| The Folksong Fake Book - C Edition
Fake Book [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. Folk. Series: Hal Leonard Fake Books. 536 pages. 9.6x12 inches. Published by Hal Leonard.
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| Classical Fake Book - 2nd Edition
Fake Book [Fake Book] - Easy Hal Leonard
(Over 850 Classical Themes and Melodies in the Original Keys) For C instrument. ...(+)
(Over 850 Classical Themes and Melodies in the Original Keys) For C instrument. Format: fakebook (spiral bound). With vocal melody (excerpts) and chord names. Lassical. Series: Hal Leonard Fake Books. 646 pages. 9x12 inches. Published by Hal Leonard.
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| The Black Keys - Brothers Guitar notes and tablatures Cherry Lane
By The Black Keys. Play It Like It Is. Guitar tablature. 100 pages. Published by...(+)
By The Black Keys. Play It Like It Is. Guitar tablature. 100 pages. Published by Cherry Lane Music
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| The Black Keys - El Camino Guitar notes and tablatures [Sheet music] Cherry Lane
By The Black Keys. For Guitar. Play It Like It Is. Softcover. Guitar tablature. ...(+)
By The Black Keys. For Guitar. Play It Like It Is. Softcover. Guitar tablature. 60 pages. Published by Cherry Lane Music
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| Trois Nouvelles Etudes Piano solo [Score] Peters
3 Etudes pour la Methode des Methodes. Composed by Frederic Chopin (1810-1849)...(+)
3 Etudes pour la Methode des
Methodes. Composed by
Frederic Chopin (1810-1849).
Piano (Solo). The Complete
Chopin - A New Critical
Edition. Score. Edition
Peters #EP73229. Published
by Edition Peters
$9.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Jane Smisor Bastien : Pre Reading Experiences Of Music Through The Piano Piano solo - Beginner Kjos Music Company
By Jane Smisor Bastien. Bastien Piano. Music Through the Piano Library. Level: P...(+)
By Jane Smisor Bastien. Bastien Piano. Music Through the Piano Library. Level: Primer. Music Book. Published by Neil A. Kjos Music Company.
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| The Black Keys - Attack and Release Guitar notes and tablatures [Sheet music] Cherry Lane
By The Black Keys. Play It Like It Is. Softcover. Guitar tablature. 80 pages. Pu...(+)
By The Black Keys. Play It Like It Is. Softcover. Guitar tablature. 80 pages. Published by Cherry Lane Music
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| Concerto - Piano And Orchestra - Solo Part Schott
Piano and orchestra - difficult SKU: HL.49046544 For piano and orchest...(+)
Piano and orchestra - difficult SKU: HL.49046544 For piano and orchestra. Composed by Gyorgy Ligeti. This edition: Saddle stitching. Sheet music. Edition Schott. Softcover. Composed 1985-1988. Duration 24'. Schott Music #ED23178. Published by Schott Music (HL.49046544). ISBN 9781705122655. UPC: 842819108726. 9.0x12.0x0.224 inches. I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. The markings of the movements are the following: 1. Vivace molto ritmico e preciso 2. Lento e deserto 3. Vivace cantabile 4. Allegro risoluto 5. Presto luminoso.The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale; my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. In the Piano Concerto I realized new concepts of harmony and rhythm. The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time 'rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form; later in the fourth movement it will be considerably developed. The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement; however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly; they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales; in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting; illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated; the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus; indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. (Gyorgy Ligeti). $34.00 - 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 | | |
| The Black Keys : Gold on the Ceiling Marching band [Score and Parts] - Intermediate Hal Leonard
By The Black Keys. By Brian Burton, Dan Auerbach, and Patrick Carney. Arranged b...(+)
By The Black Keys. By Brian Burton, Dan Auerbach, and Patrick Carney. Arranged by Paul Murtha and Will Rapp. For Marching Band (Score and Parts). Contemporary Marching Band. Grade 3-4. Published by Hal Leonard
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| The Black Keys - Turn Blue Guitar notes and tablatures Hal Leonard
By The Black Keys. For Guitar. Guitar Recorded Version. Softcover. Guitar ...(+)
By The Black Keys. For
Guitar. Guitar Recorded
Version. Softcover. Guitar
tablature. 82 pages.
Published by Hal Leonard
$22.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Black Keys - A Collection Guitar notes and tablatures [Sheet music] Cherry Lane
By The Black Keys. Play It Like It Is. Softcover. Guitar tablature. 80 pages. Pu...(+)
By The Black Keys. Play It Like It Is. Softcover. Guitar tablature. 80 pages. Published by Cherry Lane Music
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| The Big Book Of Childrens Songs For Little Guitar Pickers Guitar notes and tablatures Santorella Publications
The Big Book of Childrens Songs for Little Guitar Pickers composed by Tony Santo...(+)
The Big Book of Childrens Songs for Little Guitar Pickers composed by Tony Santorella. For guitar and voice. This edition: Paperback. Collection. Little Picker series. Childrens. Book. Text Language: English; Tablature, chords and lyrics. 180 pages. Published by Santorella Publications
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| The Five Great Keys Guitar [Poster] Santorella Publications
The Five Great Keys composed by Phil Black. For guitar. This edition: Paperback....(+)
The Five Great Keys composed by Phil Black. For guitar. This edition: Paperback. Reference. Educational. Color poster. Text Language: English. 1 pages. Published by Santorella Publications
$6.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| The Fiddler's Fakebook
Violin [Fake Book] Oak Publications
Edited by David Brody. For violin. Format: fake book. With lead melody, chord na...(+)
Edited by David Brody. For violin. Format: fake book. With lead melody, chord names, instructional text and performance notes. Folk, americana and british. 302 pages. 9x12 inches. Published by Oak Publications.
(7)$29.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Banjo Pickers Fake Book Banjo [Fake Book] Oak Publications
By David Brody. For Banjo Tab, with chord symbols. Traditional, Bluegrass. Sheet...(+)
By David Brody. For Banjo Tab, with chord symbols. Traditional, Bluegrass. Sheet Music. 216 pages. Published by Oak Publications.
$29.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Caber Feidh Collection Bagpipe Paterson Ltd
By Queens Own. For Bagpipes. Traditional. Sheet Music. 294 pages. Published by P...(+)
By Queens Own. For Bagpipes. Traditional. Sheet Music. 294 pages. Published by Paterson Ltd.
$79.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Bobby Owsinski's Deconstructed Hits -- Modern Rock and Country [Book + DVD] Alfred Publishing
(Uncover the Stories and Techniques Behind 20 Iconic Songs). By Bobby Owsinski. ...(+)
(Uncover the Stories and Techniques Behind 20 Iconic Songs). By Bobby Owsinski. Book; Books and DVDs; Method/Instruction; Pro Audio; Pro Audio Textbook; Reference Textbooks. Country; Pop; Pop/Rock; Rock. 136 pages. Published by Alfred Music
$14.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| The Pat Metheny Real Book Bb Instruments [Fake Book] Hal Leonard
Artist Edition B-Flat Instruments. By Pat Metheny. Fake Book. Jazz. Softcover....(+)
Artist Edition B-Flat
Instruments. By Pat Metheny.
Fake Book. Jazz. Softcover.
272 pages. Published by Hal
Leonard
$29.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Pat Metheny Real Book C Instruments [Sheet music] Hal Leonard
Artist Edition C Instruments. By Pat Metheny. Fake Book. Softcover. 272 p...(+)
Artist Edition C Instruments. By Pat Metheny. Fake Book. Softcover. 272 pages. Published by Hal Leonard (HL.120809).
$39.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Blackbird Academy Foundations Hal Leonard
SKU: HL.172794 Must-Know Audio and Recording Principles. Book. Edu...(+)
SKU: HL.172794 Must-Know Audio and Recording Principles. Book. Education / Computers & Technology, Recording/Music Business. Softcover. 88 pages. Published by Hal Leonard (HL.172794). ISBN 9781495069345. UPC: 888680628451. 7.5x9.25x0.22 inches. The Blackbird Academy Foundations: Must-Know Audio and Recording Principles is designed to build your music engineering and audio production skills. The principles are directed at beginners to more advanced music creators, remixers, musicians, songwriters, singers, and those curious about what it takes to record, overdub, and mix quality music. Those who aspire to music, from ages 10 and up, will gain operational skills and understanding of basic to advanced recording concepts including: • Signal flow • Microphone recognition and advanced placement • The keys to achieving great results when recording • Essential analog and digital gear used in audio production • Using a digital audio workstation • Understanding analog to digital, and digital to analog, conversion • Using plug-ins and analog processing when recording, overdubbing, and mixing • Developing software skills, such as tuning processing, editing, and mixing • Console basics and operation • Using auziliary tracks and buses • Using shortcuts to build speed • Learning how to listen • And much more! Those more advanced will also achieve benefits from reading what was written around the gear and workflow at Blackbird Studio, the world-renowned production facility located in Nashville, Tennessee. Blackbird has produced hundreds of hit records from a variety of artists, including Taylor Swift, Jack White, Martina McBride, The Black Keys, Kings of Leon, Keith Urban, Tim McGraw, and many more. Readers will learn an impressive range of valuable information only known in the inner circles of production at the heart of Music City USA. $25.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Halloween is Coming Soon Piano solo [Singles] - Easy FJH
By Mary Leaf. For Piano. Written For You. Solo Sheet. Published by The FJH Music...(+)
By Mary Leaf. For Piano. Written For You. Solo Sheet. Published by The FJH Music Company Inc. Level: Pre-Reading.
$2.50 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Kids' Klassics, Volume 2 Piano solo [Sheet music] FJH
Arranged by Mary Leaf. For Piano. FJH Pre-Reading Music Series. Level: Pre-Readi...(+)
Arranged by Mary Leaf. For Piano. FJH Pre-Reading Music Series. Level: Pre-Reading. Book. Published by The FJH Music Company Inc.
$5.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Trombone in the Attic Trombone and Piano [Sheet music + CD] Carl Fischer
20 Short Recital and Study Pieces for the Intermediate Player. Composed b...(+)
20 Short Recital and Study Pieces for the Intermediate Player. Composed by John Walker. Edited by Don Crowe. Score and audio CD. 28 pages. Carl Fischer #WF00170. Published by Carl Fischer (CF.WF170).
$16.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Isaac Albeniz : Asturias (Leyenda) Piano solo [Part] - Intermediate/advanced FLEX Editions
By Isaac Albeniz (1860-1909). Edited by Nicolas Cardona. Solo Piano. The Must-Ha...(+)
By Isaac Albeniz (1860-1909). Edited by Nicolas Cardona. Solo Piano. The Must-Haves for Piano. Classical. Grade 5. Piano Part. Published by FLEX Editions
$6.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
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