| The Complete Scottish and English Country Dance Master for Recorders, Part One Recorder [Sheet music] - Easy Mel Bay
The Spring Garden. By Patricia M. O'Scannell. For Recorder (All). Songbook. Danc...(+)
The Spring Garden. By Patricia M. O'Scannell. For Recorder (All). Songbook. Dance. Level: Multiple Levels. Book. Size 8.75x11.75. 64 pages. Published by Mel Bay Publications, Inc.
(3)$19.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Spring night from Song Cycle op. 39 Piano solo - Advanced G. Henle
Piano. Composed by Robert Schumann and Franz Liszt (1811-1886). Edited by Ann...(+)
Piano. Composed by Robert
Schumann and Franz Liszt
(1811-1886). Edited by
Annette Oppermann. Sheet
music. Henle Music Folios.
Classical. Single sheet. Op.
39. G. Henle #HN1204.
Published by G. Henle
$8.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| We Celebrate the Birth of Spring! Choral 3-part SSA, Piano Carl Fischer
Composed by Vicki Tucker Courtney. Octavo. With Standard notation. 8 pages. Carl...(+)
Composed by Vicki Tucker Courtney. Octavo. With Standard notation. 8 pages. Carl Fischer #CM09053. Published by Carl Fischer
$2.25 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Circus Delight [Score and Parts] - Easy Gobelin Music Publications
Concert Band/Harmonie/Fanfare Band - Grade 2 SKU: BT.GOB-000234-015 Compo...(+)
Concert Band/Harmonie/Fanfare Band - Grade 2 SKU: BT.GOB-000234-015 Composed by Dagmar Kildevann. Set (Score & Parts). 140 pages. Gobelin Music Publications #GOB 000234-015. Published by Gobelin Music Publications (BT.GOB-000234-015). ‘Circus Delight’ is a five-part suite which is set, how could it be otherwise, in a big circus tent.
The suite starts with a part called ‘Entrance’. The orchestra, positioned above the entrance of the ring asks for the attention of the audience and then the ring announcer enters. The show can begin! The elephants play a central role in the first act. These colossal grey animals are rather slow and perform their tricks in a moderate tempo. (‘Elephant Blues’) How different are ‘The Acrobats’. At high speed they run, jump and fly through the ring, until ....... It gets very exciting. Fortunately, all’s well that ends well and they take their leave of the audienceat a trot. Everyone knows, and yet it is mostly not spoken about, that when a clown has taken off his red nose and rubbed off his make-up, his face off-stage is not always a happy one. (‘Tears of the Clown’) The piece ends on a cheerful note with ‘The Parade’, in which all the artists make their entrance in the ring once again to gratefully acknowledge the audience’s overwhelming applause.
‘Circus Delight’ is een vijfdelige suite die zich afspeelt in, hoe kan het ook anders, een grote circustent.
De suite begint met ‘Entrance’. Het orkest dat boven de ingang van de piste zit vraagt de aandacht van het publieken de spreekstalmeester komt binnen. De voorstelling kan beginnen. De olifanten staan centraal in de eerste act. De grote grijze kolossen zijn niet de snelste dieren en vertonen hun kunsten in een rustig tempo. (‘ElephantBlues’) Bij ‘The Acrobats’ is dat wel even anders. In rap tempo hollen, springen en vliegen ze door de piste totdat ... het heel spannend wordt. Maar het gaat gelukkig goed en in snel tempo nemen ze afscheid van het publiek. Iedereen weet het en toch, er wordt meestal niet over gesproken dat wanneer de clown na de voorstelling zijn rode neus en schmink afdoet, we zien dat het gezicht van de clown niet altijd lacht. (‘Tears of the Clown’) We sluiten vrolijk af met ‘The Parade’ waarin alle artiesten nog een keer in de piste voorbijkomen, om het overweldigende applaus dankbaar in ontvangst te nemen. $78.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Circus Delight Brass ensemble [Score] - Easy Gobelin Music Publications
Brass Band - Grade 2 SKU: BT.GOB-000381-130 Composed by Dagmar Kildevann....(+)
Brass Band - Grade 2 SKU: BT.GOB-000381-130 Composed by Dagmar Kildevann. Score Only. 12 pages. Gobelin Music Publications #GOB 000381-130. Published by Gobelin Music Publications (BT.GOB-000381-130). ‘Circus Delight’ is a five-part suite which is set, how could it be otherwise, in a big circus tent.
The suite starts with a part called ‘Entrance’. The orchestra, positioned above the entrance of the ring asks for the attention of the audience and then the ring announcer enters. The show can begin! The elephants play a central role in the first act. These colossal grey animals are rather slow and perform their tricks in a moderate tempo. (‘Elephant Blues’) How different are ‘The Acrobats’. At high speed they run, jump and fly through the ring, until ....... It gets very exciting. Fortunately, all’s well that ends well and they take their leave of the audienceat a trot. Everyone knows, and yet it is mostly not spoken about, that when a clown has taken off his red nose and rubbed off his make-up, his face off-stage is not always a happy one. (‘Tears of the Clown’) The piece ends on a cheerful note with ‘The Parade’, in which all the artists make their entrance in the ring once again to gratefully acknowledge the audience’s overwhelming applause.
‘Circus Delight’ is een vijfdelige suite die zich afspeelt in, hoe kan het ook anders, een grote circustent.
De suite begint met ‘Entrance’. Het orkest dat boven de ingang van de piste zit vraagt de aandacht van het publieken de spreekstalmeester komt binnen. De voorstelling kan beginnen. De olifanten staan centraal in de eerste act. De grote grijze kolossen zijn niet de snelste dieren en vertonen hun kunsten in een rustig tempo. (‘ElephantBlues’) Bij ‘The Acrobats’ is dat wel even anders. In rap tempo hollen, springen en vliegen ze door de piste totdat ... het heel spannend wordt. Maar het gaat gelukkig goed en in snel tempo nemen ze afscheid van het publiek. Iedereen weet het en toch, er wordt meestal niet over gesproken dat wanneer de clown na de voorstelling zijn rode neus en schmink afdoet, we zien dat het gezicht van de clown niet altijd lacht. (‘Tears of the Clown’) We sluiten vrolijk af met ‘The Parade’ waarin alle artiesten nog een keer in de piste voorbijkomen, om het overweldigende applaus dankbaar in ontvangst te nemen. $16.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Circus Delight [Score] - Easy Gobelin Music Publications
Concert Band/Harmonie/Fanfare Band - Grade 2 SKU: BT.GOB-000234-215 Compo...(+)
Concert Band/Harmonie/Fanfare Band - Grade 2 SKU: BT.GOB-000234-215 Composed by Dagmar Kildevann. Score Only. 24 pages. Gobelin Music Publications #GOB 000234-215. Published by Gobelin Music Publications (BT.GOB-000234-215). ‘Circus Delight’ is a five-part suite which is set, how could it be otherwise, in a big circus tent.
The suite starts with a part called ‘Entrance’. The orchestra, positioned above the entrance of the ring asks for the attention of the audience and then the ring announcer enters. The show can begin! The elephants play a central role in the first act. These colossal grey animals are rather slow and perform their tricks in a moderate tempo. (‘Elephant Blues’) How different are ‘The Acrobats’. At high speed they run, jump and fly through the ring, until ....... It gets very exciting. Fortunately, all’s well that ends well and they take their leave of the audienceat a trot. Everyone knows, and yet it is mostly not spoken about, that when a clown has taken off his red nose and rubbed off his make-up, his face off-stage is not always a happy one. (‘Tears of the Clown’) The piece ends on a cheerful note with ‘The Parade’, in which all the artists make their entrance in the ring once again to gratefully acknowledge the audience’s overwhelming applause.
‘Circus Delight’ is een vijfdelige suite die zich afspeelt in, hoe kan het ook anders, een grote circustent.
De suite begint met ‘Entrance’. Het orkest dat boven de ingang van de piste zit vraagt de aandacht van het publieken de spreekstalmeester komt binnen. De voorstelling kan beginnen. De olifanten staan centraal in de eerste act. De grote grijze kolossen zijn niet de snelste dieren en vertonen hun kunsten in een rustig tempo. (‘ElephantBlues’) Bij ‘The Acrobats’ is dat wel even anders. In rap tempo hollen, springen en vliegen ze door de piste totdat ... het heel spannend wordt. Maar het gaat gelukkig goed en in snel tempo nemen ze afscheid van het publiek. Iedereen weet het en toch, er wordt meestal niet over gesproken dat wanneer de clown na de voorstelling zijn rode neus en schmink afdoet, we zien dat het gezicht van de clown niet altijd lacht. (‘Tears of the Clown’) We sluiten vrolijk af met ‘The Parade’ waarin alle artiesten nog een keer in de piste voorbijkomen, om het overweldigende applaus dankbaar in ontvangst te nemen. $18.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Circus Delight Brass ensemble [Score and Parts] - Easy Gobelin Music Publications
Brass Band - Grade 2 SKU: BT.GOB-000381-030 Composed by Dagmar Kildevann....(+)
Brass Band - Grade 2 SKU: BT.GOB-000381-030 Composed by Dagmar Kildevann. Set (Score & Parts). 54 pages. Gobelin Music Publications #GOB 000381-030. Published by Gobelin Music Publications (BT.GOB-000381-030). ‘Circus Delight’ is a five-part suite which is set, how could it be otherwise, in a big circus tent.
The suite starts with a part called ‘Entrance’. The orchestra, positioned above the entrance of the ring asks for the attention of the audience and then the ring announcer enters. The show can begin! The elephants play a central role in the first act. These colossal grey animals are rather slow and perform their tricks in a moderate tempo. (‘Elephant Blues’) How different are ‘The Acrobats’. At high speed they run, jump and fly through the ring, until ....... It gets very exciting. Fortunately, all’s well that ends well and they take their leave of the audienceat a trot. Everyone knows, and yet it is mostly not spoken about, that when a clown has taken off his red nose and rubbed off his make-up, his face off-stage is not always a happy one. (‘Tears of the Clown’) The piece ends on a cheerful note with ‘The Parade’, in which all the artists make their entrance in the ring once again to gratefully acknowledge the audience’s overwhelming applause.
‘Circus Delight’ is een vijfdelige suite die zich afspeelt in, hoe kan het ook anders, een grote circustent.
De suite begint met ‘Entrance’. Het orkest dat boven de ingang van de piste zit vraagt de aandacht van het publieken de spreekstalmeester komt binnen. De voorstelling kan beginnen. De olifanten staan centraal in de eerste act. De grote grijze kolossen zijn niet de snelste dieren en vertonen hun kunsten in een rustig tempo. (‘ElephantBlues’) Bij ‘The Acrobats’ is dat wel even anders. In rap tempo hollen, springen en vliegen ze door de piste totdat ... het heel spannend wordt. Maar het gaat gelukkig goed en in snel tempo nemen ze afscheid van het publiek. Iedereen weet het en toch, er wordt meestal niet over gesproken dat wanneer de clown na de voorstelling zijn rode neus en schmink afdoet, we zien dat het gezicht van de clown niet altijd lacht. (‘Tears of the Clown’) We sluiten vrolijk af met ‘The Parade’ waarin alle artiesten nog een keer in de piste voorbijkomen, om het overweldigende applaus dankbaar in ontvangst te nemen. $72.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| The Sunlight on the Garden Forsyth Publications
Vocal SKU: FP.FWS10 Composed by Stephen Wilkinson. Published by Forsyths ...(+)
Vocal SKU: FP.FWS10 Composed by Stephen Wilkinson. Published by Forsyths Publications (FP.FWS10). ISBN 979-0-57050-321-6. The collected songs for voice and piano of aclaimed choral conductor and arranger Stephen Wilkinson. This album includes settings of Marvell's poem The Garden, a joyful expression of horticultural delights that cleverly combines an almost atonal idiom with elements of a Gilbert and Sullivan patter song. The title work The Sunlight on the Garden is a setting of the MacNeice poem of the same name, and evokes darker moods of wartime by the use of a constantly evolving harmonic palette. In the field of choral music, Stephen Wilkinson is a genius. (Yorkshire Post) Simply a great choral conductor (South China Times) No praise could overstate the merits of Stephen Wilkinson's direction (The Guardian). $20.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Kanata Spring Concert band [Score] - Intermediate Opus III Wind Orchestra Publications
Grade 3.5 SKU: CL.012-3599-01 Composed by Eastmond. Concert Band. Heritag...(+)
Grade 3.5 SKU: CL.012-3599-01 Composed by Eastmond. Concert Band. Heritage of the March Series. Audio recording available separately (item CL.WFR349). Extra full score. Composed 2007. Duration 7 minutes, 5 seconds. Opus III Wind Orchestra Publications #012-3599-01. Published by Opus III Wind Orchestra Publications (CL.012-3599-01). Bold and playful, lyrical and dramatic, this new work by young Canadian composer David Eastmond is sure to delight. An original hymn tune forms the basis of bold fanfares, lush lyrical settings, dramatic melodies, imitative counterpoint and surprising harmonic twists. A variety of articulations and dynamic contrasts will show off your ensemble's versatility. An outstanding choice for concert or contest performance. About Heritage of the March Full-sized concert band editions of the greatest marches of all time. Each has been faithfully re-scored to accommodate modern instrumentation and incorporate performance practices of classic march style $7.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Classical and Contemporary Studies for Bass Guitar Bass guitar [Sheet music + Audio access] - Easy Mel Bay
Featuring Studies by Giovanni Bottesini (1821 - 1889) and Gilbert Isbin. Com...(+)
Featuring Studies by Giovanni
Bottesini (1821 - 1889) and
Gilbert Isbin. Composed by
Rob MacKillop. Electric
Bass,Style,Classical,Contempo
rary,Solos/Duets/Ensembles,Te
chnique, Theory and
Reference. Book and Online
Audio. 56 pages. Published by
Mel Bay Publications, Inc
$17.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Kanata Spring Concert band [Score and Parts] - Easy Opus III Wind Orchestra Publications
Grade 3 SKU: CL.012-3599-00 Composed by Eastmond. Concert Band. Heritage ...(+)
Grade 3 SKU: CL.012-3599-00 Composed by Eastmond. Concert Band. Heritage of the March Series. Audio recording available separately (item CL.WFR349). Score and set of parts. Composed 2007. Duration 7 minutes, 5 seconds. Opus III Wind Orchestra Publications #012-3599-00. Published by Opus III Wind Orchestra Publications (CL.012-3599-00). Bold and playful, lyrical and dramatic, this new work by young Canadian composer David Eastmond is sure to delight. An original hymn tune forms the basis of bold fanfares, lush lyrical settings, dramatic melodies, imitative counterpoint and surprising harmonic twists. A variety of articulations and dynamic contrasts will show off your ensemble's versatility. An outstanding choice for concert or contest performance. About Heritage of the March Full-sized concert band editions of the greatest marches of all time. Each has been faithfully re-scored to accommodate modern instrumentation and incorporate performance practices of classic march style $72.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Spring Fever Concert band [Score] - Beginner C.L. Barnhouse
Grade 1 SKU: CL.015-3320-01 Composed by Shaffer. Young Concert Band. Elem...(+)
Grade 1 SKU: CL.015-3320-01 Composed by Shaffer. Young Concert Band. Elementary Series. Audio recording available separately (item CL.WFR333). Extra full score. Composed 2004. Duration 1 minute, 42 seconds. C.L. Barnhouse #015-3320-01. Published by C.L. Barnhouse (CL.015-3320-01). A delightful composition for beginning bands that is the perfect choice for your spring concert. The winds parts are incredibly easy, consisting of nothing harder than quarter notes while the percussion includes a part to be played on temple blocks or wood blocks. It’s cute, it’s playable and your students and their parents will love it! Lots of fun! $5.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Smallfoot Concert band [Score and Parts] - Easy Alfred Publishing
Featuring: Perfection / Wonderful Life / Moment of Truth. Composed by Wayne ...(+)
Featuring: Perfection /
Wonderful Life / Moment of
Truth. Composed by Wayne
Kirkpatrick and Karey
Kirkpatrick. Arranged by
Michael Story. Concert Band;
Performance Music Ensemble;
Single Titles. Pop Young
Band. Movie; Pop; Spring.
Score and Parts. 252 pages.
Duration 4:15. Alfred Music
#00-47410. Published by
Alfred Music
$67.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Spring Song Trumpet, Piano Merion Music
Chamber Music Piano, Trumpet SKU: PR.144407440 Composed by Lauren Bernofs...(+)
Chamber Music Piano, Trumpet SKU: PR.144407440 Composed by Lauren Bernofsky. Set of Score and Parts. 4+1 pages. Duration 0:02:40. Merion Music #144-40744. Published by Merion Music (PR.144407440). ISBN 9781491134948. UPC: 680160684861. Irresistibly charming, Lauren Bernofsky’s SPRING SONG bubbles with innocent optimism, graceful syncopations, and a singably catchy tune. The piece is easily playable by intermediate performers and is equally delightful for more experienced players. $11.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Spring Unfolding Concert band - Beginner Carl Fischer
Band Concert Band - Grade 1 SKU: CF.BPS106 Composed by Peter Terry. SWS F...(+)
Band Concert Band - Grade 1 SKU: CF.BPS106 Composed by Peter Terry. SWS FS. Carl Fischer Beginning Performance Series. Set of Score and Parts. With Standard notation. 8+2+8+2+5+2+2+8+3+6+3+1+1+2+3+16+2 pages. Duration 2:10. Carl Fischer Music #BPS106. Published by Carl Fischer Music (CF.BPS106). ISBN 9781491147153. UPC: 680160904655. 9 x 12 inches. Spring Unfolding celebrates the possibilities of new life, as trees and growing plants follow the light and green emerges to cover the remains of winter. The piece begins with a contemplative opening before diving into a liltingly tuneful 3/4 melody. Delightfully unique, this piece is perfect for beginners. $55.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Spring Unfolding Concert band [Score] - Beginner Carl Fischer
Band Concert Band - Grade 1 SKU: CF.BPS106F Composed by Peter Terry. SWS....(+)
Band Concert Band - Grade 1 SKU: CF.BPS106F Composed by Peter Terry. SWS. Carl Fischer Beginning Performance Series. Full score. With Standard notation. 16 pages. Duration 2:10. Carl Fischer Music #BPS106F. Published by Carl Fischer Music (CF.BPS106F). ISBN 9781491147856. UPC: 680160905355. 9 x 12 inches. Spring Unfolding celebrates the possibilities of new life, as trees and growing plants follow the light and green emerges to cover the remains of winter. The piece begins with a contemplative opening before diving into a liltingly tuneful 3/4 melody. Delightfully unique, this piece is perfect for beginners. $7.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Spring Fever Concert band [Score and Parts] - Beginner C.L. Barnhouse
Grade 1 SKU: CL.015-3320-00 Composed by Shaffer. Young Concert Band. Elem...(+)
Grade 1 SKU: CL.015-3320-00 Composed by Shaffer. Young Concert Band. Elementary Series. Audio recording available separately (item CL.WFR333). Lighter. Score and set of parts. Composed 2004. Duration 1 minute, 42 seconds. C.L. Barnhouse #015-3320-00. Published by C.L. Barnhouse (CL.015-3320-00). A delightful composition for beginning bands that is the perfect choice for your spring concert. The winds parts are incredibly easy, consisting of nothing harder than quarter notes while the percussion includes a part to be played on temple blocks or wood blocks. It’s cute, it’s playable and your students and their parents will love it! Lots of fun! $48.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Spring Song Flute and Piano [Reduction] Theodore Presser Co.
(For Flute And Piano). Composed by Lauren Bernofsky (1967-). For flute, piano. C...(+)
(For Flute And Piano). Composed by Lauren Bernofsky (1967-). For flute, piano. Contemporary. Solo Part with Piano Reduction. Standard Notation. Composed 2012. 8 pages. Duration 2 minutes, 40 seconds. Theodore Presser Company #144-40610. Published by Theodore Presser Company
$9.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Piano Sunday Morning, Volume 2 Piano solo Augsburg Fortress
Hints of Bottomley's gospel, rhythm, and blues experience shine forth in this co...(+)
Hints of Bottomley's gospel, rhythm, and blues experience shine forth in this collection of piano arrangements. Both accessible and delightful for congregations, these creative and rhythmic works give a terrific treatment to some familiar tunes
$27.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Into the Joy of Spring Concert band [Score] - Easy Opus III Wind Orchestra Publications
Grade 3 SKU: CL.012-3169-75 Concert Band. Classics Series. Audio recordin...(+)
Grade 3 SKU: CL.012-3169-75 Concert Band. Classics Series. Audio recording available separately (items CL.WFR337 & CL.WFR318). Oversized, spiral-bound score. Composed 2001. Duration 6 minutes, 14 seconds. Opus III Wind Orchestra Publications #012-3169-75. Published by Opus III Wind Orchestra Publications (CL.012-3169-75). A masterfully written and delightfully descriptive piece in three movements that paints a musical picture of the transition of seasons from the fury of winter into the blossoming joy of springtime. This colorful composition is certain to be included on many contest and festivals lists. About C.L. Barnhouse Classics Series Under the editorial supervision of Dr. Alfred Reed, these classics from master composers have been adapted and arranged for concert band. A perfect way to acquaint concert band performers and audiences with some of the greatest classical music of all time! $30.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Choral Anthem on "Beach Spring" Paraclete Press
SKU: PL.PPMO-1822 Composed by R.D. Ruplenas. Paraclete Press #PPMO 1822. ...(+)
SKU: PL.PPMO-1822 Composed by R.D. Ruplenas. Paraclete Press #PPMO 1822. Published by Paraclete Press (PL.PPMO-1822). Delightful praise anthem on a Sacred Harp tune with a vigorous swing and a variety of voicings that are easy to learn. $2.20 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| James Swearingen: Into the Joy of Spring Concert band [Score and Parts] - Intermediate C.L. Barnhouse
By James Swearingen. Bestseller. Concert Band. Level: Grade 3.5. Score and set o...(+)
By James Swearingen. Bestseller. Concert Band. Level: Grade 3.5. Score and set of parts. Composed 2001. Duration 0:06:14. Published by C.L. Barnhouse.
$84.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| On A Spring Morning Concert band [Score] - Easy C.L. Barnhouse
Grade 2 SKU: CL.011-3171-01 Composed by Shaffer. Young Concert Band. Comm...(+)
Grade 2 SKU: CL.011-3171-01 Composed by Shaffer. Young Concert Band. Command Series. Audio recording available separately (items CL.WFR317 & CL.WFR321). Extra full score. Composed 2001. Duration 3 minutes, 28 seconds. C.L. Barnhouse #011-3171-01. Published by C.L. Barnhouse (CL.011-3171-01). Lush chords and gorgeous themes make this lyrical ballad one the nicest works to ever come from the pen of this outstanding composer. You'll never squeeze more expression out of your young band than you will playing this delightful new piece. Highest recommendations. About C.L. Barnhouse Command Series The Barnhouse Command Series includes works at grade levels 2, 2.5, and 3. This series is designed for middle school and junior high school bands, as well as high school bands of smaller instrumentation or limited experience. Command Series publications have a slightly larger instrumentation than the Rising Band Series, and are typically of larger scope, duration, and musical content. $5.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| The Phillips Collection of Traditional American Fiddle Tunes Vol 1 Violin [Sheet music] Mel Bay
by Stacy Phillips. For fiddle. All styles, fiddle tunes. Level: Multiple Levels....(+)
by Stacy Phillips. For fiddle. All styles, fiddle tunes. Level: Multiple Levels. Book. Solos. Size 8.75x11.75. 268 pages. Published by Mel Bay Pub., Inc.
(1)$39.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Henry the Steinway and the Piano Recital GIA Publications
SKU: GI.G-10342 Composed by Laura Friedman, Peter Goodrich, and Sally Cov...(+)
SKU: GI.G-10342 Composed by Laura Friedman, Peter Goodrich, and Sally Coveleskie. Music Education. GIA Publications #10342. Published by GIA Publications (GI.G-10342). ISBN 9781622775088. Spring is in the air and the annual piano recital is only a week away! How will our young pianist learn her music in time? This delightful tale introduces Ana and her special friend Henry the Steinway—a grandfatherly piano who speaks to her! Ana learns from Henry that she must first hear the music. Then, she must find the music in her heart. Soon, Ana’s tears of frustration turn to pure joy, as she delights in the playing of her music and her new friendship with Henry the Steinway. This story will resonate with piano students and piano lovers of all ages! A wonderful book that teaches kids about practice, concentration, and fortitude.  A charming account of an ageless story, the bond of friendship between pianists of all ages and their pianos. —Dr. Robert Blocker, Dean, Yale School of Music For all who understand the diligence required to master an instrument, these books will delight and inspire. They shall remain in my home by the piano for my children as a respite from those frustrating moments at practice, and as a reminder to me of the great skills passed on to me by my dedicated teachers. —Renée Fleming Henry the Steinway is a wonderful series of books about your best friend who is always by your side. I concertize in every corner of the globe and have been called a citizen of the world. Wherever I go I can depend on Henry the Steinway to be there with me. Teachers, children and parents will delight in this gentle story of making beautiful music, never giving up and becoming the best you can be. —Lang Lang Henry the Steinway is a wonderful book. It teaches kids about practice, concentration, and fortitude. Where can I find a piano like Henry? —Wynton Marsalis. $17.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Ansbacher Orgelbuchlein Organ - Intermediate Schott
Organ - intermediate SKU: HL.49017043 18 Choral Settings for Organ...(+)
Organ - intermediate SKU: HL.49017043 18 Choral Settings for Organ. Composed by Enjott Schneider. This edition: Saddle stitching. Sheet music. Organ Collection. Classical. Composed 2007. 60 pages. Duration 36'. Schott Music #ED 20348. Published by Schott Music (HL.49017043). ISBN 9790001151290. UPC: 841886010529. 9.0x12.0x0.209 inches. This collection of eighteen choral arrangements of melodies from the Protestant hymnbook is meant to be used in services and little concerts. Rather varied with regard to the compositional approach of the individual arrangements, the collection, like a kind of informative selection, shows the different possibilities of how to deal delightfully with a tonal melody in post-modern pluralism. The stylistic patterns presented can be easily abstracted and transferred to other chorales for the purpose of improvisation. $29.95 - See more - Buy online | | |
| Quintet in F Major, K. 497 Carl Fischer
Chamber Music Cello, Flute, Viola 1, Viola 2, Violin SKU: CF.MXE219 Compo...(+)
Chamber Music Cello, Flute, Viola 1, Viola 2, Violin SKU: CF.MXE219 Composed by Wolfgang Amadeus Mozart. Arranged by Robert Stallman. Sws. 56+16+16+16+16+12 pages. Carl Fischer Music #MXE219. Published by Carl Fischer Music (CF.MXE219). ISBN 9781491157794. UPC: 680160916399. 9 x 12 inches. Preface In 1990, during an intense rehearsal of a Mozart Quartet transcription for flute and strings by Franz Anton Hoffmeister, at the Marblehead Summer Music Festival, a disgruntled violist friend complained about HoffmeisterAs awkward string writing, suddenly daring me to create my own arrangement. I balked. But the following winterA3despite scruples about treading on hallowed groundA3I grew curious and began to experiment. Soon I was hooked on the challenge of learning to speak MozartAs language with conviction. This fascination, encouraged by pianist Richard Goode and other Mozarteans, would eventually generate a total of thirty-nine recreations of Mozart piano sonatas as works for flute and strings. With zero tolerance for alteration of melodic or harmonic materialA3MozartAs friend Hoffmeister had regrettably attempted such A!improvementsA(r)A3I always tried to envision what Mozart himself would have desired. Many of the sonatas can be heard as if they were MozartAs A!blueprintsA(r) of imagined chamber works. Hence my task was to A!flesh outA(r) the keyboard versions as Mozart might have done, had a commission or performance opportunity arisen. I spent hours pondering how Mozart might have set these sonatas in four- or five-part form, providing the needed textural or contrapuntal enhancements. With immersion in the composerAs dialect, various apt solutions presented themselves. The search for the A!rightA(r) one then became a most absorbing study. On the eve of releasing my BognerAs CafA recording of Mozart-Stallman New Quintets (2006), I discovered to my delight that a prominent scholar had long before endorsed such an effort. Eric Blom (1888A+-1959), author of Mozart (1935), had taken note of the four-hand piano works as A!a kind of keyboard chamber music.A(r) Regarding Sonata, K. 497, Mr. Blom had observed that Mozart is often dealing with, not the expected four voices (one to a hand), but five. Blom states: A!The F major Sonata (K. 497) removes us to another worldA3the world of the great chamber music, especially of the string quintets. Indeed an arrangement of some sort for a combination of instruments would make a magnificent concert work of this almost uncomfortably great piece of domestic music.A(r) That Mozart was in 1786 writing for piano duo from a quintet perspective makes sense, as we find him returning to the quintet form with keen interest in his last years, writing four String Quintets, the Clarinet Quintet, rearranging a wind serenade for String Quintet, and leaving several other quintets incomplete. My arrangement presented here is made for flute and strings but is also intended for string quintet. Quintet in F Major for Flute and Strings, K. 497, was completed in 1999 and performed with the Martin Quartet in the Czech Republic prior to recording it in 2004. Mozart had finished the original Sonata in F Major for Piano, Four-Hands, K. 497, on August 1, 1786. It shows the unmistakable influence of Figaro, completed and premiered exactly three months prior. As signaled by the imposing introductory Adagio, the conception is on a grand symphonic scale, all three movements being richly developed with contrapuntal episodes and an abundance of marvelously contrasting textures and themes throughout. Called A!the crowning work of its kindA(r) by Alfred Einstein, the Sonata is laden with examples of MozartAs mercurial originality. Here we have a perfect synthesis of concertante brilliance, operatic intensity and intimate dialogue. The work opens in unison with a probing, minor-tinged Adagio, whose question comes to a pause on the dominant, before being answered with jaunty certainty by the opening theme of the Allegro di moltoA3an F-major tune as sunny and confident as an aria from Figaro itself. This movementAs declamatory A!opera chorusA(r) persistently intones its rhythmic motto over a swirling scale figure. The amorous second theme (initially presented in the first viola) also seems to be plucked from Figaro. The Andante opens with a heavenly melody, which takes as its springboard the Romanza theme from the Horn Concerto in E Major, K. 495, written only five weeks before. The A!love duetA(r) between flute and first viola seems to anticipate the impassioned A!duettingA(r) between violin and viola in the Andante of the String Quintet in C Major, K. 515, written about nine months later. The ingenious stretto canon of the AndanteAs middle section requires the precision of a Swiss clock (which its chiming thirds recall). Affecting bucolic codettas close each of the main sections of the movement. In the final Allegro, a rondo in 6/8a time, the puckish, yet aristocratic character of the opening theme contrasts with the bumptious, popular tune used for the second theme (heard first in the violin and then the flute, over pizzicato cello). Lilting hymn-like episodes in three, four- and finally five-part counterpoint are repeatedly interrupted by startling scale figures that rise up in furioso episodes throughout the movement. As in the A!Swiss clockA(r) section of the Andante, Mozart uses a stretto imitation treatment with this tempest theme, thereby heightening both intensity and sense of instability. I am most grateful to the adventuresome Martin Quartet for their warm support and collaboration over the years with several of my arrangements, and to my friend Edwin Swanborn for the original typesetting of this score. Gratitude is also due Weekend Edition, Performance Today and innumerable classical stations across the United States for their enthusiastic and repeated airings of my A!newA(r) Mozart Quintet endeavorsA3and most of all, to violist Katherine Murdock for that dare in 1990. A3Compiled from the writings of Robert Stallman by Hannah Woods Stallman, February 2, 2020. Preface In 1990, during an intense rehearsal of a Mozart Quartet transcription for flute and strings by Franz Anton Hoffmeister, at the Marblehead Summer Music Festival, a disgruntled violist friend complained about Hoffmeisteris awkward string writing, suddenly daring me to create my own arrangement. I balked. But the following winterodespite scruples about treading on hallowed groundoI grew curious and began to experiment. Soon I was hooked on the challenge of learning to speak Mozartis language with conviction. This fascination, encouraged by pianist Richard Goode and other Mozarteans, would eventually generate a total of thirty-nine recreations of Mozart piano sonatas as works for flute and strings. With zero tolerance for alteration of melodic or harmonic materialoMozartis friend Hoffmeister had regrettably attempted such iimprovementsioI always tried to envision what Mozart himself would have desired. Many of the sonatas can be heard as if they were Mozartis iblueprintsi of imagined chamber works. Hence my task was to iflesh outi the keyboard versions as Mozart might have done, had a commission or performance opportunity arisen. I spent hours pondering how Mozart might have set these sonatas in four- or five-part form, providing the needed textural or contrapuntal enhancements. With immersion in the composeris dialect, various apt solutions presented themselves. The search for the irighti one then became a most absorbing study. On the eve of releasing my Bogneris CafE recording of Mozart-Stallman New Quintets (2006), I discovered to my delight that a prominent scholar had long before endorsed such an effort. Eric Blom (1888n1959), author of Mozart (1935), had taken note of the four-hand piano works as ia kind of keyboard chamber music.i Regarding Sonata, K. 497, Mr. Blom had observed that Mozart is often dealing with, not the expected four voices (one to a hand), but five. Blom states: iThe F major Sonata (K. 497) removes us to another worldothe world of the great chamber music, especially of the string quintets. Indeed an arrangement of some sort for a combination of instruments would make a magnificent concert work of this almost uncomfortably great piece of domestic music.i That Mozart was in 1786 writing for piano duo from a quintet perspective makes sense, as we find him returning to the quintet form with keen interest in his last years, writing four String Quintets, the Clarinet Quintet, rearranging a wind serenade for String Quintet, and leaving several other quintets incomplete. My arrangement presented here is made for flute and strings but is also intended for string quintet. Quintet in F Major for Flute and Strings, K. 497, was completed in 1999 and performed with the Martin Quartet in the Czech Republic prior to recording it in 2004. Mozart had finished the original Sonata in F Major for Piano, Four-Hands, K. 497, on August 1, 1786. It shows the unmistakable influence of Figaro, completed and premiered exactly three months prior. As signaled by the imposing introductory Adagio, the conception is on a grand symphonic scale, all three movements being richly developed with contrapuntal episodes and an abundance of marvelously contrasting textures and themes throughout. Called ithe crowning work of its kindi by Alfred Einstein, the Sonata is laden with examples of Mozartis mercurial originality. Here we have a perfect synthesis of concertante brilliance, operatic intensity and intimate dialogue. The work opens in unison with a probing, minor-tinged Adagio, whose question comes to a pause on the dominant, before being answered with jaunty certainty by the opening theme of the Allegro di moltooan F-major tune as sunny and confident as an aria from Figaro itself. This movementis declamatory iopera chorusi persistently intones its rhythmic motto over a swirling scale figure. The amorous second theme (initially presented in the first viola) also seems to be plucked from Figaro. The Andante opens with a heavenly melody, which takes as its springboard the Romanza theme from the Horn Concerto in E Major, K. 495, written only five weeks before. The ilove dueti between flute and first viola seems to anticipate the impassioned iduettingi between violin and viola in the Andante of the String Quintet in C Major, K. 515, written about nine months later. The ingenious stretto canon of the Andanteis middle section requires the precision of a Swiss clock (which its chiming thirds recall). Affecting bucolic codettas close each of the main sections of the movement. In the final Allegro, a rondo in 6/8+time, the puckish, yet aristocratic character of the opening theme contrasts with the bumptious, popular tune used for the second theme (heard first in the violin and then the flute, over pizzicato cello). Lilting hymn-like episodes in three, four- and finally five-part counterpoint are repeatedly interrupted by startling scale figures that rise up in furioso episodes throughout the movement. As in the iSwiss clocki section of the Andante, Mozart uses a stretto imitation treatment with this tempest theme, thereby heightening both intensity and sense of instability. I am most grateful to the adventuresome Martin Quartet for their warm support and collaboration over the years with several of my arrangements, and to my friend Edwin Swanborn for the original typesetting of this score. Gratitude is also due Weekend Edition, Performance Today and innumerable classical stations across the United States for their enthusiastic and repeated airings of my inewi Mozart Quintet endeavorsoand most of all, to violist Katherine Murdock for that dare in 1990. oCompiled from the writings of Robert Stallman by Hannah Woods Stallman, February 2, 2020. Preface In 1990, during an intense rehearsal of a Mozart Quartet transcription for flute and strings by Franz Anton Hoffmeister, at the Marblehead Summer Music Festival, a disgruntled violist friend complained about Hoffmeister's awkward string writing, suddenly daring me to create my own arrangement. I balked. But the following winter--despite scruples about treading on hallowed ground--I grew curious and began to experiment. Soon I was hooked on the challenge of learning to speak Mozart's language with conviction. This fascination, encouraged by pianist Richard Goode and other Mozarteans, would eventually generate a total of thirty-nine recreations of Mozart piano sonatas as works for flute and strings. With zero tolerance for alteration of melodic or harmonic material--Mozart's friend Hoffmeister had regrettably attempted such improvements--I always tried to envision what Mozart himself would have desired. Many of the sonatas can be heard as if they were Mozart's blueprints of imagined chamber works. Hence my task was to flesh out the keyboard versions as Mozart might have done, had a commission or performance opportunity arisen. I spent hours pondering how Mozart might have set these sonatas in four- or five-part form, providing the needed textural or contrapuntal enhancements. With immersion in the composer's dialect, various apt solutions presented themselves. The search for the right one then became a most absorbing study. On the eve of releasing my Bogner's Cafe recording of Mozart-Stallman New Quintets (2006), I discovered to my delight that a prominent scholar had long before endorsed such an effort. Eric Blom (1888-1959), author of Mozart (1935), had taken note of the four-hand piano works as a kind of keyboard chamber music. Regarding Sonata, K. 497, Mr. Blom had observed that Mozart is often dealing with, not the expected four voices (one to a hand), but five. Blom states: The F major Sonata (K. 497) removes us to another world--the world of the great chamber music, especially of the string quintets. Indeed an arrangement of some sort for a combination of instruments would make a magnificent concert work of this almost uncomfortably great piece of domestic music. That Mozart was in 1786 writing for piano duo from a quintet perspective makes sense, as we find him returning to the quintet form with keen interest in his last years, writing four String Quintets, the Clarinet Quintet, rearranging a wind serenade for String Quintet, and leaving several other quintets incomplete. My arrangement presented here is made for flute and strings but is also intended for string quintet. Quintet in F Major for Flute and Strings, K. 497, was completed in 1999 and performed with the Martinu Quartet in the Czech Republic prior to recording it in 2004. Mozart had finished the original Sonata in F Major for Piano, Four-Hands, K. 497, on August 1, 1786. It shows the unmistakable influence of Figaro, completed and premiered exactly three months prior. As signaled by the imposing introductory Adagio, the conception is on a grand symphonic scale, all three movements being richly developed with contrapuntal episodes and an abundance of marvelously contrasting textures and themes throughout. Called the crowning work of its kind by Alfred Einstein, the Sonata is laden with examples of Mozart's mercurial originality. Here we have a perfect synthesis of concertante brilliance, operatic intensity and intimate dialogue. The work opens in unison with a probing, minor-tinged Adagio, whose question comes to a pause on the dominant, before being answered with jaunty certainty by the opening theme of the Allegro di molto--an F-major tune as sunny and confident as an aria from Figaro itself. This movement's declamatory opera chorus persistently intones its rhythmic motto over a swirling scale figure. The amorous second theme (initially presented in the first viola) also seems to be plucked from Figaro. The Andante opens with a heavenly melody, which takes as its springboard the Romanza theme from the Horn Concerto in E<= Major, K. 495, written only five weeks before. The love duet between flute and first viola seems to anticipate the impassioned duetting between violin and viola in the Andante of the String Quintet in C Major, K. 515, written about nine months later. The ingenious stretto canon of the Andante's middle section requires the precision of a Swiss clock (which its chiming thirds recall). Affecting bucolic codettas close each of the main sections of the movement. In the final Allegro, a rondo in 6/8 time, the puckish, yet aristocratic character of the opening theme contrasts with the bumptious, popular tune used for the second theme (heard first in the violin and then the flute, over pizzicato cello). Lilting hymn-like episodes in three, four- and finally five-part counterpoint are repeatedly interrupted by startling scale figures that rise up in furioso episodes throughout the movement. As in the Swiss clock section of the Andante, Mozart uses a stretto imitation treatment with this tempest theme, thereby heightening both intensity and sense of instability. I am most grateful to the adventuresome Martinu Quartet for their warm support and collaboration over the years with several of my arrangements, and to my friend Edwin Swanborn for the original typesetting of this score. Gratitude is also due Weekend Edition, Performance Today and innumerable classical stations across the United States for their enthusiastic and repeated airings of my new Mozart Quintet endeavors--and most of all, to violist Katherine Murdock for that dare in 1990. --Compiled from the writings of Robert Stallman by Hannah Woods Stallman, February 2, 2020. PrefaceIn 1990, during an intense rehearsal of a Mozart Quartet transcription for flute and strings by Franz Anton Hoffmeister, at the Marblehead Summer Music Festival, a disgruntled violist friend complained about Hoffmeister’s awkward string writing, suddenly daring me to create my own arrangement. I balked. But the following winter—despite scruples about treading on hallowed ground—I grew curious and began to experiment. Soon I was hooked on the challenge of learning to speak Mozart’s language with conviction. This fascination, encouraged by pianist Richard Goode and other Mozarteans, would eventually generate a total of thirty-nine recreations of Mozart piano sonatas as works for flute and strings.With zero tolerance for alteration of melodic or harmonic material—Mozart’s friend Hoffmeister had regrettably attempted such “improvementsâ€â€”I always tried to envision what Mozart himself would have desired. Many of the sonatas can be heard as if they were Mozart’s “blueprints†of imagined chamber works. Hence my task was to “flesh out†the keyboard versions as Mozart might have done, had a commission or performance opportunity arisen. I spent hours pondering how Mozart might have set these sonatas in four- or five-part form, providing the needed textural or contrapuntal enhancements. With immersion in the composer’s dialect, various apt solutions presented themselves. The search for the “right†one then became a most absorbing study.On the eve of releasing my Bogner’s Café recording of Mozart-Stallman New Quintets (2006), I discovered to my delight that a prominent scholar had long before endorsed such an effort. Eric Blom (1888–1959), author of Mozart (1935), had taken note of the four-hand piano works as “a kind of keyboard chamber music.†Regarding Sonata, K. 497, Mr. Blom had observed that Mozart is often dealing with, not the expected four voices (one to a hand), but five. Blom states: “The F major Sonata (K. 497) removes us to another world—the world of the great chamber music, especially of the string quintets. Indeed an arrangement of some sort for a combination of instruments would make a magnificent concert work of this almost uncomfortably great piece of domestic music.†That Mozart was in 1786 writing for piano duo from a quintet perspective makes sense, as we find him returning to the quintet form with keen interest in his last years, writing four String Quintets, the Clarinet Quintet, rearranging a wind serenade for String Quintet, and leaving several other quintets incomplete. My arrangement presented here is made for flute and strings but is also intended for string quintet.Quintet in F Major for Flute and Strings, K. 497, was completed in 1999 and performed with the Martinů Quartet in the Czech Republic prior to recording it in 2004. Mozart had finished the original Sonata in F Major for Piano, Four-Hands, K. 497, on August 1, 1786. It shows the unmistakable influence of Figaro, completed and premiered exactly three months prior. As signaled by the imposing introductory Adagio, the conception is on a grand symphonic scale, all three movements being richly developed with contrapuntal episodes and an abundance of marvelously contrasting textures and themes throughout. Called “the crowning work of its kind†by Alfred Einstein, the Sonata is laden with examples of Mozart’s mercurial originality. Here we have a perfect synthesis of concertante brilliance, operatic intensity and intimate dialogue.The work opens in unison with a probing, minor-tinged Adagio, whose question comes to a pause on the dominant, before being answered with jaunty certainty by the opening theme of the Allegro di molto—an F-major tune as sunny and confident as an aria from Figaro itself. This movement’s declamatory “opera chorus†persistently intones its rhythmic motto over a swirling scale figure. The amorous second theme (initially presented in the first viola) also seems to be plucked from Figaro.The Andante opens with a heavenly melody, which takes as its springboard the Romanza theme from the Horn Concerto in E≤ Major, K. 495, written only five weeks before. The “love duet†between flute and first viola seems to anticipate the impassioned “duetting†between violin and viola in the Andante of the String Quintet in C Major, K. 515, written about nine months later. The ingenious stretto canon of the Andante’s middle section requires the precision of a Swiss clock (which its chiming thirds recall). Affecting bucolic codettas close each of the main sections of the movement.In the final Allegro, a rondo in 6/8 time, the puckish, yet aristocratic character of the opening theme contrasts with the bumptious, popular tune used for the second theme (heard first in the violin and then the flute, over pizzicato cello). Lilting hymn-like episodes in three, four- and finally five-part counterpoint are repeatedly interrupted by startling scale figures that rise up in furioso episodes throughout the movement. As in the “Swiss clock†section of the Andante, Mozart uses a stretto imitation treatment with this tempest theme, thereby heightening both intensity and sense of instability.I am most grateful to the adventuresome Martinů Quartet for their warm support and collaboration over the years with several of my arrangements, and to my friend Edwin Swanborn for the original typesetting of this score. Gratitude is also due Weekend Edition, Performance Today and innumerable classical stations across the United States for their enthusiastic and repeated airings of my “new†Mozart Quintet endeavors—and most of all, to violist Katherine Murdock for that dare in 1990.—Compiled from the writings of Robert Stallmanby Hannah Woods Stallman,February 2, 2020. $42.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
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Low Voice. Boosey and Hawkes Voice. Size 9x12 inches. 192 pages. Published by Boosey and Hawkes.
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| Art Song in English - 50 Songs by 20 American and British Composers
High voice [Sheet music] Boosey and Hawkes
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High Voice. Boosey and Hawkes Voice. Softcover. Size 9x12 inches. 192 pages. Published by Boosey and Hawkes.
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