| Henry Purcell : Trumpet Voluntary and Trumpet Tune for Trumpet and Piano Trumpet, Piano Santorella Publications
Trumpet Voluntary and Trumpet Tune for Trumpet and Piano composed by Henry Purce...(+)
Trumpet Voluntary and Trumpet Tune for Trumpet and Piano composed by Henry Purcell (1659-1695). Arranged by Tony Santorella and Jonathon Robbins. For trumpet solo and piano accompaniment. Solo with Accompaniment. Classical. Score and solo part. Text Language: English. 8 pages. Published by Santorella Publications
$7.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Baroque Music For Manuals, Volume II Organ Concordia Publishing House
By Wolff. For organ. General, sacred. Published by Concordia Publishing House. <...(+)
By Wolff. For organ. General, sacred. Published by Concordia Publishing House. Level: Moderately Easy.
$12.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Allegro from the 'Water Music' for Two Trumpets 2 Trumpets, Keyboard (piano or organ) [Score and Parts] - Intermediate/advanced Cherry Classics
By George Frideric Handel (1685-1759). Arranged by Keith Terrett. For 2 trumpets...(+)
By George Frideric Handel (1685-1759). Arranged by Keith Terrett. For 2 trumpets and harpsichord/piano or organ. Baroque duo. Moderately advanced. Full score and set of parts. Published by Cherry Classics
$17.50 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Trumpet Voluntary Op. 6, No 5 for Two Trumpets and Piano or Organ 2 Trumpets, Keyboard (piano or organ) - Advanced Cherry Classics
Composed by John Stanley (1712-1786). Arranged by Keith Terrett. For 2 trumpets ...(+)
Composed by John Stanley (1712-1786). Arranged by Keith Terrett. For 2 trumpets in D, C or Bb and piano or organ. Baroque. Advanced. Keyboard part and solo parts in D,C, Bb. Published by Cherry Classics
$20.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Organ Arrangements for Church and Concert, Volume 1 Organ Wayne Leupold Editions
By Henry Purcell & George Frederick Handel. Edited by Dennis Janzer. For organ. ...(+)
By Henry Purcell & George Frederick Handel. Edited by Dennis Janzer. For organ. Medium. Published by Wayne Leupold Editions
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| Ten voluntaries for the organ or harpsichord Organ - Intermediate Carus Verlag
Organ - Level 3 SKU: CA.1800700 Composed by John Stanley. Edited by Eberh...(+)
Organ - Level 3 SKU: CA.1800700 Composed by John Stanley. Edited by Eberhard Hofmann. Carus digital: Extra digital products. Full Score. Composed ca. 1748. Op. 5. Published by Carus Verlag (CA.1800700). ISBN 9790007187552. John Stanley's 30 Voluntaries - published in three collections as op. 5, 6, and 7 - are amongst the best-known organ works of the 18th century. These compositions in free style were met with great acclaim by his contemporaries. The first volume, published in 1748, immediately achieved classic status and encouraged other composers to write similar collections. The op. 5 collection is now published in an up-to-date Urtext edition by Carus, based on the first printed edition and a 1785 edition consulted for comparison. The pieces, of easy to medium difficulty, are for manuals (and can alternatively also be played on the harpsichord), and mainly comprise two movements in the sequence slow - fast. Rhythmic energy, richness of color through the use of solo registers such as cornet and trumpet, dialog between the manuals with multiple echo effects - these are the characteristics of these wonderful compositions, which are also suitable for use in worship. $58.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Air Pour les Trompettes 2 Trumpets, Keyboard (piano or organ) [Part] Eighth Note Publications
By Johann Sebastian Bach (1685-1750). Arranged by David Marlatt. For 2 Trumpets ...(+)
By Johann Sebastian Bach (1685-1750). Arranged by David Marlatt. For 2 Trumpets and Keyboard. Brass - Cornet (Trumpet) Duet; Duet or Duo; Masterworks. Baroque. Part(s). Duration 00:01:20
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| Trumpet Voluntary Trumpet, Orchestra [Score and Parts] - Advanced Cherry Classics
By John Stanley (1712-1786). Arranged by Geoffrey Bergler. Trumpet and Chamber O...(+)
By John Stanley (1712-1786). Arranged by Geoffrey Bergler. Trumpet and Chamber Orchestra. For trumpet in C, 2 violins, viola, cello (opt. bass, optional basso continuo, bassoon). Baroque English Wedding. Advanced. Full score and set of parts
$37.50 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| A Baroque Album Organ Concordia Publishing House
By Wolff. For organ. General. Level: Easy-Moderately Easy. Published by Concordi...(+)
By Wolff. For organ. General. Level: Easy-Moderately Easy. Published by Concordia Publishing House.
$24.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Play Bach Trumpet [Book + CD] De Haske Publications
Trumpet. De Haske Play-along Book. Size 9x12 inches. 16 pages. Published by De H...(+)
Trumpet. De Haske Play-along Book. Size 9x12 inches. 16 pages. Published by De Haske Publications.
$22.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Manuals Only Organ Associated
Organ Solo. By Various. Arranged by E. Power Biggs. Organ Method. Size 11.63x9 i...(+)
Organ Solo. By Various. Arranged by E. Power Biggs. Organ Method. Size 11.63x9 inches. 64 pages. Published by Associated.
$17.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| George Frideric Handel : Samson Choral SATB SATB, Piano [Vocal Score] Barenreiter
(HWV 57). By George Frideric Handel (1685-1759). Edited by Hans Dieter Clausen. ...(+)
(HWV 57). By George Frideric Handel (1685-1759). Edited by Hans Dieter Clausen. Arranged by Andreas Koehs. For Soprano voice solo, Alto voice solo, Tenor voice solo, Bass voice solo, Mixed choir (SATB), Oboe (2), Bassoon (2), Horn (2), Trumpet (2), Kettledrum, Violin (2), Viola, Bassi (Violoncello, Contrabass, Bassoon, Bass lute, Harpsichord, Organ). This edition: Urtext. Oratorio. Vocal score. Language: English, Text language: German/English. 432 pages. Published by Baerenreiter Verlag
$74.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Baroque Duets 2 Trumpets (duet) Charles Colin Music
2 trumpets SKU: M7.AHW-1208 Arranged by Al Past. Sheet music. Performance...(+)
2 trumpets SKU: M7.AHW-1208 Arranged by Al Past. Sheet music. Performance score. Charles Colin Corp. #AHW 1208. Published by Charles Colin Corp. (M7.AHW-1208). A compendium of contrapuntal gems - 45 in all - drawn largely from the enduring works of the great baroque masters: Vivaldi's concerto's; Handel's organ concertos, Fireworks Music, and Water Music; and J.S. Bach's partitas, orchestral suites, concerti grossi, harpsichord and violin concertos, and preludes and fugues from The Well Tempered Clavier (Books I and II). A few of the duets are within the capability of beginning students. For example, the familiar Shaker tune Simple Gifts, many require intermediate level proficiency, but most will challenge - and reward - the advanced player. Excellent material for those wishing to improve their technique on the high trumpets. $35.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Sonate in d-moll Trumpet, Piano [Score and Parts] Editions Marc Reift (Swiss import)
By R. Valentino. For trumpet & piano (or organ or harpsichord). Swiss import. Le...(+)
By R. Valentino. For trumpet & piano (or organ or harpsichord). Swiss import. Level: 3+. Score and parts. Published by Editions Marc Reift. (EMR 609)
$13.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Sonate in F-Dur Trumpet, Piano [Score and Parts] Editions Marc Reift (Swiss import)
By R. Valentino. For trumpet & piano (or organ or harpsichord). Swiss import. Le...(+)
By R. Valentino. For trumpet & piano (or organ or harpsichord). Swiss import. Level: 4. Score and parts. Published by Editions Marc Reift. (EMR 610)
$18.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Sonata per Clarino C-Dur Trumpet, Piano [Score and Parts] Editions Marc Reift (Swiss import)
By C.H. Biber. For trumpet & piano (or organ or harpsichord). Swiss import. Leve...(+)
By C.H. Biber. For trumpet & piano (or organ or harpsichord). Swiss import. Level: 3+. Score and parts. Published by Editions Marc Reift. (EMR 612)
$18.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Sonata per Clarino B-Dur Trumpet, Piano [Score and Parts] Editions Marc Reift (Swiss import)
By C.H. Biber. For trumpet & piano (or organ or harpsichord). Swiss import. Leve...(+)
By C.H. Biber. For trumpet & piano (or organ or harpsichord). Swiss import. Level: 4. Score and parts. Published by Editions Marc Reift. (EMR 613)
$13.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Glory to God from Messiah Choral SATB SATB, Piano Oxford University Press
By George Frideric Handel (1685-1759). Arranged by Clifford Bartlett. For SATB c...(+)
By George Frideric Handel (1685-1759). Arranged by Clifford Bartlett. For SATB choir and keyboard/orchestra (2 oboes, 2 trumpets, bassoon, timpani, strings, harpsichord or organ). Mixed Voices. Oxford Choral Classics Octavos. Christmas, Choral Leaflet. Vocal score. 8 pages. Duration 2'. Published by Oxford University Press
$3.25 - See more - Buy onlinePre-shipment lead time: 3 to 4 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 | | |
| Prince of Denmark's March Concert band - Beginner Anglo Music
Concert Band/Harmonie - Grade 1.5 SKU: BT.AMP-027-010 (The Trumpet Vol...(+)
Concert Band/Harmonie - Grade 1.5 SKU: BT.AMP-027-010 (The Trumpet Voluntary). Composed by Jeremiah Clarke. Arranged by Philip Sparke. Debut Series (Anglo). Set (Score & Parts). Composed 2001. Anglo Music Press #AMP 027-010. Published by Anglo Music Press (BT.AMP-027-010). Jeremiah Clarke (c. 1674-1707) belongs to the generation of English composers following that of Henry Purcell. Not much is known about his early life, but by 1685 he was a chorister of the Chapel Royal, a group of liturgical musicians attached to the court. He held the post of organist at Winchester College from 1692 but later returned to London as Master of the Choristers at St Paul’s Cathedral. The Prince of Denmark’s March is perhaps his best-known work and was originally written for harpsichord, although Clarke later included it in a collection of pieces for wind instruments.
Jeremiah Clarke (vers 1674-1707) fait partie de la génération de compositeurs anglais succédant celle d’Henry Purcell. On sait très peu de choses sur ses débuts musicaux. En 1685, il entre en tant que choriste la chapelle royale d’Angleterre, un ensemble de musiciens liturgiques au service de la cour. partir de 1692, il est organiste Winchester College avant de retourner Londres où il est nommé chef des chœurs de la Cathédrale Saint-Paul. The Prince of Denmark’s March (“La Marche du Prince du Danemarkâ€) est sans aucun doute la plus connue des œuvres de Clarke. Composée l’origine pour clavecin, elle est incluse plus tard par Clarke dans unrecueil de pièces pour instruments vent. $90.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Prince of Denmark's March Concert band - Beginner Anglo Music
Concert Band/Harmonie - Grade 1.5 SKU: BT.AMP-027-140 (The Trumpet Vol...(+)
Concert Band/Harmonie - Grade 1.5 SKU: BT.AMP-027-140 (The Trumpet Voluntary). Composed by Jeremiah Clarke. Arranged by Philip Sparke. Debut Series (Anglo). Score Only. Composed 2001. 20 pages. Anglo Music Press #AMP 027-140. Published by Anglo Music Press (BT.AMP-027-140). Jeremiah Clarke (c. 1674-1707) belongs to the generation of English composers following that of Henry Purcell. Not much is known about his early life, but by 1685 he was a chorister of the Chapel Royal, a group of liturgical musicians attached to the court. He held the post of organist at Winchester College from 1692 but later returned to London as Master of the Choristers at St Paul’s Cathedral. The Prince of Denmark’s March is perhaps his best-known work and was originally written for harpsichord, although Clarke later included it in a collection of pieces for wind instruments.
Jeremiah Clarke (vers 1674-1707) fait partie de la génération de compositeurs anglais succédant celle d’Henry Purcell. On sait très peu de choses sur ses débuts musicaux. En 1685, il entre en tant que choriste la chapelle royale d’Angleterre, un ensemble de musiciens liturgiques au service de la cour. partir de 1692, il est organiste Winchester College avant de retourner Londres où il est nommé chef des chœurs de la Cathédrale Saint-Paul. The Prince of Denmark’s March (“La Marche du Prince du Danemarkâ€) est sans aucun doute la plus connue des œuvres de Clarke. Composée l’origine pour clavecin, elle est incluse plus tard par Clarke dans unrecueil de pièces pour instruments vent. $19.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Sonata No. 1 |clarinet|euphonium|trombone|violin|p iano|organ|harpsichord|oboe|trumpet|t uba|cello|flute|bassoon| [Score and Parts] Editions Marc Reift (Swiss import)
By Marco Uccellini. For flute (or oboe, clarinet, violin, or trumpet), trombone ...(+)
By Marco Uccellini. For flute (or oboe, clarinet, violin, or trumpet), trombone (or euphonium, cello, bassoon, or tuba) and piano (or organ, or harpsichord). Swiss import. Level: 3. Score and parts. Published by Editions Marc Reift. (EMR 5157)
$17.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| More Viola Fun Viola [Sheet music + CD] De Haske Publications
Book/CD Pack Viola SKU: HL.44007368 Position 1. By Gunter Van Romp...(+)
Book/CD Pack Viola SKU: HL.44007368 Position 1. By Gunter Van Rompaey. By Dinie Goedhart. Arranged by Nico Dezaire. De Haske Play-Along Book. Play Along. Softcover with CD. Composed 2007. 24 pages. De Haske Publications #1074407. Published by De Haske Publications (HL.44007368). ISBN 9789043128407. UPC: 884088246167. 9.0x12.0x0.135 inches. English-German-French-Dutch. More Viola Fun picks up where Viola Fun left off - with 15 easy viola pieces for the second year student. The lower string is not used and the fingering patterns - while still simple - are now combined. Several new rhythmic challenges are explored. The attractive accompaniments on the CD and the wonderful illustrations give this book extra appeal. $22.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| George Frideric Handel: Messiah Pocket, Study conductor [Study Score / Miniature] Barenreiter
(Oratorio In Three Parts) Composed by George Frideric Handel, edited by John Tob...(+)
(Oratorio In Three Parts) Composed by George Frideric Handel, edited by John Tobin. For SATB choir and mixed orchestra (2 ob, bsn, trumpets, timp, strings, harpsichord, organ). Urtext of the Halle Handel Edition. Format: study score. With introductory text. Baroque. Text language German/English. 306 pages. 605x9 inches. Published by Baerenreiter-Taschenpartituren.
(1)$34.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Musik i advent - Stammor Choral SATB Gehrmans Musikforlag
SATB choir, harpsichord, flute, organ, percussion, trumpet SKU: GH.N06421 ...(+)
SATB choir, harpsichord, flute, organ, percussion, trumpet SKU: GH.N06421 Per Coro. Composed by Johann Sebastian Bach / Georg Friedrich Handel. Parts. With Language: Swedish. Published by Gehrmans Musikforlag (GH.N06421). ISBN 9790070033220. $9.25 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Sonatine Trumpet, Piano [Score] Combre
Composed by Jean Langlais (1907-1991). For trumpet and piano or organ or harpsic...(+)
Composed by Jean Langlais (1907-1991). For trumpet and piano or organ or harpsichord. Classical. Very difficult. Score. Published by Editions Combre
$26.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
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