| 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 | | |
| Buskers Fake Book All Time Hit Piano solo Music Sales | | |
| 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.
(10)$34.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Autoharp: Complete Method And Music Autoharp Ashley Publications
Autoharp Complete Method. For Autoharp. Ashley Publications. Theory. 96 pages. A...(+)
Autoharp Complete Method. For Autoharp. Ashley Publications. Theory. 96 pages. Ashley Mark Publishing Company #AS10462. Published by Ashley Mark Publishing Company
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| Rise Up Singing
Lyrics and Chords [Sheet music] Hal Leonard
The Group Singing Songbook. By Various. Vocal. Size 9.5x12 inches. 281 pages. Pu...(+)
The Group Singing Songbook. By Various. Vocal. Size 9.5x12 inches. 281 pages. Published by Hal Leonard.
(1)$39.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Best Christmas Songbook Ever Piano, Vocal and Guitar Amsco Wise Publications
Piano, Vocal and Guitar SKU: BT.MUSAM971531 Book Only. Wise Publications ...(+)
Piano, Vocal and Guitar SKU: BT.MUSAM971531 Book Only. Wise Publications #MUSAM971531. Published by Wise Publications (BT.MUSAM971531). ISBN 9780711989900. Everybody's favourite Christmas carols and songs in one wonderfully practical and convenient edition creates The Best Christmas Songbook Ever (A5 Format), featuring 49 songs arranged for Piano, VoiceandGuitar. Every member of the family is catered for, young and old, with a selection of favourites covering the traditional classics that make the season special like Away In A Manger, We Three Kings OfOrientAre and O Come, All Ye Faithful. Not only this, but more recent pop tunes are represented such as I Wish It Could Be Christmas Every Day, Last Christmas and Santa ClausIsComing To Town. The generous selection of songs from old carols to new tunes makes this the perfect book for you this Christmas, so you can begin Christmas Eve with the classic carols and bring in Christmas Day with thefuncontemporary pop. The accessible arrangements of lyrics, melody, Piano and Guitar chords mean that you don't have to spend too much time practising before family and friends can gather around the Piano for aChristmassing-along. Because this songbook has everything, you can keep it as part of your music collection and dig it out every year for those times when the family can gather around and sing the songs that get you into thespirit of theseason. For the best and most varied collection of Christmas songs ever compiled, from old to new, classic to contemporary, pick up The Best Christmas Songbook Ever, and put a Yuletidesmile on theface of everyone with these universally loved tunes. You can also purchase this book in its larger, standardsize for abumper-sized Yuletide. $23.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| The Twelve Days Of Christmas (EP) Piano solo - Easy Santorella Publications
The Twelve Days Of Christmas composed by Various. Arranged by Craig Stevens. For...(+)
The Twelve Days Of Christmas composed by Various. Arranged by Craig Stevens. For easy piano solo. Solo. Best of Christmas series. Christmas. Easy. Sheet Music. Text Language: English. 8 pages. Published by Santorella Publications
$4.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| The Easy Christmas Carols Fake Book C Instruments [Fake Book] - Easy Hal Leonard
Melody, Lyrics and Simplified Chords in the Key of C. Composed by Various. Eas...(+)
Melody, Lyrics and Simplified
Chords in the Key of C.
Composed by Various. Easy
Fake Book. Softcover. 112
pages. Published by Hal
Leonard
$22.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Ultimate Christmas Fake Book - 4th Edition
Fake Book [Fake Book] - Intermediate Hal Leonard
For voice. C Edition. Format: fake book. With vocal melody, lyrics and chord nam...(+)
For voice. C Edition. Format: fake book. With vocal melody, lyrics and chord names. Christmas and holiday. Series: Hal Leonard Fake Books. 157 pages. 9x12 inches. Published by Hal Leonard.
(16)$24.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Ultimate Guitar Christmas Fake Book - 2nd Edition Melody line, Lyrics and Chords [Fake Book] Hal Leonard
200 Holiday Favorites. Composed by Various. Fake Book. Softcover. 288 pages. ...(+)
200 Holiday Favorites.
Composed by Various. Fake
Book. Softcover. 288 pages.
Published by Hal Leonard
$29.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Ultimate Christmas Guitar Songbook Guitar notes and tablatures [Sheet music] Hal Leonard
The Complete Resource for Every Guitar Player!. By Various. Guitar Collection. S...(+)
The Complete Resource for Every Guitar Player!. By Various. Guitar Collection. Softcover. 224 pages. Published by Hal Leonard.
$19.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Bach: Major Choral Works Vocal Scores (Version 2.0) Choral [CD Sheet Music] Subito Music
By Johann Sebastian Bach. For Choral. (Vocal Scores). CD Sheet Music (Version 2....(+)
By Johann Sebastian Bach. For Choral. (Vocal Scores). CD Sheet Music (Version 2.0). PDF file on CD. 2500 pages. Published by Subito Music.
$19.95 - See more - Buy onlinePre-shipment lead time: 3 to 5 business days | | |
| The Christmas Songbook Piano solo [Sheet music] - Easy Alfred Publishing
Music for the Holidays!. Arranged by Dan Coates. For Piano. Piano - Easy Piano C...(+)
Music for the Holidays!. Arranged by Dan Coates. For Piano. Piano - Easy Piano Collection. Family/Group. Level: Easy Piano. Book. 144 pages. Published by Alfred Publishing.
(2)$18.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Rise Up Singing Lyrics and Chords [Sheet music] Hal Leonard
Arranged by Peter Blood, Annie Patterson. Vocal. Size 7.5x10.5 inches. 283 pages...(+)
Arranged by Peter Blood, Annie Patterson. Vocal. Size 7.5x10.5 inches. 283 pages. Published by Hal Leonard.
(1)$34.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Twelve Days Of Christmas Jazz Ensemble [Score and Parts] - Intermediate/advanced Sierra Music
By Traditional. Arranged by Ralph Carmichael. Jazz Ensemble / Jazz Band. Kenton'...(+)
By Traditional. Arranged by Ralph Carmichael. Jazz Ensemble / Jazz Band. Kenton's Merry Christmas Series; The Stan Kenton Orchestra Library Series. Christmas Music. Grade 4/5. Score and set of parts
$55.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| The Giant Book of Christmas Sheet Music (Easy Piano) Piano solo - Easy Alfred Publishing
(Easy Piano). Arranged by Dan Coates. For Piano. Book; Piano - Easy Piano Coll...(+)
(Easy Piano). Arranged by Dan
Coates. For Piano. Book; Piano
- Easy Piano Collection; Piano
Supplemental. The Giant Book
of Sheet Music. Christmas;
Sacred; Secular; Winter. Easy
Piano. 168 pages. Published by
Alfred Music
$27.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| 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 | | |
| The Best Christmas Guitar Fake Book Ever Voice, Guitar [Fake Book] - Intermediate Hal Leonard
For voice and guitar. Format: fakebook. With vocal melody, lyrics, guitar tablat...(+)
For voice and guitar. Format: fakebook. With vocal melody, lyrics, guitar tablature, chord names, guitar chord diagrams and strum and pick patterns. Christmas and holiday. Series: Hal Leonard Fake Books. 189 pages. 9x12 inches. Published by Hal Leonard.
(2)$34.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Classical Piano Course - Christmas Favourites Piano solo Chester
Piano (Piano) SKU: HL.14003415 Arranged by Carol Barratt. Music Sales Ame...(+)
Piano (Piano) SKU: HL.14003415 Arranged by Carol Barratt. Music Sales America. Tuition. Book [Softcover]. 64 pages. Chester Music #CH71775. Published by Chester Music (HL.14003415). ISBN 9781846097355. UPC: 884088433659. 9.0x12.0x0.204 inches. English. More than forty favourite Christmas songs and carols for the beginning pianist, arranged by Carol Barratt. Many of the songs include both the English and American versions of the traditional carols. Carols include lyrics and chord symbols and are ideal for use alongside The Classic Piano Course books 1 and 2. $16.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| The Novello Junior Book Of Carols TeacherAEs Book Part 2 Choral 2-part SA Music Sales
SA Choir SKU: HL.14017423 Composed by Llewellyn. Music Sales America. Cla...(+)
SA Choir SKU: HL.14017423 Composed by Llewellyn. Music Sales America. Classical. Part. 96 pages. Music Sales #NOV050050. Published by Music Sales (HL.14017423). 8.5x11.75x0.53 inches. Designed specially for schools without an SATB choir, this collection contains 21 settings for unison and two-part voices. These arrangements, all compatible with The Novello Book Of Carols, are scored for tuned and untuned percussion, two melody parts, (each in C and B flat), guitar chords, bass line and simplified piano. These carols provide the ideal opportunity of junior and middle school choirs to join adult choirs in performance, whilst fulfilling the need for ensemble music throughout the year. Edited by William Llewellyn. $5.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| The Novello Junior Book Of Carols Set Of Parts, Part 2 Music Sales
Designed specially for schools without an SATB choir, this collection contains 2...(+)
Designed specially for schools without an SATB choir, this collection contains 21 settings for unison and two-part voices. These arrangements, all compatible with The Novello Book Of Carols, are scored for tuned and untuned percussion, two melody parts, (each in C and B flat), guitar chords, bass line and simplified piano. These carols provide the ideal opportunity of junior and middle school choirs to join adult choirs in performance, whilst fulfilling the need for ensemble music throughout the year. Edited by William Llewellyn
$44.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| More Bach Around the Christmas Tree Piano solo Cherry Lane
13 Classic Christmas Carols in the Styles of the Great Composers. Arranged by Ca...(+)
13 Classic Christmas Carols in the Styles of the Great Composers. Arranged by Carol Klose. Piano Collection. Size 9x12 inches. 32 pages. Published by Cherry Lane Music.
(4)$12.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Real Christmas Book Play-Along, Vol. N-Y Piano, Vocal and Guitar [Sheet music + CD] Hal Leonard
The Real Christmas Book Play-Along, Vol. N-Y by Various. For Piano/Vocal/Guitar,...(+)
The Real Christmas Book Play-Along, Vol. N-Y by Various. For Piano/Vocal/Guitar, C Instruments, BC Instruments, Bb Instruments, Eb Instruments. Real Book Play-Along. CD only. 4 pages. Published by Hal Leonard
$24.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Great Keyboard Chord Songbook 2 Piano solo Music Sales | | |
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