamber Music English Horn, Oboe SKU: CF.WF229 15 Pieces for Oboe and ...(+)
Chamber Music English Horn, Oboe SKU: CF.WF229 15 Pieces for Oboe and English Horn. Composed by Gustave Vogt. Edited by Kristin Jean Leitterman. Collection - Performance. 32+8 pages. Carl Fischer Music #WF229. Published by Carl Fischer Music (CF.WF229). ISBN 9781491153789. UPC: 680160911288. Introduction Gustave Vogt's Musical Paris Gustave Vogt (1781-1870) was born into the Age of Enlightenment, at the apex of the Enlightenment's outreach. During his lifetime he would observe its effect on the world. Over the course of his life he lived through many changes in musical style. When he was born, composers such as Mozart and Haydn were still writing masterworks revered today, and eighty-nine years later, as he departed the world, the new realm of Romanticism was beginning to emerge with Mahler, Richard Strauss and Debussy, who were soon to make their respective marks on the musical world. Vogt himself left a huge mark on the musical world, with critics referring to him as the grandfather of the modern oboe and the premier oboist of Europe. Through his eighty-nine years, Vogt would live through what was perhaps the most turbulent period of French history. He witnessed the French Revolution of 1789, followed by the many newly established governments, only to die just months before the establishment of the Third Republic in 1870, which would be the longest lasting government since the beginning of the revolution. He also witnessed the transformation of the French musical world from one in which opera reigned supreme, to one in which virtuosi, chamber music, and symphonic music ruled. Additionally, he experienced the development of the oboe right before his eyes. When he began playing in the late eighteenth century, the standard oboe had two keys (E and Eb) and at the time of his death in 1870, the System Six Triebert oboe (the instrument adopted by Conservatoire professor, Georges Gillet, in 1882) was only five years from being developed. Vogt was born March 18, 1781 in the ancient town of Strasbourg, part of the Alsace region along the German border. At the time of his birth, Strasbourg had been annexed by Louis XIV, and while heavily influenced by Germanic culture, had been loosely governed by the French for a hundred years. Although it is unclear when Vogt began studying the oboe and when his family made its move to the French capital, the Vogts may have fled Strasbourg in 1792 after much of the city was destroyed during the French Revolution. He was without question living in Paris by 1798, as he enrolled on June 8 at the newly established Conservatoire national de Musique to study oboe with the school's first oboe professor, Alexandre-Antoine Sallantin (1775-1830). Vogt's relationship with the Conservatoire would span over half a century, moving seamlessly from the role of student to professor. In 1799, just a year after enrolling, he was awarded the premier prix, becoming the fourth oboist to achieve this award. By 1802 he had been appointed repetiteur, which involved teaching the younger students and filling in for Sallantin in exchange for a free education. He maintained this rank until 1809, when he was promoted to professor adjoint and finally to professor titulaire in 1816 when Sallantin retired. This was a position he held for thirty-seven years, retiring in 1853, making him the longest serving oboe professor in the school's history. During his tenure, he became the most influential oboist in France, teaching eighty-nine students, plus sixteen he taught while he was professor adjoint and professor titulaire. Many of these students went on to be famous in their own right, such as Henri Brod (1799-1839), Apollon Marie-Rose Barret (1804-1879), Charles Triebert (1810-1867), Stanislas Verroust (1814-1863), and Charles Colin (1832-1881). His influence stretches from French to American oboe playing in a direct line from Charles Colin to Georges Gillet (1854-1920), and then to Marcel Tabuteau (1887-1966), the oboist Americans lovingly describe as the father of American oboe playing. Opera was an important part of Vogt's life. His first performing position was with the Theatre-Montansier while he was still studying at the Conservatoire. Shortly after, he moved to the Ambigu-Comique and, in 1801 was appointed as first oboist with the Theatre-Italien in Paris. He had been in this position for only a year, when he began playing first oboe at the Opera-Comique. He remained there until 1814, when he succeeded his teacher, Alexandre-Antoine Sallantin, as soloist with the Paris Opera, the top orchestra in Paris at the time. He played with the Paris Opera until 1834, all the while bringing in his current and past students to fill out the section. In this position, he began to make a name for himself; so much so that specific performances were immortalized in memoirs and letters. One comes from a young Hector Berlioz (1803-1865) after having just arrived in Paris in 1822 and attended the Paris Opera's performance of Mehul's Stratonice and Persuis' ballet Nina. It was in response to the song Quand le bien-amie reviendra that Berlioz wrote: I find it difficult to believe that that song as sung by her could ever have made as true and touching an effect as the combination of Vogt's instrument... Shortly after this, Berlioz gave up studying medicine and focused on music. Vogt frequently made solo and chamber appearances throughout Europe. His busiest period of solo work was during the 1820s. In 1825 and 1828 he went to London to perform as a soloist with the London Philharmonic Society. Vogt also traveled to Northern France in 1826 for concerts, and then in 1830 traveled to Munich and Stuttgart, visiting his hometown of Strasbourg on the way. While on tour, Vogt performed Luigi Cherubini's (1760-1842) Ave Maria, with soprano Anna (Nanette) Schechner (1806-1860), and a Concertino, presumably written by himself. As a virtuoso performer in pursuit of repertoire to play, Vogt found himself writing much of his own music. His catalog includes chamber music, variation sets, vocal music, concerted works, religious music, wind band arrangements, and pedagogical material. He most frequently performed his variation sets, which were largely based on themes from popular operas he had, presumably played while he was at the Opera. He made his final tour in 1839, traveling to Tours and Bordeaux. During this tour he appeared with the singer Caroline Naldi, Countess de Sparre, and the violinist Joseph Artot (1815-1845). This ended his active career as a soloist. His performance was described in the Revue et gazette musicale de Paris as having lost none of his superiority over the oboe.... It's always the same grace, the same sweetness. We made a trip to Switzerland, just by closing your eyes and listening to Vogt's oboe. Vogt was also active performing in Paris as a chamber and orchestral musician. He was one of the founding members of the Societe des Concerts du Conservatoire, a group established in 1828 by violinist and conductor Francois-Antoine Habeneck (1781-1849). The group featured faculty and students performing alongside each other and works such as Beethoven symphonies, which had never been heard in France. He also premiered the groundbreaking woodwind quintets of Antonin Reicha (1770-1836). After his retirement from the Opera in 1834 and from the Societe des Concerts du Conservatoire in 1842, Vogt began to slow down. His final known performance was of Cherubini's Ave Maria on English horn with tenor Alexis Dupont (1796-1874) in 1843. He then began to reflect on his life and the people he had known. When he reached his 60s, he began gathering entries for his Musical Album of Autographs. Autograph Albums Vogt's Musical Album of Autographs is part of a larger practice of keeping autograph albums, also commonly known as Stammbuch or Album Amicorum (meaning book of friendship or friendship book), which date back to the time of the Reformation and the University of Wittenberg. It was during the mid-sixteenth century that students at the University of Wittenberg began passing around bibles for their fellow students and professors to sign, leaving messages to remember them by as they moved on to the next part of their lives. The things people wrote were mottos, quotes, and even drawings of their family coat of arms or some other scene that meant something to the owner. These albums became the way these young students remembered their school family once they had moved on to another school or town. It was also common for the entrants to comment on other entries and for the owner to amend entries when they learned of important life details such as marriage or death. As the practice continued, bibles were set aside for emblem books, which was a popular book genre that featured allegorical illustrations (emblems) in a tripartite form: image, motto, epigram. The first emblem book used for autographs was published in 1531 by Andrea Alciato (1492-1550), a collection of 212 Latin emblem poems. In 1558, the first book conceived for the purpose of the album amicorum was published by Lyon de Tournes (1504-1564) called the Thesaurus Amicorum. These books continued to evolve, and spread to wider circles away from universities. Albums could be found being kept by noblemen, physicians, lawyers, teachers, painters, musicians, and artisans. The albums eventually became more specialized, leading to Musical Autograph Albums (or Notestammbucher). Before this specialization, musicians contributed in one form or another, but our knowledge of them in these albums is mostly limited to individual people or events. Some would simply sign their name while others would insert a fragment of music, usually a canon (titled fuga) with text in Latin. Canons were popular because they displayed the craftsmanship of the composer in a limited space. Composers well-known today, including J. S. Bach, Telemann, Mozart, Beethoven, Dowland, and Brahms, all participated in the practice, with Beethoven being the first to indicate an interest in creating an album only of music. This interest came around 1815. In an 1845 letter from Johann Friedrich Naue to Heinrich Carl Breidenstein, Naue recalled an 1813 visit with Beethoven, who presented a book suggesting Naue to collect entries from celebrated musicians as he traveled. Shortly after we find Louis Spohr speaking about leaving on his grand tour through Europe in 1815 and of his desire to carry an album with entries from the many artists he would come across. He wrote in his autobiography that his most valuable contribution came from Beethoven in 1815. Spohr's Notenstammbuch, comprised only of musical entries, is groundbreaking because it was coupled with a concert tour, allowing him to reach beyond the Germanic world, where the creation of these books had been nearly exclusive. Spohr brought the practice of Notenstammbucher to France, and in turn indirectly inspired Vogt to create a book of his own some fifteen years later. Vogt's Musical Album of Autographs Vogt's Musical Album of Autographs acts as a form of a memoir, displaying mementos of musicians who held special meaning in his life as well as showing those with whom he was enamored from the younger generation. The anonymous Pie Jesu submitted to Vogt in 1831 marks the beginning of an album that would span nearly three decades by the time the final entry, an excerpt from Charles Gounod's (1818-1893) Faust, which premiered in 1859, was submitted. Within this album we find sixty-two entries from musicians whom he must have known very well because they were colleagues at the Conservatoire, or composers of opera whose works he was performing with the Paris Opera. Other entries came from performers with whom he had performed and some who were simply passing through Paris, such as Joseph Joachim (1831-1907). Of the sixty-three total entries, some are original, unpublished works, while others came from well-known existing works. Nineteen of these works are for solo piano, sixteen utilize the oboe or English horn, thirteen feature the voice (in many different combinations, including vocal solos with piano, and small choral settings up to one with double choir), two feature violin as a solo instrument, and one even features the now obscure ophicleide. The connections among the sixty-two contributors to Vogt's album are virtually never-ending. All were acquainted with Vogt in some capacity, from long-time friendships to relationships that were created when Vogt requested their entry. Thus, while Vogt is the person who is central to each of these musicians, the web can be greatly expanded. In general, the connections are centered around the Conservatoire, teacher lineages, the Opera, and performing circles. The relationships between all the contributors in the album parallel the current musical world, as many of these kinds of relationships still exist, and permit us to fantasize who might be found in an album created today by a musician of the same standing. Also important, is what sort of entries the contributors chose to pen. The sixty-three entries are varied, but can be divided into published and unpublished works. Within the published works, we find opera excerpts, symphony excerpts, mass excerpts, and canons, while the unpublished works include music for solo piano, oboe or English horn, string instruments (violin and cello), and voice (voice with piano and choral). The music for oboe and English horn works largely belong in the unpublished works of the album. These entries were most likely written to honor Vogt. Seven are for oboe and piano and were contributed by Joseph Joachim, Pauline Garcia Viardot (1821-1910), Joseph Artot, Anton Bohrer (1783-1852), Georges Onslow (1784-1853), Desire Beaulieu (1791-1863), and Narcisse Girard (1797-1860). The common thread between these entries is the simplicity of the melody and structure. Many are repetitive, especially Beaulieu's entry, which features a two-note ostinato throughout the work, which he even included in his signature. Two composers contributed pieces for English horn and piano, and like the previous oboe entries, are simple and repetitive. These were written by Michele Carafa (1787-1872) and Louis Clapisson (1808-1866). There are two other entries that were unpublished works and are chamber music. One is an oboe trio by Jacques Halevy (1799-1862) and the other is for oboe and strings (string trio) by J. B. Cramer (1771-1858). There are five published works in the album for oboe and English horn. There are three from operas and the other two from symphonic works. Ambroise Thomas (1811-1896) contributed an excerpt from the Entr'acte of his opera La Guerillero, and was likely chosen because the oboe was featured at this moment. Hippolyte Chelard (1789-1861) also chose to honor Vogt by writing for English horn. His entry, for English horn and piano, is taken from his biggest success, Macbeth. The English horn part was actually taken from Lady Macbeth's solo in the sleepwalking scene. Vogt's own entry also falls into this category, as he entered an excerpt from Donizetti's Maria di Rohan. The excerpt he chose is a duet between soprano and English horn. There are two entries featuring oboe that are excerpted from symphonic repertoire. One is a familiar oboe melody from Beethoven's Pastoral Symphony entered by his first biographer, Anton Schindler (1796-1864). The other is an excerpt from Berlioz's choral symphony, Romeo et Juliette. He entered an oboe solo from the Grand Fete section of the piece. Pedagogical benefit All of these works are lovely, and fit within the album wonderfully, but these works also are great oboe and English horn music for young students. The common thread between these entries is the simplicity of the melody and structure. Many are repetitive, especially Beaulieu's entry, which features a two-note ostinato throughout the work in the piano. This repetitive structure is beneficial for young students for searching for a short solo to present at a studio recital, or simply to learn. They also work many technical issues a young player may encounter, such as mastering the rolling finger to uncover and recover the half hole. This is true of Bealieu's Pensee as well as Onslow's Andantino. Berlioz's entry from Romeo et Juliette features very long phrases, which helps with endurance and helps keep the air spinning through the oboe. Some of the pieces also use various levels of ornamentation, from trills to grace notes, and short cadenzas. This allows the student to learn appropriate ways to phrase with these added notes. The chamber music is a valuable way to start younger students with chamber music, especially the short quartet by Cramer for oboe and string trio. All of these pieces will not tax the student to learn a work that is more advanced, as well as give them a full piece that they can work on from beginning to end in a couple weeks, instead of months. Editorial Policy The works found in this edition are based on the manuscript housed at the Morgan Library in New York City (call number Cary 348, V886. A3). When possible, published scores were consulted and compared to clarify pitch and text. The general difficulties in creating an edition of these works stem from entries that appear to be hastily written, and thus omit complete articulations and dynamic indications for all passages and parts. The manuscript has been modernized into a performance edition. The score order from the manuscript has been retained. If an entry also exists in a published work, and this was not indicated on the manuscript, appropriate titles and subtitles have been added tacitly. For entries that were untitled, the beginning tempo marking or expressive directive has been added as its title tacitly. Part names have been changed from the original language to English. If no part name was present, it was added tacitly. All scores are transposing where applicable. Measure numbers have been added at the beginning of every system. Written directives have been retained in the original language and are placed relative to where they appear in the manuscript. Tempo markings from the manuscript have been retained, even if they were abbreviated, i.e., Andte. The barlines, braces, brackets, and clefs are modernized. The beaming and stem direction has been modernized. Key signatures have been modernized as some of the flats/sharps do not appear on the correct lines or spaces. Time signatures have been modernized. In a few cases, when a time signature was missing in the manuscript, it has been added tacitly. Triplet and rhythmic groupings have been modernized. Slurs, ties, and articulations (staccato and accent) have been modernized. Slurs, ties, and articulations have been added to parallel passages tacitly. Courtesy accidentals found in the manuscript have been removed, unless it appeared to be helpful to the performer. Dynamic indications from the manuscript have been retained, except where noted. --Kristin Leitterman. IntroductionGustave Vogt’s Musical ParisGustave Vogt (1781–1870) was born into the “Age of Enlightenment,†at the apex of the Enlightenment’s outreach. During his lifetime he would observe its effect on the world. Over the course of his life he lived through many changes in musical style. When he was born, composers such as Mozart and Haydn were still writing masterworks revered today, and eighty-nine years later, as he departed the world, the new realm of Romanticism was beginning to emerge with Mahler, Richard Strauss and Debussy, who were soon to make their respective marks on the musical world. Vogt himself left a huge mark on the musical world, with critics referring to him as the “grandfather of the modern oboe†and the “premier oboist of Europe.â€Through his eighty-nine years, Vogt would live through what was perhaps the most turbulent period of French history. He witnessed the French Revolution of 1789, followed by the many newly established governments, only to die just months before the establishment of the Third Republic in 1870, which would be the longest lasting government since the beginning of the revolution. He also witnessed the transformation of the French musical world from one in which opera reigned supreme, to one in which virtuosi, chamber music, and symphonic music ruled. Additionally, he experienced the development of the oboe right before his eyes. When he began playing in the late eighteenth century, the standard oboe had two keys (E and Eb) and at the time of his death in 1870, the “System Six†Triébert oboe (the instrument adopted by Conservatoire professor, Georges Gillet, in 1882) was only five years from being developed.Vogt was born March 18, 1781 in the ancient town of Strasbourg, part of the Alsace region along the German border. At the time of his birth, Strasbourg had been annexed by Louis XIV, and while heavily influenced by Germanic culture, had been loosely governed by the French for a hundred years. Although it is unclear when Vogt began studying the oboe and when his family made its move to the French capital, the Vogts may have fled Strasbourg in 1792 after much of the city was destroyed during the French Revolution. He was without question living in Paris by 1798, as he enrolled on June 8 at the newly established Conservatoire national de Musique to study oboe with the school’s first oboe professor, Alexandre-Antoine Sallantin (1775–1830).Vogt’s relationship with the Conservatoire would span over half a century, moving seamlessly from the role of student to professor. In 1799, just a year after enrolling, he was awarded the premier prix, becoming the fourth oboist to achieve this award. By 1802 he had been appointed répétiteur, which involved teaching the younger students and filling in for Sallantin in exchange for a free education. He maintained this rank until 1809, when he was promoted to professor adjoint and finally to professor titulaire in 1816 when Sallantin retired. This was a position he held for thirty-seven years, retiring in 1853, making him the longest serving oboe professor in the school’s history. During his tenure, he became the most influential oboist in France, teaching eighty-nine students, plus sixteen he taught while he was professor adjoint and professor titulaire. Many of these students went on to be famous in their own right, such as Henri Brod (1799–1839), Apollon Marie-Rose Barret (1804–1879), Charles Triebert (1810–1867), Stanislas Verroust (1814–1863), and Charles Colin (1832–1881). His influence stretches from French to American oboe playing in a direct line from Charles Colin to Georges Gillet (1854–1920), and then to Marcel Tabuteau (1887–1966), the oboist Americans lovingly describe as the “father of American oboe playing.â€Opera was an important part of Vogt’s life. His first performing position was with the Théâtre-Montansier while he was still studying at the Conservatoire. Shortly after, he moved to the Ambigu-Comique and, in 1801 was appointed as first oboist with the Théâtre-Italien in Paris. He had been in this position for only a year, when he began playing first oboe at the Opéra-Comique. He remained there until 1814, when he succeeded his teacher, Alexandre-Antoine Sallantin, as soloist with the Paris Opéra, the top orchestra in Paris at the time. He played with the Paris Opéra until 1834, all the while bringing in his current and past students to fill out the section. In this position, he began to make a name for himself; so much so that specific performances were immortalized in memoirs and letters. One comes from a young Hector Berlioz (1803–1865) after having just arrived in Paris in 1822 and attended the Paris Opéra’s performance of Mehul’s Stratonice and Persuis’ ballet Nina. It was in response to the song Quand le bien-amié reviendra that Berlioz wrote: “I find it difficult to believe that that song as sung by her could ever have made as true and touching an effect as the combination of Vogt’s instrument…†Shortly after this, Berlioz gave up studying medicine and focused on music.Vogt frequently made solo and chamber appearances throughout Europe. His busiest period of solo work was during the 1820s. In 1825 and 1828 he went to London to perform as a soloist with the London Philharmonic Society. Vogt also traveled to Northern France in 1826 for concerts, and then in 1830 traveled to Munich and Stuttgart, visiting his hometown of Strasbourg on the way. While on tour, Vogt performed Luigi Cherubini’s (1760–1842) Ave Maria, with soprano Anna (Nanette) Schechner (1806–1860), and a Concertino, presumably written by himself. As a virtuoso performer in pursuit of repertoire to play, Vogt found himself writing much of his own music. His catalog includes chamber music, variation sets, vocal music, concerted works, religious music, wind band arrangements, and pedagogical material. He most frequently performed his variation sets, which were largely based on themes from popular operas he had, presumably played while he was at the Opéra.He made his final tour in 1839, traveling to Tours and Bordeaux. During this tour he appeared with the singer Caroline Naldi, Countess de Sparre, and the violinist Joseph Artôt (1815–1845). This ended his active career as a soloist. His performance was described in the Revue et gazette musicale de Paris as having “lost none of his superiority over the oboe…. It’s always the same grace, the same sweetness. We made a trip to Switzerland, just by closing your eyes and listening to Vogt’s oboe.â€Vogt was also active performing in Paris as a chamber and orchestral musician. He was one of the founding members of the Société des Concerts du Conservatoire, a group established in 1828 by violinist and conductor François-Antoine Habeneck (1781–1849). The group featured faculty and students performing alongside each other and works such as Beethoven symphonies, which had never been heard in France. He also premiered the groundbreaking woodwind quintets of Antonin Reicha (1770–1836).After his retirement from the Opéra in 1834 and from the Société des Concerts du Conservatoire in 1842, Vogt began to slow down. His final known performance was of Cherubini’s Ave Maria on English horn with tenor Alexis Dupont (1796–1874) in 1843. He then began to reflect on his life and the people he had known. When he reached his 60s, he began gathering entries for his Musical Album of Autographs.Autograph AlbumsVogt’s Musical Album of Autographs is part of a larger practice of keeping autograph albums, also commonly known as Stammbuch or Album Amicorum (meaning book of friendship or friendship book), which date back to the time of the Reformation and the University of Wittenberg. It was during the mid-sixteenth century that students at the University of Wittenberg began passing around bibles for their fellow students and professors to sign, leaving messages to remember them by as they moved on to the next part of their lives. The things people wrote were mottos, quotes, and even drawings of their family coat of arms or some other scene that meant something to the owner. These albums became the way these young students remembered their school family once they had moved on to another school or town. It was also common for the entrants to comment on other entries and for the owner to amend entries when they learned of important life details such as marriage or death.As the practice continued, bibles were set aside for emblem books, which was a popular book genre that featured allegorical illustrations (emblems) in a tripartite form: image, motto, epigram. The first emblem book used for autographs was published in 1531 by Andrea Alciato (1492–1550), a collection of 212 Latin emblem poems. In 1558, the first book conceived for the purpose of the album amicorum was published by Lyon de Tournes (1504–1564) called the Thesaurus Amicorum. These books continued to evolve, and spread to wider circles away from universities. Albums could be found being kept by noblemen, physicians, lawyers, teachers, painters, musicians, and artisans.The albums eventually became more specialized, leading to Musical Autograph Albums (or Notestammbücher). Before this specialization, musicians contributed in one form or another, but our knowledge of them in these albums is mostly limited to individual people or events. Some would simply sign their name while others would insert a fragment of music, usually a canon (titled fuga) with text in Latin. Canons were popular because they displayed the craftsmanship of the composer in a limited space. Composers well-known today, including J. S. Bach, Telemann, Mozart, Beethoven, Dowland, and Brahms, all participated in the practice, with Beethoven being the first to indicate an interest in creating an album only of music.This interest came around 1815. In an 1845 letter from Johann Friedrich Naue to Heinrich Carl Breidenstein, Naue recalled an 1813 visit with Beethoven, who presented a book suggesting Naue to collect entries from celebrated musicians as he traveled. Shortly after we find Louis Spohr speaking about leaving on his “grand tour†through Europe in 1815 and of his desire to carry an album with entries from the many artists he would come across. He wrote in his autobiography that his “most valuable contribution†came from Beethoven in 1815. Spohr’s Notenstammbuch, comprised only of musical entries, is groundbreaking because it was coupled with a concert tour, allowing him to reach beyond the Germanic world, where the creation of these books had been nearly exclusive. Spohr brought the practice of Notenstammbücher to France, and in turn indirectly inspired Vogt to create a book of his own some fifteen years later.Vogt’s Musical Album of AutographsVogt’s Musical Album of Autographs acts as a form of a memoir, displaying mementos of musicians who held special meaning in his life as well as showing those with whom he was enamored from the younger generation. The anonymous Pie Jesu submitted to Vogt in 1831 marks the beginning of an album that would span nearly three decades by the time the final entry, an excerpt from Charles Gounod’s (1818–1893) Faust, which premiered in 1859, was submitted.Within this album ... $16.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Symphony No. 6 [Score] Theodore Presser Co.
Band SKU: PR.16500104F Three Places in the East. Composed by Dan W...(+)
Band SKU: PR.16500104F Three Places in the East. Composed by Dan Welcher. Full score. Theodore Presser Company #165-00104F. Published by Theodore Presser Company (PR.16500104F). ISBN 9781491132159. UPC: 680160681082. Ever since the success of my series of wind ensemble works Places in the West, I've been wanting to write a companion piece for national parks on the other side of the north American continent. The earlier work, consisting of GLACIER, THE YELLOWSTONE FIRES, ARCHES, and ZION, spanned some twenty years of my composing life, and since the pieces called for differing groups of instruments, and were in slightly different styles from each other, I never considered them to be connected except in their subject matter. In their depiction of both the scenery and the human history within these wondrous places, they had a common goal: awaking the listener to the fragile beauty that is in them; and calling attention to the ever more crucial need for preservation and protection of these wild places, unique in all the world. With this new work, commissioned by a consortium of college and conservatory wind ensembles led by the University of Georgia, I decided to build upon that same model---but to solidify the process. The result, consisting of three movements (each named for a different national park in the eastern US), is a bona-fide symphony. While the three pieces could be performed separately, they share a musical theme---and also a common style and instrumentation. It is a true symphony, in that the first movement is long and expository, the second is a rather tightly structured scherzo-with-trio, and the finale is a true culmination of the whole. The first movement, Everglades, was the original inspiration for the entire symphony. Conceived over the course of two trips to that astonishing place (which the native Americans called River of Grass, the subtitle of this movement), this movement not only conveys a sense of the humid, lush, and even frightening scenery there---but also an overview of the entire settling-of- Florida experience. It contains not one, but two native American chants, and also presents a view of the staggering influence of modern man on this fragile part of the world. Beginning with a slow unfolding marked Heavy, humid, the music soon presents a gentle, lyrical theme in the solo alto saxophone. This theme, which goes through three expansive phrases with breaks in between, will appear in all three movements of the symphony. After the mood has been established, the music opens up to a rich, warm setting of a Cherokee morning song, with the simple happiness that this part of Florida must have had prior to the nineteenth century. This music, enveloping and comforting, gradually gives way to a more frenetic, driven section representative of the intrusion of the white man. Since Florida was populated and developed largely due to the introduction of a train system, there's a suggestion of the mechanized iron horse driving straight into the heartland. At that point, the native Americans become considerably less gentle, and a second chant seems to stand in the way of the intruder; a kind of warning song. The second part of this movement shows us the great swampy center of the peninsula, with its wildlife both in and out of the water. A new theme appears, sad but noble, suggesting that this land is precious and must be protected by all the people who inhabit it. At length, the morning song reappears in all its splendor, until the sunset---with one last iteration of the warning song in the solo piccolo. Functioning as a scherzo, the second movement, Great Smoky Mountains, describes not just that huge park itself, but one brave soul's attempt to climb a mountain there. It begins with three iterations of the UR-theme (which began the first movement as well), but this time as up-tempo brass fanfares in octaves. Each time it begins again, the theme is a little slower and less confident than the previous time---almost as though the hiker were becoming aware of the daunting mountain before him. But then, a steady, quick-pulsed ostinato appears, in a constantly shifting meter system of 2/4- 3/4 in alteration, and the hike has begun. Over this, a slower new melody appears, as the trek up the mountain progresses. It's a big mountain, and the ascent seems to take quite awhile, with little breaks in the hiker's stride, until at length he simply must stop and rest. An oboe solo, over several free cadenza-like measures, allows us (and our friend the hiker) to catch our breath, and also to view in the distance the rocky peak before us. The goal is somehow even more daunting than at first, being closer and thus more frighteningly steep. When we do push off again, it's at a slower pace, and with more careful attention to our footholds as we trek over broken rocks. Tantalizing little views of the valley at every switchback make our determination even stronger. Finally, we burst through a stand of pines and----we're at the summit! The immensity of the view is overwhelming, and ultimately humbling. A brief coda, while we sit dazed on the rocks, ends the movement in a feeling of triumph. The final movement, Acadia, is also about a trip. In the summer of 2014, I took a sailing trip with a dear friend from North Haven, Maine, to the southern coast of Mt. Desert Island in Acadia National Park. The experience left me both exuberant and exhausted, with an appreciation for the ocean that I hadn't had previously. The approach to Acadia National Park by water, too, was thrilling: like the difference between climbing a mountain on foot with riding up on a ski-lift, I felt I'd earned the right to be there. The music for this movement is entirely based on the opening UR-theme. There's a sense of the water and the mysterious, quiet deep from the very beginning, with seagulls and bell buoys setting the scene. As we leave the harbor, the theme (in a canon between solo euphonium and tuba) almost seems as if large subaquatic animals are observing our departure. There are three themes (call them A, B and C) in this seafaring journey---but they are all based on the UR theme, in its original form with octaves displaced, in an upside-down form, and in a backwards version as well. (The ocean, while appearing to be unchanging, is always changing.) We move out into the main channel (A), passing several islands (B), until we reach the long draw that parallels the coastline called Eggemoggin Reach, and a sudden burst of new speed (C). Things suddenly stop, as if the wind had died, and we have a vision: is that really Mt. Desert Island we can see off the port bow, vaguely in the distance? A chorale of saxophones seems to suggest that. We push off anew as the chorale ends, and go through all three themes again---but in different instrumentations, and different keys. At the final tack-turn, there it is, for real: Mt. Desert Island, big as life. We've made it. As we pull into the harbor, where we'll secure the boat for the night, there's a feeling of achievement. Our whale and dolphin friends return, and we end our journey with gratitude and celebration. I am profoundly grateful to Jaclyn Hartenberger, Professor of Conducting at the University of Georgia, for leading the consortium which provided the commissioning of this work. $90.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| The Piano Treasury of Golden Favorites Piano, Voice [Sheet music + CD] - Intermediate Music Sales
Edited by Amy Appleby. Collection and examples CD for voice and piano. Over 180 ...(+)
Edited by Amy Appleby. Collection and examples CD for voice and piano. Over 180 hits and showstoppers by the master songwriters of yesteryear. 399 pages. Published by Music Sales.
(2)$29.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Everglades (River of Grass) [Score] Theodore Presser Co.
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clar...(+)
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clarinet 3, Contrabass Clarinet, Contrabassoon, Double Bass, English Horn, Euphonium, Flute 1, Flute 2, Horn 1, Horn 2, Horn 3, Horn 4, Oboe 1, Oboe 2, Percussion 1 and more. SKU: PR.16500101F Mvt. 1 from Symphony No. 6 (Three Places in the East). Composed by Dan Welcher. Full score. 52 pages. Theodore Presser Company #165-00101F. Published by Theodore Presser Company (PR.16500101F). ISBN 9781491131725. UPC: 680160680252. Ever since the success of my series of wind ensemble works Places in the West, I've been wanting to write a companion piece for national parks on the other side of the north American continent. The earlier work, consisting of GLACIER, THE YELLOWSTONE FIRES, ARCHES, and ZION, spanned some twenty years of my composing life, and since the pieces called for differing groups of instruments, and were in slightly different styles from each other, I never considered them to be connected except in their subject matter. In their depiction of both the scenery and the human history within these wondrous places, they had a common goal: awaking the listener to the fragile beauty that is in them; and calling attention to the ever more crucial need for preservation and protection of these wild places, unique in all the world. With this new work, commissioned by a consortium of college and conservatory wind ensembles led by the University of Georgia, I decided to build upon that same model---but to solidify the process. The result, consisting of three movements (each named for a different national park in the eastern US), is a bona-fide symphony. While the three pieces could be performed separately, they share a musical theme---and also a common style and instrumentation. It is a true symphony, in that the first movement is long and expository, the second is a rather tightly structured scherzo-with-trio, and the finale is a true culmination of the whole. The first movement, Everglades, was the original inspiration for the entire symphony. Conceived over the course of two trips to that astonishing place (which the native Americans called River of Grass, the subtitle of this movement), this movement not only conveys a sense of the humid, lush, and even frightening scenery there---but also an overview of the entire settling-of- Florida experience. It contains not one, but two native American chants, and also presents a view of the staggering influence of modern man on this fragile part of the world. Beginning with a slow unfolding marked Heavy, humid, the music soon presents a gentle, lyrical theme in the solo alto saxophone. This theme, which goes through three expansive phrases with breaks in between, will appear in all three movements of the symphony. After the mood has been established, the music opens up to a rich, warm setting of a Cherokee morning song, with the simple happiness that this part of Florida must have had prior to the nineteenth century. This music, enveloping and comforting, gradually gives way to a more frenetic, driven section representative of the intrusion of the white man. Since Florida was populated and developed largely due to the introduction of a train system, there's a suggestion of the mechanized iron horse driving straight into the heartland. At that point, the native Americans become considerably less gentle, and a second chant seems to stand in the way of the intruder; a kind of warning song. The second part of this movement shows us the great swampy center of the peninsula, with its wildlife both in and out of the water. A new theme appears, sad but noble, suggesting that this land is precious and must be protected by all the people who inhabit it. At length, the morning song reappears in all its splendor, until the sunset---with one last iteration of the warning song in the solo piccolo. Functioning as a scherzo, the second movement, Great Smoky Mountains, describes not just that huge park itself, but one brave soul's attempt to climb a mountain there. It begins with three iterations of the UR-theme (which began the first movement as well), but this time as up-tempo brass fanfares in octaves. Each time it begins again, the theme is a little slower and less confident than the previous time---almost as though the hiker were becoming aware of the daunting mountain before him. But then, a steady, quick-pulsed ostinato appears, in a constantly shifting meter system of 2/4- 3/4 in alteration, and the hike has begun. Over this, a slower new melody appears, as the trek up the mountain progresses. It's a big mountain, and the ascent seems to take quite awhile, with little breaks in the hiker's stride, until at length he simply must stop and rest. An oboe solo, over several free cadenza-like measures, allows us (and our friend the hiker) to catch our breath, and also to view in the distance the rocky peak before us. The goal is somehow even more daunting than at first, being closer and thus more frighteningly steep. When we do push off again, it's at a slower pace, and with more careful attention to our footholds as we trek over broken rocks. Tantalizing little views of the valley at every switchback make our determination even stronger. Finally, we burst through a stand of pines and----we're at the summit! The immensity of the view is overwhelming, and ultimately humbling. A brief coda, while we sit dazed on the rocks, ends the movement in a feeling of triumph. The final movement, Acadia, is also about a trip. In the summer of 2014, I took a sailing trip with a dear friend from North Haven, Maine, to the southern coast of Mt. Desert Island in Acadia National Park. The experience left me both exuberant and exhausted, with an appreciation for the ocean that I hadn't had previously. The approach to Acadia National Park by water, too, was thrilling: like the difference between climbing a mountain on foot with riding up on a ski-lift, I felt I'd earned the right to be there. The music for this movement is entirely based on the opening UR-theme. There's a sense of the water and the mysterious, quiet deep from the very beginning, with seagulls and bell buoys setting the scene. As we leave the harbor, the theme (in a canon between solo euphonium and tuba) almost seems as if large subaquatic animals are observing our departure. There are three themes (call them A, B and C) in this seafaring journey---but they are all based on the UR theme, in its original form with octaves displaced, in an upside-down form, and in a backwards version as well. (The ocean, while appearing to be unchanging, is always changing.) We move out into the main channel (A), passing several islands (B), until we reach the long draw that parallels the coastline called Eggemoggin Reach, and a sudden burst of new speed (C). Things suddenly stop, as if the wind had died, and we have a vision: is that really Mt. Desert Island we can see off the port bow, vaguely in the distance? A chorale of saxophones seems to suggest that. We push off anew as the chorale ends, and go through all three themes again---but in different instrumentations, and different keys. At the final tack-turn, there it is, for real: Mt. Desert Island, big as life. We've made it. As we pull into the harbor, where we'll secure the boat for the night, there's a feeling of achievement. Our whale and dolphin friends return, and we end our journey with gratitude and celebration. I am profoundly grateful to Jaclyn Hartenberger, Professor of Conducting at the University of Georgia, for leading the consortium which provided the commissioning of this work. $36.99 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| A Basque Carol - Easy Carl Fischer
Orchestra Cello, Contrabass, Viola, Violin 1, Violin 2, soprano Recorder - Grade...(+)
Orchestra Cello, Contrabass, Viola, Violin 1, Violin 2, soprano Recorder - Grade 3.5 SKU: CF.CAS147 Composed by Basque Carol. Arranged by Christopher Thomas. Carl Fischer Concert String Orchestra Series. Set of Score and Parts. 8+8+5+5+5+1+3+16 pages. Carl Fischer Music #CAS147. Published by Carl Fischer Music (CF.CAS147). ISBN 9781491160916. UPC: 680160919512. A Basque Carol (also known as Gabriel's Message) originated from the 13th or 14th century. This brilliantly crafted tune is at once hauntingly beautiful, yet warm and joyous. The lasting power of this song is in the craftsmanship of the melody. Its contours are complex and skillful, yet incredibly simple to sing. A Basque Carol's popularity can also be attributed to it's elegant translation into English by Sabine Baring-Gould. While translations often feel blunt or coarse, this one is especially poetic (his wings as drifted snow, his eyes as flame). In this orchestration, a flowing, cinematic style is combined with rich, thickly-textured string voicings inspired by composer Ralph Vaughn Williams. This graceful arrangement features an obbligato line on solo recorder (optional solo flute or violin). It may be performed by orchestra and soloist alone, or with soprano and alto choir (or S/A soloists). There is even a moment quoted from another favorite holiday carol, Jesu Bambino. A lovely addition to your next holiday program!. A Basque Carol (also known as Gabriel's Message) originated from the 13th or 14th century. This brilliantly crafted tune is at once hauntingly beautiful, yet warm and joyous. The lasting power of this song is in the craftsmanship of the melody. Its contours are complex and skillful, yet incredibly simple to sing. A Basque Carol's popularity can also be attributed to it's elegant translation into English by Sabine Baring-Gould. While translations often feel blunt or coarse, this one is especially poetic (his wings as drifted snow, his eyes as flame). In this orchestration, a flowing, cinematic style is combined with rich, thickly-textured string voicings inspired by composer Ralph Vaughn Williams. This graceful arrangement features an obbligato line on solo recorder (optional solo flute or violin). It may be performed by orchestra and soloist alone, or with SATB choir. There is even a moment quoted from another favorite holiday carol, Jesu Bambino. A lovely addition to your next holiday program!. A Basque Carol (also known as Gabriel’s Message) originated from the 13th or 14th century. This brilliantly crafted tune is at once hauntingly beautiful, yet warm and joyous. The lasting power of this song is in the craftsmanship of the melody. Its contours are complex and skillful, yet incredibly simple to sing. A Basque Carol’s popularity can also be attributed to it’s elegant translation into English by Sabine Baring-Gould. While translations often feel blunt or coarse, this one is especially poetic (“his wings as drifted snow, his eyes as flameâ€). In this orchestration, a flowing, cinematic style is combined with rich, thickly-textured string voicings inspired by composer Ralph Vaughn Williams. This graceful arrangement features an obbligato line on solo recorder (optional solo flute or violin). It may be performed by orchestra and soloist alone, or with SATB choir. There is even a moment quoted from another favorite holiday carol, Jesu Bambino. A lovely addition to your next holiday program! 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 | | |
| Werner Jensen A Opernfuehrer Fuer Junge Leute Schott
(BR) SKU: HL.49041730 Die beliebtesten Opern von der Barockzeit bis zu...(+)
(BR) SKU: HL.49041730 Die beliebtesten Opern von der Barockzeit bis zur Gegenwart. Composed by Werner. This edition: Paperback/Soft Cover. Paperback. Serie Musik. A very special opera guide - not just for young people! 383 pages. Schott Music #SEM 8384. Published by Schott Music (HL.49041730). ISBN 9783254083845. German. Reinhard Heinrich. This opera guide is addressed to children and young people, but also to their parents and relatives. It contains concise comprehensible information on all important aspects of the opera. This edition describes: - the contents and characters of individual operas,- the 400-year-old history of the opera,- the creation of an opera performance.- the opera house and the people working there. The operas were selected according to their suitability for young opera-goers, but also to their performance frequency. The list of the dramatis personae is followed by a vivid summary of the contents, as well as by additional notes on the music, the genesis and significance of the opera, and complemented by music examples written in simple keys so that they are easy to read and to play. Graphic show selected one or two selected scenes and introduce the reader to important characters of the story in typical costumes. $20.99 - See more - Buy online | | |
| Easy Primary Songs for Piano Piano solo - Easy Jackman Music Corporation
Piano - easy to medium easy SKU: JK.01966 Composed by Various. Arranged b...(+)
Piano - easy to medium easy SKU: JK.01966 Composed by Various. Arranged by Paralee Miles Eckman. Piano Beginner, Piano Preludes, Piano Solos, Special Events Baptism and Confirmation, Special Events Primary Program, Children. Christian, Inspirational. Jackman Music Corporation #01966. Published by Jackman Music Corporation (JK.01966). UPC: 093285019669. Mosiah 2:22, Doctrine and Covenants 59:23. Easy Primary Songs for Piano is the perfect book for beginning pianists who can play hands together. You'll find many of the most well-loved primary songs in this book, arranged in a simple but beautiful way. In an effort to make this book simple and approachable, every song has been arranged in the keys of C, G, or F. Each song displays a keyboard chart above, showing the beginning hand positions and the sharps/flats included in the piece. Songs have been ordered by level of difficulty (Beginner: Level 1 to Level 2). Watch for helpful tips above each song and don't be afraid to refer to the pages in the front which contain helpful tools and basic piano/music theory. * While this book is perfect for developing pianists, it could also be used in a primary setting as a simplified songook for the accompanist. This book was originally titled Simplified Favorites (#80095) Contents: A Happy Family Baptism Book of Mormon Stories Dare to Do Right Families Can Be Together Forever Give Said the Little Stream Happy, Happy Birthday Have a Very, Merry Christmas He Sent His Son I Am a Child of God I Believe in Being Honest I Feel My Savior's Love I Hope They Call Me on a Mission I Lived in Heaven I Love to See the Temple I Want to Be a Missionary Now I Will Be Valiant In the Leafy Treetops Pioneer Children Sang as They Walked It's Autumn-time Keep the Commandments Mother Dear My Dad My Heavenly Father Loves Me Oh, What do You Do in the Summertime? Once There Was a Snowman Quickly I'll Obey Search, Ponder and Pray Seek the Lord Early Smiles Teach Me to Walk in the Light Thank Thee for Everything The Golden Plates We'll Bring the World His Truth When Joseph Went to Bethlehem When He Comes Again Composers: various Arranger: Paralee Miles Eckman Lyricist: various Difficulty: easy to medium easy Reference: Mosiah 2:22, Doctrine and Covenants 59:23. $13.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| A Basque Carol [Score] - Easy Carl Fischer
Orchestra Cello, Contrabass, Viola, Violin 1, Violin 2, soprano Recorder - Grade...(+)
Orchestra Cello, Contrabass, Viola, Violin 1, Violin 2, soprano Recorder - Grade 3.5 SKU: CF.CAS147F Composed by Basque Carol. Arranged by Christopher Thomas. Carl Fischer Concert String Orchestra Series. Full score. 16 pages. Carl Fischer Music #CAS147F. Published by Carl Fischer Music (CF.CAS147F). ISBN 9781491160862. UPC: 680160919468. A Basque Carol (also known as Gabriel's Message) originated from the 13th or 14th century. This brilliantly crafted tune is at once hauntingly beautiful, yet warm and joyous. The lasting power of this song is in the craftsmanship of the melody. Its contours are complex and skillful, yet incredibly simple to sing. A Basque Carol's popularity can also be attributed to it's elegant translation into English by Sabine Baring-Gould. While translations often feel blunt or coarse, this one is especially poetic (his wings as drifted snow, his eyes as flame). In this orchestration, a flowing, cinematic style is combined with rich, thickly-textured string voicings inspired by composer Ralph Vaughn Williams. This graceful arrangement features an obbligato line on solo recorder (optional solo flute or violin). It may be performed by orchestra and soloist alone, or with Soprano and Alto choir (or S/A soloists). There is even a moment quoted from another favorite holiday carol, Jesu Bambino. A lovely addition to your next holiday program!. A Basque Carol (also known as Gabriel’s Message) originated from the 13th or 14th century. This brilliantly crafted tune is at once hauntingly beautiful, yet warm and joyous. The lasting power of this song is in the craftsmanship of the melody. Its contours are complex and skillful, yet incredibly simple to sing. A Basque Carol’s popularity can also be attributed to it’s elegant translation into English by Sabine Baring-Gould. While translations often feel blunt or coarse, this one is especially poetic (“his wings as drifted snow, his eyes as flameâ€). In this orchestration, a flowing, cinematic style is combined with rich, thickly-textured string voicings inspired by composer Ralph Vaughn Williams. This graceful arrangement features an obbligato line on solo recorder (optional solo flute or violin). It may be performed by orchestra and soloist alone, or with Soprano and Alto choir (or S/A soloists). There is even a moment quoted from another favorite holiday carol, Jesu Bambino. A lovely addition to your next holiday program! 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 | | |
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