| The Real Latin Book Bb Instruments [Fake Book] Hal Leonard
(B-Flat Instruments). Composed by Various. For B-flat Instruments. Fake Book. So...(+)
(B-Flat Instruments). Composed by Various. For B-flat Instruments. Fake Book. Softcover. 576 pages. Published by Hal Leonard
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| The Real Latin Book C Instruments [Fake Book] Hal Leonard
(C Instruments). By Various. For C Instruments. Fake Book. Softcover. 464 pages....(+)
(C Instruments). By Various. For C Instruments. Fake Book. Softcover. 464 pages. Published by Hal Leonard
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| The Real Blues Book (C Instruments) C Instruments [Fake Book] Hal Leonard | | |
| COMPLETE MANDOLINIST, VOLUME 2: MUSIC IN CONTEXT Mandolin - Intermediate/advanced Mel Bay
Perfect binding. Exercises. Book. Mel Bay Publications, Inc #30782. Publishe...(+)
Perfect binding. Exercises.
Book. Mel Bay Publications,
Inc #30782. Published by Mel
Bay Publications, Inc
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| All About Drums Drums [Sheet music + CD] - Beginner Hal Leonard
From START to STARDOM, the Lessons You Need. Drum Instruction. Softcover with CD...(+)
From START to STARDOM, the Lessons You Need. Drum Instruction. Softcover with CD. Size 8.5x11 inches. 208 pages. Published by Hal Leonard.
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| Disney Solos - Bb Trumpet
Trumpet [Sheet music + Audio access] - Intermediate Hal Leonard
Play Along with a Full Symphony Orchestra!. Composed by Various. Instrumental Pl...(+)
Play Along with a Full Symphony Orchestra!. Composed by Various. Instrumental Play-Along. Disney, Movies and Play Along. Softcover Audio Online. 24 pages. Published by Hal Leonard
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| Steve Reyes : Ground Zero Big band [Score and Parts] Walrus Music Publishing
By Steve Reyes. Arranged by Steve Hawk. For Big Band. Medium - Difficult. Score ...(+)
By Steve Reyes. Arranged by Steve Hawk. For Big Band. Medium - Difficult. Score and parts. Published by Walrus Music Publishing
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| The Big Book of Disney Songs Trumpet [Sheet music] Hal Leonard
(Trumpet). By Various. Instrumental Folio. Softcover. 80 pages. Published by...(+)
(Trumpet). By Various.
Instrumental Folio. Softcover.
80 pages. Published by Hal
Leonard
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| Disney Favorites (Mini E-Z Play Today, Volume 5) Keyboard Hal Leonard
Mini E-Z Play Today, Volume 5. Composed by Various. Mini E-Z Play Today. Softc...(+)
Mini E-Z Play Today, Volume
5. Composed by Various. Mini
E-Z Play Today. Softcover.
264 pages. Published by Hal
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| The SMASHING PUMPKINS: Mellon Collie and The Guitar notes and tablatures Amsco Wise Publications
Infinite Sadness. By Aaron Stang_Colgan Bryan. By Billy Corgan and Smashing ...(+)
Infinite Sadness. By Aaron
Stang_Colgan Bryan. By Billy
Corgan and Smashing Pumpkins.
Authentic Guitar Tab Edition
(Warner). Pop & Rock. Book
Only. Wise Publications
#MUSAM938333. Published by
Wise Publications
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| Kyogen Neurose [Score] Yamaha
Guitar/Bass/Drum - Intermediate-Advanced SKU: YM.GTL01091117 By My First ...(+)
Guitar/Bass/Drum - Intermediate-Advanced SKU: YM.GTL01091117 By My First Story. Guitar/Bass/Drum, Band Score. Score. Yamaha Music Media #GTL01091117. Published by Yamaha Music Media (YM.GTL01091117). ISBN 9784636911176. The long-awaited 3rd album Kyogen NEUROSE (released on October 29, 2014) now has a matching band score! Their 2nd single Black Rail is also included, as is Zero Gravity which is the 'Fighting Song' for TV Asahi's World Pro Wrestling! All 11 songs let you experience the latest heavy rock sound, and we are sure you will want to copy this book! It includes 8 color pages at the beginning with live photos and performance advice from the members. $22.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Disney Solos for Trombone/Baritone
Trombone [Sheet music + Audio access] Hal Leonard
Trombone/Baritone Baritone, Trombone (Trombone) - Difficulty: medium SKU: HL....(+)
Trombone/Baritone Baritone, Trombone (Trombone) - Difficulty: medium SKU: HL.841408 Play Along with a Full Symphony Orchestra!. Composed by Various. Instrumental Play-Along. Disney, Movies and Play Along. Softcover Audio Online. 24 pages. Published by Hal Leonard (HL.841408). ISBN 9780634000720. UPC: 073999824988. 9.0x12.0x0.122 inches. Book/Online Audio. 12 Disney favorites with online audio that let you play along with a full symphony orchestra! Titles include: Be Our Guest • Can You Feel the Love Tonight • Colors of the Wind • Friend like Me • Let's Get Together • Under the Sea • You've Got a Friend in Me • Zero to Hero • and more. The accompanying audio is accessed through Hal Leonard's popular MyLibrary system using the provided code. The audio can be streamed or downloaded and includes PLAYBACK+, a multi-functional audio player that allows you to slow down audio without changing pitch, set loop points, change keys, and pan left or right. (11)$14.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Disney Solos - Horn
French horn [Sheet music + Audio access] Hal Leonard
French Horn (Horn) - Difficulty: medium SKU: HL.841407 Play Along with...(+)
French Horn (Horn) - Difficulty: medium SKU: HL.841407 Play Along with a Full Symphony Orchestra!. Composed by Various. Instrumental Play-Along. Disney, Movies and Play Along. Softcover Audio Online. 24 pages. Published by Hal Leonard (HL.841407). ISBN 9780634000713. UPC: 073999330434. 9.0x12.0x0.113 inches. Book/Online Audio. 12 Disney favorites with great play-along tracks that let you play along with a full symphony orchestra! Titles include: Be Our Guest • Can You Feel the Love Tonight • Colors of the Wind • Friend like Me • Let's Get Together • Under the Sea • You've Got a Friend in Me • Zero to Hero • and more. Audio is accessed online by using the unique code inside each book. (6)$14.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Quintet in F Major, K. 497 Carl Fischer
Chamber Music Cello, Flute, Viola 1, Viola 2, Violin SKU: CF.MXE219 Compo...(+)
Chamber Music Cello, Flute, Viola 1, Viola 2, Violin SKU: CF.MXE219 Composed by Wolfgang Amadeus Mozart. Arranged by Robert Stallman. Sws. 56+16+16+16+16+12 pages. Carl Fischer Music #MXE219. Published by Carl Fischer Music (CF.MXE219). ISBN 9781491157794. UPC: 680160916399. 9 x 12 inches. Preface In 1990, during an intense rehearsal of a Mozart Quartet transcription for flute and strings by Franz Anton Hoffmeister, at the Marblehead Summer Music Festival, a disgruntled violist friend complained about HoffmeisterAs awkward string writing, suddenly daring me to create my own arrangement. I balked. But the following winterA3despite scruples about treading on hallowed groundA3I grew curious and began to experiment. Soon I was hooked on the challenge of learning to speak MozartAs language with conviction. This fascination, encouraged by pianist Richard Goode and other Mozarteans, would eventually generate a total of thirty-nine recreations of Mozart piano sonatas as works for flute and strings. With zero tolerance for alteration of melodic or harmonic materialA3MozartAs friend Hoffmeister had regrettably attempted such A!improvementsA(r)A3I always tried to envision what Mozart himself would have desired. Many of the sonatas can be heard as if they were MozartAs A!blueprintsA(r) of imagined chamber works. Hence my task was to A!flesh outA(r) the keyboard versions as Mozart might have done, had a commission or performance opportunity arisen. I spent hours pondering how Mozart might have set these sonatas in four- or five-part form, providing the needed textural or contrapuntal enhancements. With immersion in the composerAs dialect, various apt solutions presented themselves. The search for the A!rightA(r) one then became a most absorbing study. On the eve of releasing my BognerAs CafA recording of Mozart-Stallman New Quintets (2006), I discovered to my delight that a prominent scholar had long before endorsed such an effort. Eric Blom (1888A+-1959), author of Mozart (1935), had taken note of the four-hand piano works as A!a kind of keyboard chamber music.A(r) Regarding Sonata, K. 497, Mr. Blom had observed that Mozart is often dealing with, not the expected four voices (one to a hand), but five. Blom states: A!The F major Sonata (K. 497) removes us to another worldA3the world of the great chamber music, especially of the string quintets. Indeed an arrangement of some sort for a combination of instruments would make a magnificent concert work of this almost uncomfortably great piece of domestic music.A(r) That Mozart was in 1786 writing for piano duo from a quintet perspective makes sense, as we find him returning to the quintet form with keen interest in his last years, writing four String Quintets, the Clarinet Quintet, rearranging a wind serenade for String Quintet, and leaving several other quintets incomplete. My arrangement presented here is made for flute and strings but is also intended for string quintet. Quintet in F Major for Flute and Strings, K. 497, was completed in 1999 and performed with the Martin Quartet in the Czech Republic prior to recording it in 2004. Mozart had finished the original Sonata in F Major for Piano, Four-Hands, K. 497, on August 1, 1786. It shows the unmistakable influence of Figaro, completed and premiered exactly three months prior. As signaled by the imposing introductory Adagio, the conception is on a grand symphonic scale, all three movements being richly developed with contrapuntal episodes and an abundance of marvelously contrasting textures and themes throughout. Called A!the crowning work of its kindA(r) by Alfred Einstein, the Sonata is laden with examples of MozartAs mercurial originality. Here we have a perfect synthesis of concertante brilliance, operatic intensity and intimate dialogue. The work opens in unison with a probing, minor-tinged Adagio, whose question comes to a pause on the dominant, before being answered with jaunty certainty by the opening theme of the Allegro di moltoA3an F-major tune as sunny and confident as an aria from Figaro itself. This movementAs declamatory A!opera chorusA(r) persistently intones its rhythmic motto over a swirling scale figure. The amorous second theme (initially presented in the first viola) also seems to be plucked from Figaro. The Andante opens with a heavenly melody, which takes as its springboard the Romanza theme from the Horn Concerto in E Major, K. 495, written only five weeks before. The A!love duetA(r) between flute and first viola seems to anticipate the impassioned A!duettingA(r) between violin and viola in the Andante of the String Quintet in C Major, K. 515, written about nine months later. The ingenious stretto canon of the AndanteAs middle section requires the precision of a Swiss clock (which its chiming thirds recall). Affecting bucolic codettas close each of the main sections of the movement. In the final Allegro, a rondo in 6/8a time, the puckish, yet aristocratic character of the opening theme contrasts with the bumptious, popular tune used for the second theme (heard first in the violin and then the flute, over pizzicato cello). Lilting hymn-like episodes in three, four- and finally five-part counterpoint are repeatedly interrupted by startling scale figures that rise up in furioso episodes throughout the movement. As in the A!Swiss clockA(r) section of the Andante, Mozart uses a stretto imitation treatment with this tempest theme, thereby heightening both intensity and sense of instability. I am most grateful to the adventuresome Martin Quartet for their warm support and collaboration over the years with several of my arrangements, and to my friend Edwin Swanborn for the original typesetting of this score. Gratitude is also due Weekend Edition, Performance Today and innumerable classical stations across the United States for their enthusiastic and repeated airings of my A!newA(r) Mozart Quintet endeavorsA3and most of all, to violist Katherine Murdock for that dare in 1990. A3Compiled from the writings of Robert Stallman by Hannah Woods Stallman, February 2, 2020. Preface In 1990, during an intense rehearsal of a Mozart Quartet transcription for flute and strings by Franz Anton Hoffmeister, at the Marblehead Summer Music Festival, a disgruntled violist friend complained about Hoffmeisteris awkward string writing, suddenly daring me to create my own arrangement. I balked. But the following winterodespite scruples about treading on hallowed groundoI grew curious and began to experiment. Soon I was hooked on the challenge of learning to speak Mozartis language with conviction. This fascination, encouraged by pianist Richard Goode and other Mozarteans, would eventually generate a total of thirty-nine recreations of Mozart piano sonatas as works for flute and strings. With zero tolerance for alteration of melodic or harmonic materialoMozartis friend Hoffmeister had regrettably attempted such iimprovementsioI always tried to envision what Mozart himself would have desired. Many of the sonatas can be heard as if they were Mozartis iblueprintsi of imagined chamber works. Hence my task was to iflesh outi the keyboard versions as Mozart might have done, had a commission or performance opportunity arisen. I spent hours pondering how Mozart might have set these sonatas in four- or five-part form, providing the needed textural or contrapuntal enhancements. With immersion in the composeris dialect, various apt solutions presented themselves. The search for the irighti one then became a most absorbing study. On the eve of releasing my Bogneris CafE recording of Mozart-Stallman New Quintets (2006), I discovered to my delight that a prominent scholar had long before endorsed such an effort. Eric Blom (1888n1959), author of Mozart (1935), had taken note of the four-hand piano works as ia kind of keyboard chamber music.i Regarding Sonata, K. 497, Mr. Blom had observed that Mozart is often dealing with, not the expected four voices (one to a hand), but five. Blom states: iThe F major Sonata (K. 497) removes us to another worldothe world of the great chamber music, especially of the string quintets. Indeed an arrangement of some sort for a combination of instruments would make a magnificent concert work of this almost uncomfortably great piece of domestic music.i That Mozart was in 1786 writing for piano duo from a quintet perspective makes sense, as we find him returning to the quintet form with keen interest in his last years, writing four String Quintets, the Clarinet Quintet, rearranging a wind serenade for String Quintet, and leaving several other quintets incomplete. My arrangement presented here is made for flute and strings but is also intended for string quintet. Quintet in F Major for Flute and Strings, K. 497, was completed in 1999 and performed with the Martin Quartet in the Czech Republic prior to recording it in 2004. Mozart had finished the original Sonata in F Major for Piano, Four-Hands, K. 497, on August 1, 1786. It shows the unmistakable influence of Figaro, completed and premiered exactly three months prior. As signaled by the imposing introductory Adagio, the conception is on a grand symphonic scale, all three movements being richly developed with contrapuntal episodes and an abundance of marvelously contrasting textures and themes throughout. Called ithe crowning work of its kindi by Alfred Einstein, the Sonata is laden with examples of Mozartis mercurial originality. Here we have a perfect synthesis of concertante brilliance, operatic intensity and intimate dialogue. The work opens in unison with a probing, minor-tinged Adagio, whose question comes to a pause on the dominant, before being answered with jaunty certainty by the opening theme of the Allegro di moltooan F-major tune as sunny and confident as an aria from Figaro itself. This movementis declamatory iopera chorusi persistently intones its rhythmic motto over a swirling scale figure. The amorous second theme (initially presented in the first viola) also seems to be plucked from Figaro. The Andante opens with a heavenly melody, which takes as its springboard the Romanza theme from the Horn Concerto in E Major, K. 495, written only five weeks before. The ilove dueti between flute and first viola seems to anticipate the impassioned iduettingi between violin and viola in the Andante of the String Quintet in C Major, K. 515, written about nine months later. The ingenious stretto canon of the Andanteis middle section requires the precision of a Swiss clock (which its chiming thirds recall). Affecting bucolic codettas close each of the main sections of the movement. In the final Allegro, a rondo in 6/8+time, the puckish, yet aristocratic character of the opening theme contrasts with the bumptious, popular tune used for the second theme (heard first in the violin and then the flute, over pizzicato cello). Lilting hymn-like episodes in three, four- and finally five-part counterpoint are repeatedly interrupted by startling scale figures that rise up in furioso episodes throughout the movement. As in the iSwiss clocki section of the Andante, Mozart uses a stretto imitation treatment with this tempest theme, thereby heightening both intensity and sense of instability. I am most grateful to the adventuresome Martin Quartet for their warm support and collaboration over the years with several of my arrangements, and to my friend Edwin Swanborn for the original typesetting of this score. Gratitude is also due Weekend Edition, Performance Today and innumerable classical stations across the United States for their enthusiastic and repeated airings of my inewi Mozart Quintet endeavorsoand most of all, to violist Katherine Murdock for that dare in 1990. oCompiled from the writings of Robert Stallman by Hannah Woods Stallman, February 2, 2020. Preface In 1990, during an intense rehearsal of a Mozart Quartet transcription for flute and strings by Franz Anton Hoffmeister, at the Marblehead Summer Music Festival, a disgruntled violist friend complained about Hoffmeister's awkward string writing, suddenly daring me to create my own arrangement. I balked. But the following winter--despite scruples about treading on hallowed ground--I grew curious and began to experiment. Soon I was hooked on the challenge of learning to speak Mozart's language with conviction. This fascination, encouraged by pianist Richard Goode and other Mozarteans, would eventually generate a total of thirty-nine recreations of Mozart piano sonatas as works for flute and strings. With zero tolerance for alteration of melodic or harmonic material--Mozart's friend Hoffmeister had regrettably attempted such improvements--I always tried to envision what Mozart himself would have desired. Many of the sonatas can be heard as if they were Mozart's blueprints of imagined chamber works. Hence my task was to flesh out the keyboard versions as Mozart might have done, had a commission or performance opportunity arisen. I spent hours pondering how Mozart might have set these sonatas in four- or five-part form, providing the needed textural or contrapuntal enhancements. With immersion in the composer's dialect, various apt solutions presented themselves. The search for the right one then became a most absorbing study. On the eve of releasing my Bogner's Cafe recording of Mozart-Stallman New Quintets (2006), I discovered to my delight that a prominent scholar had long before endorsed such an effort. Eric Blom (1888-1959), author of Mozart (1935), had taken note of the four-hand piano works as a kind of keyboard chamber music. Regarding Sonata, K. 497, Mr. Blom had observed that Mozart is often dealing with, not the expected four voices (one to a hand), but five. Blom states: The F major Sonata (K. 497) removes us to another world--the world of the great chamber music, especially of the string quintets. Indeed an arrangement of some sort for a combination of instruments would make a magnificent concert work of this almost uncomfortably great piece of domestic music. That Mozart was in 1786 writing for piano duo from a quintet perspective makes sense, as we find him returning to the quintet form with keen interest in his last years, writing four String Quintets, the Clarinet Quintet, rearranging a wind serenade for String Quintet, and leaving several other quintets incomplete. My arrangement presented here is made for flute and strings but is also intended for string quintet. Quintet in F Major for Flute and Strings, K. 497, was completed in 1999 and performed with the Martinu Quartet in the Czech Republic prior to recording it in 2004. Mozart had finished the original Sonata in F Major for Piano, Four-Hands, K. 497, on August 1, 1786. It shows the unmistakable influence of Figaro, completed and premiered exactly three months prior. As signaled by the imposing introductory Adagio, the conception is on a grand symphonic scale, all three movements being richly developed with contrapuntal episodes and an abundance of marvelously contrasting textures and themes throughout. Called the crowning work of its kind by Alfred Einstein, the Sonata is laden with examples of Mozart's mercurial originality. Here we have a perfect synthesis of concertante brilliance, operatic intensity and intimate dialogue. The work opens in unison with a probing, minor-tinged Adagio, whose question comes to a pause on the dominant, before being answered with jaunty certainty by the opening theme of the Allegro di molto--an F-major tune as sunny and confident as an aria from Figaro itself. This movement's declamatory opera chorus persistently intones its rhythmic motto over a swirling scale figure. The amorous second theme (initially presented in the first viola) also seems to be plucked from Figaro. The Andante opens with a heavenly melody, which takes as its springboard the Romanza theme from the Horn Concerto in E<= Major, K. 495, written only five weeks before. The love duet between flute and first viola seems to anticipate the impassioned duetting between violin and viola in the Andante of the String Quintet in C Major, K. 515, written about nine months later. The ingenious stretto canon of the Andante's middle section requires the precision of a Swiss clock (which its chiming thirds recall). Affecting bucolic codettas close each of the main sections of the movement. In the final Allegro, a rondo in 6/8 time, the puckish, yet aristocratic character of the opening theme contrasts with the bumptious, popular tune used for the second theme (heard first in the violin and then the flute, over pizzicato cello). Lilting hymn-like episodes in three, four- and finally five-part counterpoint are repeatedly interrupted by startling scale figures that rise up in furioso episodes throughout the movement. As in the Swiss clock section of the Andante, Mozart uses a stretto imitation treatment with this tempest theme, thereby heightening both intensity and sense of instability. I am most grateful to the adventuresome Martinu Quartet for their warm support and collaboration over the years with several of my arrangements, and to my friend Edwin Swanborn for the original typesetting of this score. Gratitude is also due Weekend Edition, Performance Today and innumerable classical stations across the United States for their enthusiastic and repeated airings of my new Mozart Quintet endeavors--and most of all, to violist Katherine Murdock for that dare in 1990. --Compiled from the writings of Robert Stallman by Hannah Woods Stallman, February 2, 2020. PrefaceIn 1990, during an intense rehearsal of a Mozart Quartet transcription for flute and strings by Franz Anton Hoffmeister, at the Marblehead Summer Music Festival, a disgruntled violist friend complained about Hoffmeister’s awkward string writing, suddenly daring me to create my own arrangement. I balked. But the following winter—despite scruples about treading on hallowed ground—I grew curious and began to experiment. Soon I was hooked on the challenge of learning to speak Mozart’s language with conviction. This fascination, encouraged by pianist Richard Goode and other Mozarteans, would eventually generate a total of thirty-nine recreations of Mozart piano sonatas as works for flute and strings.With zero tolerance for alteration of melodic or harmonic material—Mozart’s friend Hoffmeister had regrettably attempted such “improvementsâ€â€”I always tried to envision what Mozart himself would have desired. Many of the sonatas can be heard as if they were Mozart’s “blueprints†of imagined chamber works. Hence my task was to “flesh out†the keyboard versions as Mozart might have done, had a commission or performance opportunity arisen. I spent hours pondering how Mozart might have set these sonatas in four- or five-part form, providing the needed textural or contrapuntal enhancements. With immersion in the composer’s dialect, various apt solutions presented themselves. The search for the “right†one then became a most absorbing study.On the eve of releasing my Bogner’s Café recording of Mozart-Stallman New Quintets (2006), I discovered to my delight that a prominent scholar had long before endorsed such an effort. Eric Blom (1888–1959), author of Mozart (1935), had taken note of the four-hand piano works as “a kind of keyboard chamber music.†Regarding Sonata, K. 497, Mr. Blom had observed that Mozart is often dealing with, not the expected four voices (one to a hand), but five. Blom states: “The F major Sonata (K. 497) removes us to another world—the world of the great chamber music, especially of the string quintets. Indeed an arrangement of some sort for a combination of instruments would make a magnificent concert work of this almost uncomfortably great piece of domestic music.†That Mozart was in 1786 writing for piano duo from a quintet perspective makes sense, as we find him returning to the quintet form with keen interest in his last years, writing four String Quintets, the Clarinet Quintet, rearranging a wind serenade for String Quintet, and leaving several other quintets incomplete. My arrangement presented here is made for flute and strings but is also intended for string quintet.Quintet in F Major for Flute and Strings, K. 497, was completed in 1999 and performed with the Martinů Quartet in the Czech Republic prior to recording it in 2004. Mozart had finished the original Sonata in F Major for Piano, Four-Hands, K. 497, on August 1, 1786. It shows the unmistakable influence of Figaro, completed and premiered exactly three months prior. As signaled by the imposing introductory Adagio, the conception is on a grand symphonic scale, all three movements being richly developed with contrapuntal episodes and an abundance of marvelously contrasting textures and themes throughout. Called “the crowning work of its kind†by Alfred Einstein, the Sonata is laden with examples of Mozart’s mercurial originality. Here we have a perfect synthesis of concertante brilliance, operatic intensity and intimate dialogue.The work opens in unison with a probing, minor-tinged Adagio, whose question comes to a pause on the dominant, before being answered with jaunty certainty by the opening theme of the Allegro di molto—an F-major tune as sunny and confident as an aria from Figaro itself. This movement’s declamatory “opera chorus†persistently intones its rhythmic motto over a swirling scale figure. The amorous second theme (initially presented in the first viola) also seems to be plucked from Figaro.The Andante opens with a heavenly melody, which takes as its springboard the Romanza theme from the Horn Concerto in E≤ Major, K. 495, written only five weeks before. The “love duet†between flute and first viola seems to anticipate the impassioned “duetting†between violin and viola in the Andante of the String Quintet in C Major, K. 515, written about nine months later. The ingenious stretto canon of the Andante’s middle section requires the precision of a Swiss clock (which its chiming thirds recall). Affecting bucolic codettas close each of the main sections of the movement.In the final Allegro, a rondo in 6/8 time, the puckish, yet aristocratic character of the opening theme contrasts with the bumptious, popular tune used for the second theme (heard first in the violin and then the flute, over pizzicato cello). Lilting hymn-like episodes in three, four- and finally five-part counterpoint are repeatedly interrupted by startling scale figures that rise up in furioso episodes throughout the movement. As in the “Swiss clock†section of the Andante, Mozart uses a stretto imitation treatment with this tempest theme, thereby heightening both intensity and sense of instability.I am most grateful to the adventuresome Martinů Quartet for their warm support and collaboration over the years with several of my arrangements, and to my friend Edwin Swanborn for the original typesetting of this score. Gratitude is also due Weekend Edition, Performance Today and innumerable classical stations across the United States for their enthusiastic and repeated airings of my “new†Mozart Quintet endeavors—and most of all, to violist Katherine Murdock for that dare in 1990.—Compiled from the writings of Robert Stallmanby Hannah Woods Stallman,February 2, 2020. $42.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Guitar Zero [Textbook] Alfred Publishing
(The Science of Becoming Musical at Any Age). By Gary Marcus. Book; Reference Te...(+)
(The Science of Becoming Musical at Any Age). By Gary Marcus. Book; Reference Textbooks; Textbook - General. Published by Alfred Music Publishing
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| Someone's Singing, Lord [Sheet music + CD]
Classroom SKU: BT.9780713663440 Gospel & Spiritual. Book with CD. 96 page...(+)
Classroom SKU: BT.9780713663440 Gospel & Spiritual. Book with CD. 96 pages. Collins Music Publishing #9780713663440. Published by Collins Music Publishing (BT.9780713663440). ISBN 9780713663440. English. This book contains 59 tried and tested songs about topics including the world, the seasons, being a friend and caring for animals. There are tuneful hymns and thought-provoking subjects, just what's needed to fill the musicslot in assembly or at Sunday school. Includes CD of backing tracks. $27.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| The Disney Fake Book - 4th Edition Melody line, Lyrics and Chords [Fake Book] Hal Leonard Composed by Various. Fake
Book. Softcover. 288
pages.
Published by Hal Leonard
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| Jason Mraz - Strum and Sing Lyrics and Chords [Sheet music] - Easy Cherry Lane
By Jason Mraz. Easy Guitar. Softcover. 144 pages. Published by Cherry Lane Music...(+)
By Jason Mraz. Easy Guitar. Softcover. 144 pages. Published by Cherry Lane Music
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| 101 Disney Songs Recorder - Beginner Hal Leonard
For Recorder. Composed by Various. Instrumental Folio. Children, Disney, Movie...(+)
For Recorder. Composed by
Various. Instrumental Folio.
Children, Disney, Movies.
Softcover. Published by Hal
Leonard
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| 101 Disney Songs Alto Saxophone - Easy Hal Leonard
For Alto Sax. Composed by Various. Instrumental Folio. Softcover. 112 pages. ...(+)
For Alto Sax. Composed by
Various. Instrumental Folio.
Softcover. 112 pages.
Published by Hal Leonard
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| 101 Disney Songs Percussion Hal Leonard
For Bells/Glockenspiel. Composed by Various. Instrumental Folio. Children, Di...(+)
For Bells/Glockenspiel.
Composed by Various.
Instrumental Folio. Children,
Disney, Movies. Softcover.
112 pages. Duration 140
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| Connect 6 Audio Interface Hal Leonard
SKU: HL.1138127 Lewitt Audio. Audio Interface Unit. Hal Leonard #CONNECT6...(+)
SKU: HL.1138127 Lewitt Audio. Audio Interface Unit. Hal Leonard #CONNECT6. Published by Hal Leonard (HL.1138127). ISBN 9781705183397. UPC: 847986002242. 8.5x11.0x3.0 inches. CONNECT 6 is a Dual USB-C audio interface with game-changing flexibility for creators and musicians. It features extensive analog and digital connectivity, full iOS/Android device integration, and crystal-clear sounding studio-grade preamps. The onboard DSP effects provide fantastic sound for vocals and instruments with zero-latency. Auto Setup helps to find your optimal settings automatically. The included CONTROL CENTER software offers virtual channels, a mixer, loopback, and individual audio routing. You can set up workflows from basic to complex easily. Since your audio is processed via the hardware-based DSP, your setup is highly stable and independent of your computer's performance. Everything is conveniently managed on a single device–no more workarounds. Features: • Dual USB-C audio interface for creators and musicians • 2 Crystal-clear studio-grade preamps with 72 dB gain and low-noise performance of -133 dBV EIN • Auto Setup dials in optimal settings for your voice or instrument automatically • Powerful hardware-based DSP for routing, mixing, zero-latency FX (Compressor, 4-band EQ, Expander, Maximizer) and monitoring • 2 Independent headphone outputs powerful enough to drive any studio headphone (6.35 mm & 3.5 mm) • Full mobile device audio integration with charging via USB-C (Apple MFI certified - Made for iPhone, iPad / Android) • 2 Balanced speaker outputs (6.35 mm / 1/4 inch) • 1 Stereo speaker out (3.5 mm / 1/8 inch) • 1 Stereo aux input for additional audio devices (3.5 mm / 1/8 inch) • 3 Virtual stereo channels for custom audio routing • 1 Loopback channel to digitally record your computer's audio • 2 Independent master mixes with one-knob Maximizer • ASIO driver included • CONTROL CENTER for Mac and Windows • Licenses for Steinberg's Cubase LE, Cubasis LE included • 1 USB-C to USB-C and 1 USB-C to USB-A cable included. $299.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Bob Dylan: Bob Dylan - Leatherette Songbook Piano, Vocal and Guitar [Sheet music] - Intermediate Music Sales
(P/V/G Folio). By Bob Dylan. For voice, piano and guitar chords. Piano. Folk Roc...(+)
(P/V/G Folio). By Bob Dylan. For voice, piano and guitar chords. Piano. Folk Rock. Difficulty: medium. Songbook. Vocal melody, piano accompaniment, lyrics, chord names and guitar chord diagrams. 180 pages. Music Sales #AM91466. Published by Music Sales
$27.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Hal Leonard Guitar Tab Method Guitar Hal Leonard
Guitar SKU: HL.146362 Book Only. Guitar Tab Method. Instruction. S...(+)
Guitar SKU: HL.146362 Book Only. Guitar Tab Method. Instruction. Softcover. Published by Hal Leonard (HL.146362). ISBN 9781495023354. UPC: 888680070212. 9.0x12.0x0.11 inches. “The ultimate learning tool to go from zero to guitar hero in no time!†–Guitar World magazine Designed for electric or acoustic guitar. Get started quickly and easily – with songs you want to play! This method introduces notes with riffs like “Crazy Train†and “Smoke on the Water,†power chords with classics by AC/DC and the Who, chord-strumming with songs from Neil Young and Nirvana, and much more. The method's unique, well-paced, and logical teaching sequence will get students playing more easily than ever before, and music from popular artists like the Beatles, Jimi Hendrix, and Led Zeppelin will keep them playing and having fun. Book 1 includes: parts of the guitar, easy-to-follow guitar tablature, notes & riffs starting on the low E string, tempo & time signatures, understanding notes and rests, palm muting, vibrato, power chords, open chords, strumming, slides and slurs, hammer-ons and pull-offs, many music styles, nearly 100 riffs and songs, and more! $7.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Disney Favorites Guitar - Easy Hal Leonard
Performed by Various. For easy guitar. Strum It (Guitar). Size 9x12 inches. 64 p...(+)
Performed by Various. For easy guitar. Strum It (Guitar). Size 9x12 inches. 64 pages. Published by Hal Leonard.
$14.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
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