| Best Fake Book Ever - 5th Edition C Instruments [Fake Book] Hal Leonard
C Edition. Composed by Various. Fake Book. Broadway, Country, Jazz, Pop, Stand...(+)
C Edition. Composed by
Various. Fake Book. Broadway,
Country, Jazz, Pop, Standards.
Softcover. 802 pages.
Published by Hal Leonard
$49.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Classic Rock Of The Early 60s American Pop And The British Invasion Guitar notes and tablatures [Sheet music] Warner Brothers
Edited by Aaron Stang. Fretted instrument mixed folio (Guitar tablature). 128 pa...(+)
Edited by Aaron Stang. Fretted instrument mixed folio (Guitar tablature). 128 pages. Published by Warner Brothers.
(1)$17.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Acadia Theodore Presser Co.
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clar...(+)
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clarinet 3, Contrabass Clarinet, Contrabassoon, Double Bass, English Horn, Euphonium, Flute 1, Flute 2, Horn 1, Horn 2, Horn 3, Horn 4, Oboe 1, Oboe 2, Percussion 1 and more. SKU: PR.16500103F Mvt. 3 from Symphony No. 6 (Three Places in the East). Composed by Dan Welcher. Full score. 60 pages. Theodore Presser Company #165-00103F. Published by Theodore Presser Company (PR.16500103F). ISBN 9781491131763. UPC: 680160680290. Ever since the success of my series of wind ensemble works Places in the West, I've been wanting to write a companion piece for national parks on the other side of the north American continent. The earlier work, consisting of GLACIER, THE YELLOWSTONE FIRES, ARCHES, and ZION, spanned some twenty years of my composing life, and since the pieces called for differing groups of instruments, and were in slightly different styles from each other, I never considered them to be connected except in their subject matter. In their depiction of both the scenery and the human history within these wondrous places, they had a common goal: awaking the listener to the fragile beauty that is in them; and calling attention to the ever more crucial need for preservation and protection of these wild places, unique in all the world. With this new work, commissioned by a consortium of college and conservatory wind ensembles led by the University of Georgia, I decided to build upon that same model---but to solidify the process. The result, consisting of three movements (each named for a different national park in the eastern US), is a bona-fide symphony. While the three pieces could be performed separately, they share a musical theme---and also a common style and instrumentation. It is a true symphony, in that the first movement is long and expository, the second is a rather tightly structured scherzo-with-trio, and the finale is a true culmination of the whole. The first movement, Everglades, was the original inspiration for the entire symphony. Conceived over the course of two trips to that astonishing place (which the native Americans called River of Grass, the subtitle of this movement), this movement not only conveys a sense of the humid, lush, and even frightening scenery there---but also an overview of the entire settling-of- Florida experience. It contains not one, but two native American chants, and also presents a view of the staggering influence of modern man on this fragile part of the world. Beginning with a slow unfolding marked Heavy, humid, the music soon presents a gentle, lyrical theme in the solo alto saxophone. This theme, which goes through three expansive phrases with breaks in between, will appear in all three movements of the symphony. After the mood has been established, the music opens up to a rich, warm setting of a Cherokee morning song, with the simple happiness that this part of Florida must have had prior to the nineteenth century. This music, enveloping and comforting, gradually gives way to a more frenetic, driven section representative of the intrusion of the white man. Since Florida was populated and developed largely due to the introduction of a train system, there's a suggestion of the mechanized iron horse driving straight into the heartland. At that point, the native Americans become considerably less gentle, and a second chant seems to stand in the way of the intruder; a kind of warning song. The second part of this movement shows us the great swampy center of the peninsula, with its wildlife both in and out of the water. A new theme appears, sad but noble, suggesting that this land is precious and must be protected by all the people who inhabit it. At length, the morning song reappears in all its splendor, until the sunset---with one last iteration of the warning song in the solo piccolo. Functioning as a scherzo, the second movement, Great Smoky Mountains, describes not just that huge park itself, but one brave soul's attempt to climb a mountain there. It begins with three iterations of the UR-theme (which began the first movement as well), but this time as up-tempo brass fanfares in octaves. Each time it begins again, the theme is a little slower and less confident than the previous time---almost as though the hiker were becoming aware of the daunting mountain before him. But then, a steady, quick-pulsed ostinato appears, in a constantly shifting meter system of 2/4- 3/4 in alteration, and the hike has begun. Over this, a slower new melody appears, as the trek up the mountain progresses. It's a big mountain, and the ascent seems to take quite awhile, with little breaks in the hiker's stride, until at length he simply must stop and rest. An oboe solo, over several free cadenza-like measures, allows us (and our friend the hiker) to catch our breath, and also to view in the distance the rocky peak before us. The goal is somehow even more daunting than at first, being closer and thus more frighteningly steep. When we do push off again, it's at a slower pace, and with more careful attention to our footholds as we trek over broken rocks. Tantalizing little views of the valley at every switchback make our determination even stronger. Finally, we burst through a stand of pines and----we're at the summit! The immensity of the view is overwhelming, and ultimately humbling. A brief coda, while we sit dazed on the rocks, ends the movement in a feeling of triumph. The final movement, Acadia, is also about a trip. In the summer of 2014, I took a sailing trip with a dear friend from North Haven, Maine, to the southern coast of Mt. Desert Island in Acadia National Park. The experience left me both exuberant and exhausted, with an appreciation for the ocean that I hadn't had previously. The approach to Acadia National Park by water, too, was thrilling: like the difference between climbing a mountain on foot with riding up on a ski-lift, I felt I'd earned the right to be there. The music for this movement is entirely based on the opening UR-theme. There's a sense of the water and the mysterious, quiet deep from the very beginning, with seagulls and bell buoys setting the scene. As we leave the harbor, the theme (in a canon between solo euphonium and tuba) almost seems as if large subaquatic animals are observing our departure. There are three themes (call them A, B and C) in this seafaring journey---but they are all based on the UR theme, in its original form with octaves displaced, in an upside-down form, and in a backwards version as well. (The ocean, while appearing to be unchanging, is always changing.) We move out into the main channel (A), passing several islands (B), until we reach the long draw that parallels the coastline called Eggemoggin Reach, and a sudden burst of new speed (C). Things suddenly stop, as if the wind had died, and we have a vision: is that really Mt. Desert Island we can see off the port bow, vaguely in the distance? A chorale of saxophones seems to suggest that. We push off anew as the chorale ends, and go through all three themes again---but in different instrumentations, and different keys. At the final tack-turn, there it is, for real: Mt. Desert Island, big as life. We've made it. As we pull into the harbor, where we'll secure the boat for the night, there's a feeling of achievement. Our whale and dolphin friends return, and we end our journey with gratitude and celebration. I am profoundly grateful to Jaclyn Hartenberger, Professor of Conducting at the University of Georgia, for leading the consortium which provided the commissioning of this work. $39.99 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Great Smoky Mountains Theodore Presser Co.
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clar...(+)
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clarinet 3, Contrabass Clarinet, Contrabassoon, Double Bass, English Horn, Euphonium, Flute 1, Flute 2, Horn 1, Horn 2, Horn 3, Horn 4, Oboe 1, Oboe 2, Percussion 1 and more. SKU: PR.16500102F Mvt. 2 from Symphony No. 6 (Three Places in the East). Composed by Dan Welcher. Full score. 52 pages. Theodore Presser Company #165-00102F. Published by Theodore Presser Company (PR.16500102F). ISBN 9781491131749. UPC: 680160680276. Ever since the success of my series of wind ensemble works Places in the West, I've been wanting to write a companion piece for national parks on the other side of the north American continent. The earlier work, consisting of GLACIER, THE YELLOWSTONE FIRES, ARCHES, and ZION, spanned some twenty years of my composing life, and since the pieces called for differing groups of instruments, and were in slightly different styles from each other, I never considered them to be connected except in their subject matter. In their depiction of both the scenery and the human history within these wondrous places, they had a common goal: awaking the listener to the fragile beauty that is in them; and calling attention to the ever more crucial need for preservation and protection of these wild places, unique in all the world. With this new work, commissioned by a consortium of college and conservatory wind ensembles led by the University of Georgia, I decided to build upon that same model---but to solidify the process. The result, consisting of three movements (each named for a different national park in the eastern US), is a bona-fide symphony. While the three pieces could be performed separately, they share a musical theme---and also a common style and instrumentation. It is a true symphony, in that the first movement is long and expository, the second is a rather tightly structured scherzo-with-trio, and the finale is a true culmination of the whole. The first movement, Everglades, was the original inspiration for the entire symphony. Conceived over the course of two trips to that astonishing place (which the native Americans called River of Grass, the subtitle of this movement), this movement not only conveys a sense of the humid, lush, and even frightening scenery there---but also an overview of the entire settling-of- Florida experience. It contains not one, but two native American chants, and also presents a view of the staggering influence of modern man on this fragile part of the world. Beginning with a slow unfolding marked Heavy, humid, the music soon presents a gentle, lyrical theme in the solo alto saxophone. This theme, which goes through three expansive phrases with breaks in between, will appear in all three movements of the symphony. After the mood has been established, the music opens up to a rich, warm setting of a Cherokee morning song, with the simple happiness that this part of Florida must have had prior to the nineteenth century. This music, enveloping and comforting, gradually gives way to a more frenetic, driven section representative of the intrusion of the white man. Since Florida was populated and developed largely due to the introduction of a train system, there's a suggestion of the mechanized iron horse driving straight into the heartland. At that point, the native Americans become considerably less gentle, and a second chant seems to stand in the way of the intruder; a kind of warning song. The second part of this movement shows us the great swampy center of the peninsula, with its wildlife both in and out of the water. A new theme appears, sad but noble, suggesting that this land is precious and must be protected by all the people who inhabit it. At length, the morning song reappears in all its splendor, until the sunset---with one last iteration of the warning song in the solo piccolo. Functioning as a scherzo, the second movement, Great Smoky Mountains, describes not just that huge park itself, but one brave soul's attempt to climb a mountain there. It begins with three iterations of the UR-theme (which began the first movement as well), but this time as up-tempo brass fanfares in octaves. Each time it begins again, the theme is a little slower and less confident than the previous time---almost as though the hiker were becoming aware of the daunting mountain before him. But then, a steady, quick-pulsed ostinato appears, in a constantly shifting meter system of 2/4- 3/4 in alteration, and the hike has begun. Over this, a slower new melody appears, as the trek up the mountain progresses. It's a big mountain, and the ascent seems to take quite awhile, with little breaks in the hiker's stride, until at length he simply must stop and rest. An oboe solo, over several free cadenza-like measures, allows us (and our friend the hiker) to catch our breath, and also to view in the distance the rocky peak before us. The goal is somehow even more daunting than at first, being closer and thus more frighteningly steep. When we do push off again, it's at a slower pace, and with more careful attention to our footholds as we trek over broken rocks. Tantalizing little views of the valley at every switchback make our determination even stronger. Finally, we burst through a stand of pines and----we're at the summit! The immensity of the view is overwhelming, and ultimately humbling. A brief coda, while we sit dazed on the rocks, ends the movement in a feeling of triumph. The final movement, Acadia, is also about a trip. In the summer of 2014, I took a sailing trip with a dear friend from North Haven, Maine, to the southern coast of Mt. Desert Island in Acadia National Park. The experience left me both exuberant and exhausted, with an appreciation for the ocean that I hadn't had previously. The approach to Acadia National Park by water, too, was thrilling: like the difference between climbing a mountain on foot with riding up on a ski-lift, I felt I'd earned the right to be there. The music for this movement is entirely based on the opening UR-theme. There's a sense of the water and the mysterious, quiet deep from the very beginning, with seagulls and bell buoys setting the scene. As we leave the harbor, the theme (in a canon between solo euphonium and tuba) almost seems as if large subaquatic animals are observing our departure. There are three themes (call them A, B and C) in this seafaring journey---but they are all based on the UR theme, in its original form with octaves displaced, in an upside-down form, and in a backwards version as well. (The ocean, while appearing to be unchanging, is always changing.) We move out into the main channel (A), passing several islands (B), until we reach the long draw that parallels the coastline called Eggemoggin Reach, and a sudden burst of new speed (C). Things suddenly stop, as if the wind had died, and we have a vision: is that really Mt. Desert Island we can see off the port bow, vaguely in the distance? A chorale of saxophones seems to suggest that. We push off anew as the chorale ends, and go through all three themes again---but in different instrumentations, and different keys. At the final tack-turn, there it is, for real: Mt. Desert Island, big as life. We've made it. As we pull into the harbor, where we'll secure the boat for the night, there's a feeling of achievement. Our whale and dolphin friends return, and we end our journey with gratitude and celebration. I am profoundly grateful to Jaclyn Hartenberger, Professor of Conducting at the University of Georgia, for leading the consortium which provided the commissioning of this work. $36.99 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Everglades (River of Grass) Theodore Presser Co.
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clar...(+)
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clarinet 3, Contrabass Clarinet, Contrabassoon, Double Bass, English Horn, Euphonium, Flute 1, Flute 2, Horn 1, Horn 2, Horn 3, Horn 4, Oboe 1, Oboe 2, Percussion 1 and more. SKU: PR.16500101F Mvt. 1 from Symphony No. 6 (Three Places in the East). Composed by Dan Welcher. Full score. 52 pages. Theodore Presser Company #165-00101F. Published by Theodore Presser Company (PR.16500101F). ISBN 9781491131725. UPC: 680160680252. Ever since the success of my series of wind ensemble works Places in the West, I've been wanting to write a companion piece for national parks on the other side of the north American continent. The earlier work, consisting of GLACIER, THE YELLOWSTONE FIRES, ARCHES, and ZION, spanned some twenty years of my composing life, and since the pieces called for differing groups of instruments, and were in slightly different styles from each other, I never considered them to be connected except in their subject matter. In their depiction of both the scenery and the human history within these wondrous places, they had a common goal: awaking the listener to the fragile beauty that is in them; and calling attention to the ever more crucial need for preservation and protection of these wild places, unique in all the world. With this new work, commissioned by a consortium of college and conservatory wind ensembles led by the University of Georgia, I decided to build upon that same model---but to solidify the process. The result, consisting of three movements (each named for a different national park in the eastern US), is a bona-fide symphony. While the three pieces could be performed separately, they share a musical theme---and also a common style and instrumentation. It is a true symphony, in that the first movement is long and expository, the second is a rather tightly structured scherzo-with-trio, and the finale is a true culmination of the whole. The first movement, Everglades, was the original inspiration for the entire symphony. Conceived over the course of two trips to that astonishing place (which the native Americans called River of Grass, the subtitle of this movement), this movement not only conveys a sense of the humid, lush, and even frightening scenery there---but also an overview of the entire settling-of- Florida experience. It contains not one, but two native American chants, and also presents a view of the staggering influence of modern man on this fragile part of the world. Beginning with a slow unfolding marked Heavy, humid, the music soon presents a gentle, lyrical theme in the solo alto saxophone. This theme, which goes through three expansive phrases with breaks in between, will appear in all three movements of the symphony. After the mood has been established, the music opens up to a rich, warm setting of a Cherokee morning song, with the simple happiness that this part of Florida must have had prior to the nineteenth century. This music, enveloping and comforting, gradually gives way to a more frenetic, driven section representative of the intrusion of the white man. Since Florida was populated and developed largely due to the introduction of a train system, there's a suggestion of the mechanized iron horse driving straight into the heartland. At that point, the native Americans become considerably less gentle, and a second chant seems to stand in the way of the intruder; a kind of warning song. The second part of this movement shows us the great swampy center of the peninsula, with its wildlife both in and out of the water. A new theme appears, sad but noble, suggesting that this land is precious and must be protected by all the people who inhabit it. At length, the morning song reappears in all its splendor, until the sunset---with one last iteration of the warning song in the solo piccolo. Functioning as a scherzo, the second movement, Great Smoky Mountains, describes not just that huge park itself, but one brave soul's attempt to climb a mountain there. It begins with three iterations of the UR-theme (which began the first movement as well), but this time as up-tempo brass fanfares in octaves. Each time it begins again, the theme is a little slower and less confident than the previous time---almost as though the hiker were becoming aware of the daunting mountain before him. But then, a steady, quick-pulsed ostinato appears, in a constantly shifting meter system of 2/4- 3/4 in alteration, and the hike has begun. Over this, a slower new melody appears, as the trek up the mountain progresses. It's a big mountain, and the ascent seems to take quite awhile, with little breaks in the hiker's stride, until at length he simply must stop and rest. An oboe solo, over several free cadenza-like measures, allows us (and our friend the hiker) to catch our breath, and also to view in the distance the rocky peak before us. The goal is somehow even more daunting than at first, being closer and thus more frighteningly steep. When we do push off again, it's at a slower pace, and with more careful attention to our footholds as we trek over broken rocks. Tantalizing little views of the valley at every switchback make our determination even stronger. Finally, we burst through a stand of pines and----we're at the summit! The immensity of the view is overwhelming, and ultimately humbling. A brief coda, while we sit dazed on the rocks, ends the movement in a feeling of triumph. The final movement, Acadia, is also about a trip. In the summer of 2014, I took a sailing trip with a dear friend from North Haven, Maine, to the southern coast of Mt. Desert Island in Acadia National Park. The experience left me both exuberant and exhausted, with an appreciation for the ocean that I hadn't had previously. The approach to Acadia National Park by water, too, was thrilling: like the difference between climbing a mountain on foot with riding up on a ski-lift, I felt I'd earned the right to be there. The music for this movement is entirely based on the opening UR-theme. There's a sense of the water and the mysterious, quiet deep from the very beginning, with seagulls and bell buoys setting the scene. As we leave the harbor, the theme (in a canon between solo euphonium and tuba) almost seems as if large subaquatic animals are observing our departure. There are three themes (call them A, B and C) in this seafaring journey---but they are all based on the UR theme, in its original form with octaves displaced, in an upside-down form, and in a backwards version as well. (The ocean, while appearing to be unchanging, is always changing.) We move out into the main channel (A), passing several islands (B), until we reach the long draw that parallels the coastline called Eggemoggin Reach, and a sudden burst of new speed (C). Things suddenly stop, as if the wind had died, and we have a vision: is that really Mt. Desert Island we can see off the port bow, vaguely in the distance? A chorale of saxophones seems to suggest that. We push off anew as the chorale ends, and go through all three themes again---but in different instrumentations, and different keys. At the final tack-turn, there it is, for real: Mt. Desert Island, big as life. We've made it. As we pull into the harbor, where we'll secure the boat for the night, there's a feeling of achievement. Our whale and dolphin friends return, and we end our journey with gratitude and celebration. I am profoundly grateful to Jaclyn Hartenberger, Professor of Conducting at the University of Georgia, for leading the consortium which provided the commissioning of this work. $36.99 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Symphony No. 6 Theodore Presser Co.
Band SKU: PR.16500104F Three Places in the East. Composed by Dan W...(+)
Band SKU: PR.16500104F Three Places in the East. Composed by Dan Welcher. Full score. Theodore Presser Company #165-00104F. Published by Theodore Presser Company (PR.16500104F). ISBN 9781491132159. UPC: 680160681082. Ever since the success of my series of wind ensemble works Places in the West, I've been wanting to write a companion piece for national parks on the other side of the north American continent. The earlier work, consisting of GLACIER, THE YELLOWSTONE FIRES, ARCHES, and ZION, spanned some twenty years of my composing life, and since the pieces called for differing groups of instruments, and were in slightly different styles from each other, I never considered them to be connected except in their subject matter. In their depiction of both the scenery and the human history within these wondrous places, they had a common goal: awaking the listener to the fragile beauty that is in them; and calling attention to the ever more crucial need for preservation and protection of these wild places, unique in all the world. With this new work, commissioned by a consortium of college and conservatory wind ensembles led by the University of Georgia, I decided to build upon that same model---but to solidify the process. The result, consisting of three movements (each named for a different national park in the eastern US), is a bona-fide symphony. While the three pieces could be performed separately, they share a musical theme---and also a common style and instrumentation. It is a true symphony, in that the first movement is long and expository, the second is a rather tightly structured scherzo-with-trio, and the finale is a true culmination of the whole. The first movement, Everglades, was the original inspiration for the entire symphony. Conceived over the course of two trips to that astonishing place (which the native Americans called River of Grass, the subtitle of this movement), this movement not only conveys a sense of the humid, lush, and even frightening scenery there---but also an overview of the entire settling-of- Florida experience. It contains not one, but two native American chants, and also presents a view of the staggering influence of modern man on this fragile part of the world. Beginning with a slow unfolding marked Heavy, humid, the music soon presents a gentle, lyrical theme in the solo alto saxophone. This theme, which goes through three expansive phrases with breaks in between, will appear in all three movements of the symphony. After the mood has been established, the music opens up to a rich, warm setting of a Cherokee morning song, with the simple happiness that this part of Florida must have had prior to the nineteenth century. This music, enveloping and comforting, gradually gives way to a more frenetic, driven section representative of the intrusion of the white man. Since Florida was populated and developed largely due to the introduction of a train system, there's a suggestion of the mechanized iron horse driving straight into the heartland. At that point, the native Americans become considerably less gentle, and a second chant seems to stand in the way of the intruder; a kind of warning song. The second part of this movement shows us the great swampy center of the peninsula, with its wildlife both in and out of the water. A new theme appears, sad but noble, suggesting that this land is precious and must be protected by all the people who inhabit it. At length, the morning song reappears in all its splendor, until the sunset---with one last iteration of the warning song in the solo piccolo. Functioning as a scherzo, the second movement, Great Smoky Mountains, describes not just that huge park itself, but one brave soul's attempt to climb a mountain there. It begins with three iterations of the UR-theme (which began the first movement as well), but this time as up-tempo brass fanfares in octaves. Each time it begins again, the theme is a little slower and less confident than the previous time---almost as though the hiker were becoming aware of the daunting mountain before him. But then, a steady, quick-pulsed ostinato appears, in a constantly shifting meter system of 2/4- 3/4 in alteration, and the hike has begun. Over this, a slower new melody appears, as the trek up the mountain progresses. It's a big mountain, and the ascent seems to take quite awhile, with little breaks in the hiker's stride, until at length he simply must stop and rest. An oboe solo, over several free cadenza-like measures, allows us (and our friend the hiker) to catch our breath, and also to view in the distance the rocky peak before us. The goal is somehow even more daunting than at first, being closer and thus more frighteningly steep. When we do push off again, it's at a slower pace, and with more careful attention to our footholds as we trek over broken rocks. Tantalizing little views of the valley at every switchback make our determination even stronger. Finally, we burst through a stand of pines and----we're at the summit! The immensity of the view is overwhelming, and ultimately humbling. A brief coda, while we sit dazed on the rocks, ends the movement in a feeling of triumph. The final movement, Acadia, is also about a trip. In the summer of 2014, I took a sailing trip with a dear friend from North Haven, Maine, to the southern coast of Mt. Desert Island in Acadia National Park. The experience left me both exuberant and exhausted, with an appreciation for the ocean that I hadn't had previously. The approach to Acadia National Park by water, too, was thrilling: like the difference between climbing a mountain on foot with riding up on a ski-lift, I felt I'd earned the right to be there. The music for this movement is entirely based on the opening UR-theme. There's a sense of the water and the mysterious, quiet deep from the very beginning, with seagulls and bell buoys setting the scene. As we leave the harbor, the theme (in a canon between solo euphonium and tuba) almost seems as if large subaquatic animals are observing our departure. There are three themes (call them A, B and C) in this seafaring journey---but they are all based on the UR theme, in its original form with octaves displaced, in an upside-down form, and in a backwards version as well. (The ocean, while appearing to be unchanging, is always changing.) We move out into the main channel (A), passing several islands (B), until we reach the long draw that parallels the coastline called Eggemoggin Reach, and a sudden burst of new speed (C). Things suddenly stop, as if the wind had died, and we have a vision: is that really Mt. Desert Island we can see off the port bow, vaguely in the distance? A chorale of saxophones seems to suggest that. We push off anew as the chorale ends, and go through all three themes again---but in different instrumentations, and different keys. At the final tack-turn, there it is, for real: Mt. Desert Island, big as life. We've made it. As we pull into the harbor, where we'll secure the boat for the night, there's a feeling of achievement. Our whale and dolphin friends return, and we end our journey with gratitude and celebration. I am profoundly grateful to Jaclyn Hartenberger, Professor of Conducting at the University of Georgia, for leading the consortium which provided the commissioning of this work. $90.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Classical Themes For All Keyboards Keyboard Music Sales
Keyboard SKU: HL.14007007 Arranged by Daniel Scott. Music Sales America. ...(+)
Keyboard SKU: HL.14007007 Arranged by Daniel Scott. Music Sales America. Classical. Book [Softcover]. Music Sales #AM85317. Published by Music Sales (HL.14007007). ISBN 9780711927094. UPC: 752187853176. Fifty best-loved classical themes skilfully arranged for all keyboards by Daniel Scott. Includes suggested registrations and rhythms. $20.99 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| The Pied Piper of Hamelin - Intermediate/advanced Hal Leonard
Brass Band (Score) - Grade 4 SKU: HL.4007972 For Brass Band. Compo...(+)
Brass Band (Score) - Grade 4 SKU: HL.4007972 For Brass Band. Composed by Otto M. Schwarz. Concert. Duration 857 seconds. Hal Leonard #SDP068.21-201. Published by Hal Leonard (HL.4007972). Stories, sagas and legends--who among us doesn't know them? Always delivered with a tinge of brutality, these cautionary tales are a legacy of moral education from times past: inquisitive children alone in the forest are generally eaten by a witch; the Soup-Kasper of Hoffmann's Struwwelpeter dies from starvation rather than eating his soup; anyone letting in strangers usually gets devoured; anyone who plays with matches gets burned; and thumb-suckers get their thumbs cut off. The list of unfortunate demises is almost endless.In the tale of The Pied Piper of Hamelin, parents lose their children through greed, ridicule, scorn and a failure to appreciate art. There is still a street in the town of Hamelin in which neither drumming nor playing has not been allowed since 130 children disappeared into a mountain, never to be seen again. This composition by Otto M. Schwarz opens with exactly this scene, taking us back to the year 1284. As in many towns at the time, Hamelin in Germany suffered with hygiene problems--rats and mice began to multiply rapidly, and the town was overrun with the plague. There appeared a man dressed in colorful clothes who promised the locals to free them from this burden. They agreed and settled on a fee. Then the man pulled out a pipe and began to play. When the rats and mice heard this, they followed him. He led the animals into the Weser River, where they all drowned. Back in town, the people refused to pay him. They didn't recognize this man's skills and knowledge and were only prepared to pay for simple labour. A pact with the devil was made, which led to the Pied Piper leaving the town in a furious rage. One Sunday, when many people were at church, he returned, took out his flute and began to play. The town's children were so enchanted by his playing that they followed him. He led them out of the town and disappeared with them forever into a mountain. Of all the children, only two survived--however one was mute, and one was blind. In the street from which the children left Hamelin, music may no longer be played in memory of this event. $27.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| The Pied Piper of Hamelin Concert band - Intermediate/advanced Hal Leonard
Concert Band; Concert Band Set (Score) - Grade 4 SKU: HL.4007945 For C...(+)
Concert Band; Concert Band Set (Score) - Grade 4 SKU: HL.4007945 For Concert Band, Grade 4, 14:17 Score. Composed by Otto M. Schwarz. Concert. Softcover. Duration 857 seconds. Hal Leonard #SDP041.21-01. Published by Hal Leonard (HL.4007945). Stories, sagas and legends--who among us doesn't know them? Always delivered with a tinge of brutality, these cautionary tales are a legacy of moral education from times past: inquisitive children alone in the forest are generally eaten by a witch; the “Soup-Kasper†of Hoffmann's Struwwelpeter dies from starvation rather than eating his soup; anyone letting in strangers usually gets devoured; anyone who plays with matches gets burned; and thumb-suckers get their thumbs cut off. The list of unfortunate demises is almost endless.In the tale of The Pied Piper of Hamelin, parents lose their children through greed, ridicule, scorn and a failure to appreciate art. There is still a street in the town of Hamelin in which neither drumming nor playing has not been allowed since 130 children disappeared into a mountain, never to be seen again. This composition by Otto M. Schwarz opens with exactly this scene, taking us back to the year 1284. As in many towns at the time, Hamelin in Germany suffered with hygiene problems--rats and mice began to multiply rapidly, and the town was overrun with the plague. There appeared a man dressed in colorful clothes who promised the locals to free them from this burden. They agreed and settled on a fee. Then the man pulled out a pipe and began to play. When the rats and mice heard this, they followed him. He led the animals into the Weser River, where they all drowned. Back in town, the people refused to pay him. They didn't recognize this man's skills and knowledge and were only prepared to pay for simple labour. A pact with the devil was made, which led to the Pied Piper leaving the town in a furious rage. One Sunday, when many people were at church, he returned, took out his flute and began to play. The town's children were so enchanted by his playing that they followed him. He led them out of the town and disappeared with them forever into a mountain. Of all the children, only two survived--however one was mute, and one was blind. In the street from which the children left Hamelin, music may no longer be played in memory of this event. $38.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Animals In Concert Piano solo Music Sales
Piano SKU: HL.14001903 Composed by Per Norgard. Music Sales America. Clas...(+)
Piano SKU: HL.14001903 Composed by Per Norgard. Music Sales America. Classical. Book [Softcover]. Music Sales #KP00981. Published by Music Sales (HL.14001903). ISBN 9788759859605. Danish. Animals In Concert - Three pieces for Piano solo by Per Norgard. Programme Note 1. A Tortoise's Tango (1984) - dur.: 4' 2. Light of a Night - Paul meets bird (1989) - dur.: 6' 3. Hermit Crab Tango - Esperanza (1997) - dur.: 5' The pieces can be performed together or one by one. In the1980s, quite a few finds turned up in Per Norgard's music. The material could be, say, a number of song birds' equilibrist melodic lines, the overtones of the ocean surf, or waltzing themes by the schizophrenic artist Adolf Wolfli (1864-1930). Or again, as heard here, it can be the rhythms and motifs of the tango and a Beatles song (with bird), explored in three independent piano pieces that form the Animals in Concert suite, about which the composer writes: A Tortoise's Tango: The tortoise as tango dancer must presumably possess certain rhythmic peculiarities, which I have chosen to express by letting the tune of the tortoise shuffle broadly, tripartite through the strict four partite time of tango. Tortoise Tango was the original title of this piece, written for Achilles (the pianist Yvar Mikhashoff), for his so called tango project, including new tangos for piano by composers from all over the world. Light of a Night (Paul meets bird) was commissioned by pianist Aki Takahashi. It is a reworked arrangement for piano of the Beatles song Blackbird. As some of us will recall, the Beatles on The White Album let the beautiful song to the blackbird be accompanied by an (apparently) live blackbird song. It is this authentic bird-motif world that in Light of a Night weaves itself into the Beatles melody and in turn is gradually infected by it, so that a completely new third entity ensues: a kind of Bird-rock ballad (or maybe it is a Beatle-bird?). Hermit Crab Tango (Esperanza): The tango situation is quite special for a Hermit Crab. It is a well-known fact that the hermit crab - this soft animal - must run the gauntlet among the many perils at the bottom of the sea when it must move hose. I have chosen to express the angers by a tango pattern - sharp as a cactus - through which the tune, optimistic, slips to its new shelter. I have borrowed the tune from songwriter Hanne Methling's Introduction: 'I want to get through this time!' she sings in a ecstatically ascending melody line - and I believe that these words must correspond very well to the mood of the hermit crab: 'Esperanza'- the green runners of hope wind among the latticework formed by the tango rows. $26.50 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| The Haunted Carousel String Orchestra [Score and Parts] - Easy FJH
By Soon Hee Newbold. For orchestra. FJH Developing Strings. Full set (score and ...(+)
By Soon Hee Newbold. For orchestra. FJH Developing Strings. Full set (score and parts). Score only also available: ST6199S. Halloween. Grade 2.5. Score and set of parts. Composed 2009. Published by The FJH Music Company Inc
$55.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Haunted Carousel String Orchestra [Score] - Easy FJH
By Soon Hee Newbold. For orchestra. FJH Developing Strings. Score only. Full set...(+)
By Soon Hee Newbold. For orchestra. FJH Developing Strings. Score only. Full set (score and parts) also available: ST6199. Halloween. Grade 2.5. Score. Composed 2009. Published by The FJH Music Company Inc
$5.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| The Piano Bench Of Easy Classical Music Piano solo [Sheet music] - Easy Music Sales
The Piano Bench of Easy Classical Music arranged by Amy Appleby. For Piano Solo....(+)
The Piano Bench of Easy Classical Music arranged by Amy Appleby. For Piano Solo. Music Sales America. Classical. Softcover. 400 pages. Music Sales #AM967549. Published by Music Sales
(1)$34.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Singer's Library of Musical Theatre, Volume 1 Low voice [Sheet music + CD] Alfred Publishing
(Baritone/Bass Voice). For Voice (Bass voice). Vocal Collection. Singer's Librar...(+)
(Baritone/Bass Voice). For Voice (Bass voice). Vocal Collection. Singer's Library of Musical Theatre. Broadway. Book and 2 CDs. 224 pages
$29.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Twelve Chinese Zodiac Animals, Book 1 Piano solo Promethean Editions
Chamber Music Piano SKU: PO.PE212 Composed by Vincent Ho. Performance Sco...(+)
Chamber Music Piano SKU: PO.PE212 Composed by Vincent Ho. Performance Score. Promethean Editions #PE212. Published by Promethean Editions (PO.PE212). ISBN 9781776609321. Inspired by the Chinese Zodiac animals, Ho tailored this book of twelve piano compositions to the educational needs of students in Levels 2 to 7 of the Royal Conservatory of Music Piano Series. Ho devoted much time to researching the animals legends, personality traits, and cultural significance, as well as their distinguishing physical languages so as to capture their musical spirit and recreate their physical/gestural languages in pianistic form. In addition, he incorporates many sounds, harmonies, and performance techniques learned from his years of researching (and composing for) Chinese traditional instruments. $42.50 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| The Pied Piper of Hamelin - Intermediate/advanced Hal Leonard
Fanfare Band; Fanfare Band Set (Score) - Grade 4 SKU: HL.4007962 For F...(+)
Fanfare Band; Fanfare Band Set (Score) - Grade 4 SKU: HL.4007962 For Fanfare Band for Fanfare Band, Grade 4 14:17 Score. Composed by Otto M. Schwarz. Concert. Softcover. Duration 857 seconds. Hal Leonard #SDP059.21-101. Published by Hal Leonard (HL.4007962). Stories, sagas and legends - who among us don't know them? Always delivered with a tinge of brutality, these cautionary tales are a legacy of moral education from times past: inquisitive children alone in the forest are generally eaten by a witch; the 'Soup-Kasper' of Hoffman's Struwwelpeter dies from starvation eather than eating his soup; anyone letting in strangers usually gets devoured; anyone who plays with matches gets burned; and thumb-suckers get their thumbs cut off. The list of unfortunate demises is almost endless. In the tale of The Pied Piper of Hamelin, parents lose their children through greed, ridicule, scom and a failure to appreciate art. There is still a street in the town of Hamelin in which neither drumming nor playing has not been allowed since 130 children disappeared into a mountain, never to be seen again. This composition by Otto M. Schwarz opens with exactly this scene, taking us back to the year 1284. As in many towns at the time, Hamelin in Germany suffered with hygiene problems - rats and mice began to multiply rapidly, and the town was overrun with the plague. There appeared a man dressed in coorful clothes who promised the locals to free them from this burden. They agreed and settled on a fee. Then the man pulled out a pipe and began to play. When the rate and mice heard this, they followed him. He led the animals into the Weser River, where they all drowned. Back in town, the people refused to pay him. They didn't recognize this man's skills and knowledge and were only prepared to pay for simple labor. A pact with the devil was made, which led to the Pied Piper leaving the town in a furious rage. One Sunday, when many people were at church, he returned, took out his flute and began to play. The town'schildren were so enchanted by his playing that they followed him. He led them out of the town and disappeaed with them forever into a mountain. Of all the children, only two survived - however one was mute, and one was blind. In the street from which the children left Hamelin, music may no longer be played in memory of this event. $40.00 - See more - Buy online | | |
| Favorite Classical Themes Piano solo [Sheet music] - Easy Hal Leonard
For solo piano. Format: piano solo book. Baroque, classical period and romantic ...(+)
For solo piano. Format: piano solo book. Baroque, classical period and romantic period. Series: The World's Great Classical Music. 224 pages. 9x12 inches. Published by Hal Leonard.
$22.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Unfriendly Beasts, The - Preview Pack (1 Singer's Edition and Listening Cd) Children choir [Sheet music + CD] Alfred Publishing
The Unfriendly Beasts (Preview Pack). (Preview Pack). By Ruth Elaine Schram. Cho...(+)
The Unfriendly Beasts (Preview Pack). (Preview Pack). By Ruth Elaine Schram. Choir Sacred. This edition: Preview Pack (1 Singer's Edition and Listening CD). Christian Elementary Musical; Church Musicals; Worship Resources. Children; Christmas; Sacred; Winter. Book and CD. 16 pages. Published by Alfred Music Publishing
$16.95 - See more - Buy onlinePre-shipment lead time: 3 to 5 business days | | |
| The Piano Treasury of Easy Classical Music
Piano solo [Sheet music + CD] - Easy Music Sales
Edited by Amy Appleby. Collection and examples CD for easy solo piano. Over 200 ...(+)
Edited by Amy Appleby. Collection and examples CD for easy solo piano. Over 200 great masterpieces from the baroque, classical, romantic and modern eras. Series: Piano Treasury Series. 399 pages. Published by Music Sales.
(1)$34.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Movie Hits Level 2 from the Wb Popular Piano Library Piano solo - Intermediate Belwin
Edited by Gail Lew. Arranged by Gail Lew, Chris Lobdell. Piano method/supplement...(+)
Edited by Gail Lew. Arranged by Gail Lew, Chris Lobdell. Piano method/supplement (late-elementary piano). Level: late elementary, level two. Published by Belwin. {SERIES INFO" Music for the performer in all of us brings together blockbuster movie hits with band and orchestral backgrounds available on CD and MIDI disk. Here are NEW hot hits and performer and audience favorites pianistically arranged by Gail Lew and Chris Lobdell using effective chord substitutions to give a "big" professional sound. Levels correspond with MTNA state affiliates syllabus standards. (THIS PRODUCT) Titles include: Over the Rainbow * Hedwig's Theme * Fawkes the Phoenix * Talk to the Animals * The James Bond Theme * Star Wars Main Theme * The Polar Express * Gollum's Song (The Lord of the Rings: The Two Towers) * Double Trouble (Harry Potter and the Prisoner of Azkaban) * All That Jazz (Chicago).
$13.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 business days | | |
| Movie Hits Level 2 - Late Elementary from the Wb Popular Piano Library Piano solo [Sheet music] - Intermediate Belwin
Edited by Gail Lew. Arranged by Gail Lew, Chris Lobdell. Piano method/supplement...(+)
Edited by Gail Lew. Arranged by Gail Lew, Chris Lobdell. Piano method/supplement (late-elementary piano). Level: late elementary, level two. Published by Belwin. {SERIES INFO" Music for the performer in all of us brings together blockbuster movie hits with band and orchestral backgrounds available on CD and MIDI disk. Here are NEW hot hits and performer and audience favorites pianistically arranged by Gail Lew and Chris Lobdell using effective chord substitutions to give a "big" professional sound. Levels correspond with MTNA state affiliates syllabus standards. (THIS PRODUCT) Titles include: Over the Rainbow * Hedwig's Theme * Fawkes the Phoenix * Talk to the Animals * The James Bond Theme * Star Wars Main Theme * The Polar Express * Gollum's Song (The Lord of the Rings: The Two Towers) * Double Trouble (Harry Potter and the Prisoner of Azkaban) * All That Jazz (Chicago).
(1)$6.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 business days | | |
| In Recital, with Classical Themes - Book 6 (Late Intermediate) Piano solo [Sheet music + CD] - Intermediate FJH
Edited by Helen Marlais. Collection and accompaniment CD for piano. The FJH pian...(+)
Edited by Helen Marlais. Collection and accompaniment CD for piano. The FJH pianist's curriculum. Series: In Recital with Classical Themes. 55 pages. Published by The FJH Music Company.
$8.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Orchestral Excerpts for Flute
Flute and Piano [Reduction] Theodore Presser Co.
With Piano Accompaniment. By Various. Arranged by Jeanne Baxtresser. For Flute, ...(+)
With Piano Accompaniment. By Various. Arranged by Jeanne Baxtresser. For Flute, Piano Accompaniment. Published by Theodore Presser Company.
(3)$55.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Most Relaxing Classical Music Ever
Piano solo [Sheet music] Chester
By Music Sales. For Piano Solo. Popular, Classical. Sheet Music. 96 pages. Publi...(+)
By Music Sales. For Piano Solo. Popular, Classical. Sheet Music. 96 pages. Published by Chester Music. (CH64053)
ISBN 9780825633935. Sit down at the Piano and chill out with some of the world's most soothing melodies. This new collection of cool classical pieces lets you play the cream of the clasical repertoire. Includes Barcarolle which featured in the film Lorenzo's Oil and is from The Tales Of Hoffmann and also The Ashokan Farewell which featured in the TV series The Civil War.
(4)$19.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Debussy, Mahler and More - Volume II (Harp, Keyboard and Others) Harp and Piano [CD Sheet Music] Hal Leonard
Harp, Keyboard and Others. By Claude Debussy, Gustav Mahler. Misc. CD-ROM only. ...(+)
Harp, Keyboard and Others. By Claude Debussy, Gustav Mahler. Misc. CD-ROM only. Size 9x12 inches. Published by Hal Leonard.
$19.95 - See more - Buy onlinePre-shipment lead time: 3 to 5 business days | | |
| Essential Listening Activities for the Music Classroom Musical course - Solfege Alfred Publishing
(Ready-to-Use Lessons and Games for Grades Pre-K-8). By Eric Branscome. Classroo...(+)
(Ready-to-Use Lessons and Games for Grades Pre-K-8). By Eric Branscome. Classroom/Pre-School; Games; General Music and Classroom Publications; Other Classroom. Book. 92 pages
$24.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Classical Movie Themes Easy Piano [Sheet music] - Easy Hal Leonard
20 Favorite Works from the Silver Screen. Arranged by Phillip Keveren. Easy Pian...(+)
20 Favorite Works from the Silver Screen. Arranged by Phillip Keveren. Easy Piano Songbook (Easy arrangements for piano and voice). Size 9x12 inches. 56 pages. Published by Hal Leonard.
$14.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Swan from The Carnival of the Animals Piano solo - Intermediate The Walsh Collection
Piano - intermediate SKU: HL.44006247 Composed by Camille Saint-Saens. Ar...(+)
Piano - intermediate SKU: HL.44006247 Composed by Camille Saint-Saens. Arranged by Thomas A. Johnson. Fentone Instrumental Books. Educational Tool. Book Only. The Walsh Collection #WA7002. Published by The Walsh Collection (HL.44006247). UPC: 884088047177. English. This beautiful, serene piece comes from Saint-Saens' Carnival of the Animals and is an ideal performance piece for piano duet. Saint-Saens' ever popular and reverred piece The Swan from The Carnival Of The Animals, arranged for Piano Duet, by Thomas Johnson.
This beautiful, serene piece comes from Saint-Saens' Carnival of the Animals and is an ideal performance piece for piano duet. $7.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
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