| Here Comes Our King! Choral 3-part SAB, Piano Lorenz Publishing Company
Composed by Ruth Elaine Schram. Arranged by Aren Newell Williams. Choral. Sin...(+)
Composed by Ruth Elaine
Schram. Arranged by Aren
Newell Williams. Choral.
Singable Solutions. Sacred
Anthem, Palm/Palm-Passion
Sunday. Octavo. Lorenz
Publishing Company #10/5451L.
Published by Lorenz
Publishing Company
$2.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Someone's Singing, Lord [Sheet music + CD]
Classroom SKU: BT.9780713663440 Gospel & Spiritual. Book with CD. 96 page...(+)
Classroom SKU: BT.9780713663440 Gospel & Spiritual. Book with CD. 96 pages. Collins Music Publishing #9780713663440. Published by Collins Music Publishing (BT.9780713663440). ISBN 9780713663440. English. This book contains 59 tried and tested songs about topics including the world, the seasons, being a friend and caring for animals. There are tuneful hymns and thought-provoking subjects, just what's needed to fill the musicslot in assembly or at Sunday school. Includes CD of backing tracks. $27.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Johann Sebastian Bach: 371 Harmonized Chorales And 69 Chorale Melodies W/Figured Bass
Piano solo [Sheet music] Schirmer
Composed by Johann Sebastian Bach (1685-1750), edited by Riemenschneider. For pi...(+)
Composed by Johann Sebastian Bach (1685-1750), edited by Riemenschneider. For piano. Format: piano solo book. With piano reduction, introductory text, instructional text, lyrics and performance notes. Baroque. 184 pages. 9x12 inches. Published by Schirmer
(3)$16.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| He Comes as King Choral SATB SATB, Piano [Octavo] Exaltation Publications
By Patrick M. Liebergen. For SATB Choir and Piano (with optional trumpet). Sacre...(+)
By Patrick M. Liebergen. For SATB Choir and Piano (with optional trumpet). Sacred Anthem: Palm Sunday. Octavo. Published by Exaltation Publications
$2.60 $2.47 (5% off) See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Miracle On Main Street Choral Unison Unison/2-part, Piano Word Music
(The Little Pageant That Wouldn't Give Up!). By Celeste Clydesdale. Arranged by ...(+)
(The Little Pageant That Wouldn't Give Up!). By Celeste Clydesdale. Arranged by David Clydesdale. For 2-part/Unison. Musical. Modern Christian: Christmas. Easy. Choral Book. Duration 40'00 . Published by Word Music
$12.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| The Little Black Book of Beatles Songs for Ukulele Ukulele Hal Leonard
Lyrics/Chords Ukulele SKU: HL.232108 By The Beatles. Ukulele. Pop. Softco...(+)
Lyrics/Chords Ukulele SKU: HL.232108 By The Beatles. Ukulele. Pop. Softcover. Composed 2014. 384 pages. Hal Leonard #NO91894. Published by Hal Leonard (HL.232108). ISBN 9781783052738. UPC: 888680677329. 4.5x7.5x0.899 inches. Complete lyrics and chords to 195 Beatles songs, including: Across the Universe • All My Loving • All You Need Is Love • And I Love Her • Back in the U.S.S.R. • The Ballad of John and Yoko • Birthday • Blackbird • A Day in the Life • Day Tripper • Dear Prudence • Drive My Car • Eight Days a Week • Eleanor Rigby • Good Day Sunshine • Got to Get You into My Life • A Hard Day's Night • Help! • Helter Skelter • Here Comes the Sun • Hey Jude • I Saw Her Standing There • I Want to Hold Your Hand • In My Life • Let It Be • The Long and Winding Road • Lucy in the Sky with Diamonds • Penny Lane • Revolution • Something • Ticket to Ride • Twist and Shout • When I'm Sixty-Four • While My Guitar Gently Weeps • Yellow Submarine • Yesterday • and more. 4-1/2 inches x 7-1/2 inches. $19.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Gospel's Greatest
Melody line, Lyrics and Chords [Fake Book] - Intermediate Hal Leonard
For voice and C instrument. Format: fakebook. With vocal melody, lyrics, chord n...(+)
For voice and C instrument. Format: fakebook. With vocal melody, lyrics, chord names and guitar chord chart. Gospel and worship. Series: Hal Leonard Fake Books. 295 pages. 9x12 inches. Published by Hal Leonard.
(26)$37.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Upriver Concert band [Score] Theodore Presser Co.
Band Concert Band SKU: PR.465000130 For Large Wind Ensemble. Compo...(+)
Band Concert Band SKU: PR.465000130 For Large Wind Ensemble. Composed by Dan Welcher. Sws. Contemporary. Full score. With Standard notation. Composed 2010. Duration 14 minutes. Theodore Presser Company #465-00013. Published by Theodore Presser Company (PR.465000130). ISBN 9781598064070. UPC: 680160600144. 9x12 inches. Following a celebrated series of wind ensemble tone poems about national parks in the American West, Dan Welcher’s Upriver celebrates the Lewis & Clark Expedition from the Missouri River to Oregon’s Columbia Gorge, following the Louisiana Purchase of 1803. Welcher’s imaginative textures and inventiveness are freshly modern, evoking our American heritage, including references to Shenandoah and other folk songs known to have been sung on the expedition. For advanced players. Duration: 14’. In 1803, President Thomas Jefferson sent Meriwether Lewis and William Clark’s Corps of Discovery to find a water route to the Pacific and explore the uncharted West. He believed woolly mammoths, erupting volcanoes, and mountains of pure salt awaited them. What they found was no less mind-boggling: some 300 species unknown to science, nearly 50 Indian tribes, and the Rockies.Ihave been a student of the Lewis and Clark expedition, which Thomas Jefferson called the “Voyage of Discovery,†for as long as I can remember. This astonishing journey, lasting more than two-and-a-half years, began and ended in St. Louis, Missouri — and took the travelers up more than a few rivers in their quest to find the Northwest Passage to the Pacific Ocean. In an age without speedy communication, this was akin to space travel out of radio range in our own time: no one knew if, indeed, the party had even survived the voyage for more than a year. Most of them were soldiers. A few were French-Canadian voyageurs — hired trappers and explorers, who were fluent in French (spoken extensively in the region, due to earlier explorers from France) and in some of the Indian languages they might encounter. One of the voyageurs, a man named Pierre Cruzatte, also happened to be a better-than-average fiddle player. In many respects, the travelers were completely on their own for supplies and survival, yet, incredibly, only one of them died during the voyage. Jefferson had outfitted them with food, weapons, medicine, and clothing — and along with other trinkets, a box of 200 jaw harps to be used in trading with the Indians. Their trip was long, perilous to the point of near catastrophe, and arduous. The dream of a Northwest Passage proved ephemeral, but the northwestern quarter of the continent had finally been explored, mapped, and described to an anxious world. When the party returned to St. Louis in 1806, and with the Louisiana Purchase now part of the United States, they were greeted as national heroes.Ihave written a sizeable number of works for wind ensemble that draw their inspiration from the monumental spaces found in the American West. Four of them (Arches, The Yellowstone Fires, Glacier, and Zion) take their names, and in large part their being, from actual national parks in Utah, Wyoming, and Montana. But Upriver, although it found its voice (and its finale) in the magnificent Columbia Gorge in Oregon, is about a much larger region. This piece, like its brother works about the national parks, doesn’t try to tell a story. Instead, it captures the flavor of a certain time, and of a grand adventure. Cast in one continuous movement and lasting close to fourteen minutes, the piece falls into several subsections, each with its own heading: The Dream (in which Jefferson’s vision of a vast expanse of western land is opened); The Promise, a chorale that re-appears several times in the course of the piece and represents the seriousness of the presidential mission; The River; The Voyageurs; The River II ; Death and Disappointment; Return to the Voyage; and The River III .The music includes several quoted melodies, one of which is familiar to everyone as the ultimate “river song,†and which becomes the through-stream of the work. All of the quoted tunes were either sung by the men on the voyage, or played by Cruzatte’s fiddle. From various journals and diaries, we know the men found enjoyment and solace in music, and almost every night encampment had at least a bit of music in it. In addition to Cruzatte, there were two other members of the party who played the fiddle, and others made do with singing, or playing upon sticks, bones, the ever-present jaw harps, and boat horns. From Lewis’ journals, I found all the tunes used in Upriver: Shenandoah (still popular after more than 200 years), V’la bon vent, Soldier’s Joy, Johnny Has Gone for a Soldier, Come Ye Sinners Poor and Needy (a hymn sung to the tune “Beech Springâ€) and Fisher’s Hornpipe. The work follows an emotional journey: not necessarily step-by-step with the Voyage of Discovery heroes, but a kind of grand arch. Beginning in the mists of history and myth, traversing peaks and valleys both real and emotional (and a solemn funeral scene), finding help from native people, and recalling their zeal upon finding the one great river that will, in fact, take them to the Pacific. When the men finally roar through the Columbia Gorge in their boats (a feat that even the Indians had not attempted), the magnificent river combines its theme with the chorale of Jefferson’s Promise. The Dream is fulfilled: not quite the one Jefferson had imagined (there is no navigable water passage from the Missouri to the Pacific), but the dream of a continental destiny. $45.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| The Beatles: The Beatles - Complete Scores
Band Scores [Sheet music] Hal Leonard
Performed by The Beatles. For voice(s), guitar(s), bass guitar, drum set and key...(+)
Performed by The Beatles. For voice(s), guitar(s), bass guitar, drum set and keyboard. Format: full score. With vocal melody, lyrics, standard guitar notation, guitar tablature, standard bass notation, bass tablature, chord names and drum notation. Classic rock, pop rock and psychedelic rock. Popular boxed gift set. Includes complete transcriptions of all instrumental and vocal parts. Series: Hal Leonard Transcribed Scores. 1136 pages. 7.25x10.88 inches. Published by Hal Leonard.
(67)$99.99 - 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 | | |
| Upriver Concert band Theodore Presser Co.
Band Concert Band SKU: PR.46500013L For Wind Ensemble. Composed by...(+)
Band Concert Band SKU: PR.46500013L For Wind Ensemble. Composed by Dan Welcher. Contemporary. Large Score. With Standard notation. Composed 2010. Duration 14 minutes. Theodore Presser Company #465-00013L. Published by Theodore Presser Company (PR.46500013L). UPC: 680160600151. 11 x 14 inches. I n 1803, President Thomas Jefferson sent Meriwether Lewis and William Clarks Corps of Discovery to find a water route to the Pacific and explore the uncharted West. He believed woolly mammoths, erupting volcanoes, and mountains of pure salt awaited them. What they found was no less mind-boggling: some 300 species unknown to science, nearly 50 Indian tribes, and the Rockies. I have been a student of the Lewis and Clark expedition, which Thomas Jefferson called the Voyage of Discovery, for as long as I can remember. This astonishing journey, lasting more than two-and-a-half years, began and ended in St. Louis, Missouri and took the travelers up more than a few rivers in their quest to find the Northwest Passage to the Pacific Ocean. In an age without speedy communication, this was akin to space travel out of radio range in our own time: no one knew if, indeed, the party had even survived the voyage for more than a year. Most of them were soldiers. A few were French-Canadian voyageurs hired trappers and explorers, who were fluent in French (spoken extensively in the region, due to earlier explorers from France) and in some of the Indian languages they might encounter. One of the voyageurs, a man named Pierre Cruzatte, also happened to be a better-than-average fiddle player. In many respects, the travelers were completely on their own for supplies and survival, yet, incredibly, only one of them died during the voyage. Jefferson had outfitted them with food, weapons, medicine, and clothing and along with other trinkets, a box of 200 jaw harps to be used in trading with the Indians. Their trip was long, perilous to the point of near catastrophe, and arduous. The dream of a Northwest Passage proved ephemeral, but the northwestern quarter of the continent had finally been explored, mapped, and described to an anxious world. When the party returned to St. Louis in 1806, and with the Louisiana Purchase now part of the United States, they were greeted as national heroes. I have written a sizeable number of works for wind ensemble that draw their inspiration from the monumental spaces found in the American West. Four of them (Arches, The Yellowstone Fires, Glacier, and Zion) take their names, and in large part their being, from actual national parks in Utah, Wyoming, and Montana. But Upriver, although it found its voice (and its finale) in the magnificent Columbia Gorge in Oregon, is about a much larger region. This piece, like its brother works about the national parks, doesnt try to tell a story. Instead, it captures the flavor of a certain time, and of a grand adventure. Cast in one continuous movement and lasting close to fourteen minutes, the piece falls into several subsections, each with its own heading: The Dream (in which Jeffersons vision of a vast expanse of western land is opened); The Promise, a chorale that re-appears several times in the course of the piece and represents the seriousness of the presidential mission; The River; The Voyageurs; The River II ; Death and Disappointment; Return to the Voyage; and The River III . The music includes several quoted melodies, one of which is familiar to everyone as the ultimate river song, and which becomes the through-stream of the work. All of the quoted tunes were either sung by the men on the voyage, or played by Cruzattes fiddle. From various journals and diaries, we know the men found enjoyment and solace in music, and almost every night encampment had at least a bit of music in it. In addition to Cruzatte, there were two other members of the party who played the fiddle, and others made do with singing, or playing upon sticks, bones, the ever-present jaw harps, and boat horns. From Lewis journals, I found all the tunes used in Upriver: Shenandoah (still popular after more than 200 years), Vla bon vent, Soldiers Joy, Johnny Has Gone for a Soldier, Come Ye Sinners Poor and Needy (a hymn sung to the tune Beech Spring) and Fishers Hornpipe. The work follows an emotional journey: not necessarily step-by-step with the Voyage of Discovery heroes, but a kind of grand arch. Beginning in the mists of history and myth, traversing peaks and valleys both real and emotional (and a solemn funeral scene), finding help from native people, and recalling their zeal upon finding the one great river that will, in fact, take them to the Pacific. When the men finally roar through the Columbia Gorge in their boats (a feat that even the Indians had not attempted), the magnificent river combines its theme with the chorale of Jeffersons Promise. The Dream is fulfilled: not quite the one Jefferson had imagined (there is no navigable water passage from the Missouri to the Pacific), but the dream of a continental destiny. $80.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Three Pieces Theodore Presser Co.
Chamber Music Clarinet Trio SKU: PR.114424090 Composed by Igor Stravinsky...(+)
Chamber Music Clarinet Trio SKU: PR.114424090 Composed by Igor Stravinsky. Arranged by Gregory Barrett. Set of Score and Parts. 8+16 pages. Duration 5 minutes. Theodore Presser Company #114-42409. Published by Theodore Presser Company (PR.114424090). ISBN 9781491137383. UPC: 680160690107. Stravinsky’s 1918 Three Pieces for Solo Clarinet has long been savored by clarinetists as a rare gem in the instrument’s repertory, full of rhythmic drive and Stravinsky’s jazzy neo-classicism. Composer and clarinetist Gregory M. Barrett’s remarkable adaptation for 3 clarinets is a tour de force, assimilating Stravinsky’s harmonic, rhythmic, and contrapuntal style to create a striking addition to the clarinet literature. Igor Stravinsky’s Three Pieces for Solo Clarinet (1918) is a core work in clarinetists’ repertoire, and I havereimagined it for the convivial grouping of three players. The arrangement contains all of Stravinsky’soriginal, but now his solo line is shared among three in a new matrix of harmony, imitation, andcounterpoint.The molto tranquillo first piece develops from the emphasized C# in Stravinsky’s first measure andmoves to a somewhat somber mood when C# is revealed to be the dominant of F# minor. Withincreasing expansion of tessitura in the sustained harmonies, the sun comes out in the last phrase with ajoyous Eb major chord.The circus-like second piece finds the three clarinets whirling in the air in synchronized trapeze artiststyle. The emphasis is on imitation and fluid hand-offs. Chords with major 7ths and 2nds contrast withtriadic harmony. Following the cat and mouse middle section, where dancing patterns of twos andthrees alternate, the summit of the big top is reached again just before the players settle down to earthwith a welcome C major chord of respite.The ragtime burlesque of Stravinsky’s third piece is heightened by homophonic rhythm among the threeplayers. Each clarinet part has its own specialty. Clarinet 1 loves 32nd notes, Clarinet 2 shows off with fasttriplets, and Clarinet 3 likes the low notes and in general supporting its friends. Quartal harmony withstacked 4ths is emphasized, but where Stravinsky’s melody suggests triads, I have taken his hint. Thepropulsive rhythms are truly exciting, and with the wink of an eye, the music ends all too soon. $24.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Beatles: Rewind Choral SATB Hal Leonard
Choral (SATB) SKU: HL.428247 A Beatles Super Medley. By The Beatle...(+)
Choral (SATB) SKU: HL.428247 A Beatles Super Medley. By The Beatles. By George Harrison, John Lennon, and Paul McCartney. Arranged by Mark A. Brymer. Pop Choral Series. Classic Rock, Medley, Novelty, Pop, Pop/Rock, Rock, Sixties. Octavo. 20 pages. Duration 240 seconds. Published by Hal Leonard (HL.428247). UPC: 196288063384. 6.75x10.5x0.045 inches. A Fab Four Medley with 18 classic songs in just four minutes!? As Brian Wilson once said, “There's no outdoing the Beatles.†Includes: All You Need Is Love, Blackbird, Come Together, Eight Days a Week, Eleanor Rigby, A Hard Day's Night, Here Comes the Sun, Hey Jude, I Want to Hold Your Hand, In My Life, Let It Me, Love Me Do, Penny Lane, Strawberry Fields Forever, We Can Work it Out, With a Little Help from My Friends and Hello, Goodbye. $3.25 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Beatles: Rewind Choral 3-part SAB Hal Leonard
Choral (SAB Choir) SKU: HL.428248 A Beatles Super Medley. By The B...(+)
Choral (SAB Choir) SKU: HL.428248 A Beatles Super Medley. By The Beatles. By George Harrison, John Lennon, and Paul McCartney. Arranged by Mark A. Brymer. Pop Choral Series. Classic Rock, Medley, Novelty, Pop, Pop/Rock, Rock, Sixties. Octavo. Duration 240 seconds. Published by Hal Leonard (HL.428248). UPC: 196288063391. 6.75x10.5x0.045 inches. A Fab Four Medley with 18 classic songs in just four minutes!? As Brian Wilson once said, “There's no outdoing the Beatles.†Includes: All You Need Is Love, Blackbird, Come Together, Eight Days a Week, Eleanor Rigby, A Hard Day's Night, Here Comes the Sun, Hey Jude, I Want to Hold Your Hand, In My Life, Let It Me, Love Me Do, Penny Lane, Strawberry Fields Forever, We Can Work it Out, With a Little Help from My Friends and Hello, Goodbye. $3.25 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Juchem Play Sax-my Hobby1 Alto - Beginner Schott
Alto saxophone (SCHULE+CD) - very easy to easy SKU: HL.49033322 Die mo...(+)
Alto saxophone (SCHULE+CD) - very easy to easy SKU: HL.49033322 Die moderne Schule fur Jugendliche und Erwachsene. Composed by Juchem. This edition: Ring/Spiral binding. Sheet music with CD. Edition Schott. This saxophone method is suitable for lessons and self-study and is aimed at young people and adults who want to learn to play the saxophone with fun and success. This is why this established method focuses on well-known songs - long-winded explanations a. Edition with CD. 120 pages. Schott Music #ED 9831. Published by Schott Music (HL.49033322). ISBN 9783795757304. 9.25x12.0x0.606 inches. German. This saxophone method is suitable for lessons and self-study and is aimed at young people and adults who want to learn to play the saxophone with fun and success. This is why this established method focuses on well-known songs - long-winded explanations and dry exercises are avoided. All subject matters have been wrapped up in attractive songs and pieces which sound like real music right from the beginning thanks to the live recorded playback tracks. Thus, exercising is fun. Another successful instrumental method in the well-known 'Hobby' series. Dirko Juchem has made a name for himself as a saxophonist, saxophone teacher and specialist author on both a national and international level for many years.His saxophone sound and wide range of styles are well in demand: He has played with well-known German and international artists such as Rolf Zuckowski, Barbara Dennerlein, Thomas Anders, Anne Haigis, Harald Juhnke, Pe Werner, Sara K. as well as with musicians of Jethro Tull, Jazz-Kantine or the Mike Oldfield Band. Apart from numerous concerts and productions with other artists and bands, he performs again and again with his own programmes - solo, as a duo or with an entire band. Up to now, he has performed in more than 100 CD and LP productions, and his tours have taken him as far as Los Angeles and Taiwan.Having taught at various music schools as a saxophone teacher and held lectures at the Bundesakademie Remscheid as a guest lecturer, he knows the problems of saxophonists from first-hand experience.In addition, Dirko Juchem is the author of numerous textbooks and tune books for the saxophone as well as a specialist author of articles for musicians' journals ('Sonic', 'Sound Check', 'Fachblatt Musikmagazin'). $34.00 - See more - Buy online | | |
| Buoso's Ghost (Piano/Vocal Score) Piano, Voice [Score] Schirmer
Composed by Michael Ching. One Act/Chamber Opera. 20th Century. Score. Publi...(+)
Composed by Michael Ching.
One Act/Chamber Opera. 20th
Century. Score. Published by
E.C. Schirmer Publishing
$27.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| The Beatles – The Little Black Songbook Guitar Hal Leonard
Lyrics/Chords Guitar SKU: HL.242081 By The Beatles. The Little Black Song...(+)
Lyrics/Chords Guitar SKU: HL.242081 By The Beatles. The Little Black Songbook. Pop. 384 pages. Hal Leonard #HL00242081. Published by Hal Leonard (HL.242081). ISBN 9781785588617. UPC: 888680704407. 4.75x7.75x0.956 inches. A pocket-sized collection of 195 Beatles hits presented in chord songbook format. Includes complete lyrics, chord names & a handy chord box reference sheet. Including classic hits such as: All You Need Is Love • Can't Buy Me Love • Day Tripper • Do You Want to Know a Secret • Eleanor Rigby • From Me to You • Get Back • Help! • Hey Jude • I Want to Hold Your Hand • Let It Be • Magical Mystery Tour • Ob-La-Di Ob-La-Da • Please Please Me • Ticket to Ride • Twist and Shout • and more. $19.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| 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 | | |
| Bradley's New Giant Piano Book Piano solo [Sheet music] - Easy Alfred Publishing
(15th Updated Edition) Arranged by Richard Bradley. Collection for easy solo pia...(+)
(15th Updated Edition) Arranged by Richard Bradley. Collection for easy solo piano. 304 pages. Published by Alfred Publishing.
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| Jumpin' Jim's Ukulele Gems Ukulele [Sheet music] Hal Leonard
Ukulele Solo. Performed by Jim Beloff. By Various. Arranged by Jim Beloff. Frett...(+)
Ukulele Solo. Performed by Jim Beloff. By Various. Arranged by Jim Beloff. Fretted. Size 6.7x10.5 inches. 72 pages. Published by Hal Leonard.
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| Harold Arlen: The Harold Arlen Songbook
Piano, Vocal and Guitar [Sheet music] Hal Leonard
Composed by Harold Arlen. For voice, piano and guitar chords. Format: piano/voca...(+)
Composed by Harold Arlen. For voice, piano and guitar chords. Format: piano/vocal/chords songbook. With vocal melody, piano accompaniment, lyrics, chord names, guitar chord diagrams, introductory text and black and white photos. Standards and vocal standards. 304 pages. 9x12 inches. Published by Hal Leonard.
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| The Beatles – Strum Together Ukulele Hal Leonard
Ukulele, Baritone Ukulele, Guitar, Mandolin, Banjo Banjo; Baritone Ukulele; Guit...(+)
Ukulele, Baritone Ukulele, Guitar, Mandolin, Banjo Banjo; Baritone Ukulele; Guitar; Mandolin; Ukulele SKU: HL.295362 For Ukulele, Baritone Ukulele, Guitar, Mandolin, Banjo. By The Beatles. Arranged by Mark Phillips. Strum Together. Pop. Softcover. 146 pages. Published by Hal Leonard (HL.295362). ISBN 9781540055798. UPC: 888680946548. 9.0x12.0x0.366 inches. 70 songs with lyrics, melody lines, and chord frames for standard ukulele, baritone ukulele, guitar, mandolin, and banjo. Enjoy strumming and singing these Beatles classics with all your buddies! A great resource for beginning stringed instrument players who are ready to experience the fun of making music together! Songs include: All You Need Is Love • Back in the U.S.S.R. • Birthday • Can't Buy Me Love • Come Together • Day Tripper • Drive My Car • Eight Days a Week • Eleanor Rigby • Get Back • Good Day Sunshine • Got to Get You into My Life • A Hard Day's Night • Help! • Here Comes the Sun • Hey Jude • I Saw Her Standing There • I Want to Hold Your Hand • In My Life • Let It Be • The Long and Winding Road • Norwegian Wood (This Bird Has Flown) • Paperback Writer • Revolution • Sgt. Pepper's Lonely Hearts Club Band • She Loves You • Ticket to Ride • Twist and Shout • Yellow Submarine • Yesterday • and more! $25.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
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