| 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.
(8)$49.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Exercises for Three Finger Banjo Banjo - Beginner Mel Bay
Composed by Jack Hatfield. Squareback saddle stitch. Book. Published by Mel Bay ...(+)
Composed by Jack Hatfield. Squareback saddle stitch. Book. Published by Mel Bay Publications, Inc (MB.99783).
$24.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Canadian Fiddle Music Volume 1 Violin [Sheet music] Mel Bay
compiled by Dr. Ed Whitcomb. For Fiddle. songbook. Canadian. Level: Beginning-In...(+)
compiled by Dr. Ed Whitcomb. For Fiddle. songbook. Canadian. Level: Beginning-Intermediate. Book. Size 8.75x11.75. 224 pages. Published by Mel Bay Publications, Inc.
(1)$29.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Blue Horizons - Intermediate Carl Fischer
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clar...(+)
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clarinet 3, Contrabass Clarinet, English Horn, Flute 1, Flute 2, Horn 1, Horn 2, Horn 3, Horn 4, Oboe 1, Oboe 2, Piccolo, Trumpet 1, Trumpet 2, Trumpet 3, alto Saxophone 1 and more. - Grade 5 SKU: CF.SPS85 Composed by Jeremy Martin. Folio. Sps. Set of Score and Parts. 4+28+28+14+14+4+14+14+7+24+28+28+8+4+8+8+14+8+9+12+12+8+8+8+8+12+12+9+12+8+16+4+3+2+6+6+6+7+44 pages. Duration 7 minutes, 8 seconds. Carl Fischer Music #SPS85. Published by Carl Fischer Music (CF.SPS85). ISBN 9781491156421. UPC: 680160914968. 9 x 12 inches. Blue Horizons is a spirited tribute to the musical heritage of the United States Air Force. The main theme is a variation of the U.S. Air Force Song (Off We Go), with a secondary theme based on A Toast to the Host (the bridge of The Air Force Song). Throughout the work, fragments of other Air Force-related songs appear: Lord, Guard and Guide (the Air Force Hymn), Air Force Blue, and Those Magnificent Men in Their Flying Machines. The original request for this work was a daunting task: I was asked to create an Air Force companion piece to Robert Jager's Esprit de Corps that would mirror the style and spirit of that landmark work. The goal was to use elements of our various Air Force tunes in the same way that Jager incorporated The Marine's Hymn into his work - that is, to weave a musical tapestry of the Air Force's musical heritage without ever becoming a mere arrangement of the original material. As a former student of Robert Jager at Tennessee Technological University, I discussed my plans for the piece with him, shared my progress along the way, and sought his guidance as I had done so many times in the past. He was delighted that I managed to incorporate a few Jager-isms into the music, including one direct quote from Esprit de Corps. Although Blue Horizons was conceived as a dedication to the Air Force's musical legacy, it is also a personal homage to my teacher and friend, Robert Jager. Performance Notes * If only two flutists are available, omit the piccolo part and have them play Flute 1 and 2; in this case, Flute 1 should switch over to piccolo (still playing from the Flute 1 part) at m. 81 and back to regular flute at m. 114. If only covering the Flute 1 and 2 parts, Flute 2 should ignore indications to switch to piccolo and just play the entire work on regular flute. * Oboe 1 and 2 parts should be covered before adding the English Horn part. * The clarinet in Eb part should not be covered unless there are a sufficient number of players on the clarinet in Bb parts. * The trumpet cues in mm. 77-80 are only necessary if the horns need assistance finishing their soli phrase with enough strength to be heard. If you can hear them without extra support, leave the trumpets out. * From mm. 89-95, be sure the wind players with static eighth notes do not cover up the players with moving lines. * There is a strong tendency to rush m. 121. * During the oboe solo from mm. 157-168, ensure that the suspension/resolution lines in the bassoon and clarinet parts are heard; emphasize the importance of growing into the suspension with a slight crescendo. * In the scherzo section that begins at m. 217, be sure that each player knows how his/her part fits into the overall sound. I recommend isolating different textural items so the players can hear those parts on their own. (The bass line from mm. 243-260, for example, or the moving inner-voice line from mm. 251-260.) * In this same scherzo section, care should be taken to not play too loud and save a little strength for the climax fanfare at m. 279. * If you have an abundance of tubas, I would recommend having one or two of them play up an octave from mm. 243-271 if the lower part seems too heavy. Blue Horizons is a spirited tribute to the musical heritage of the United States Air Force. The main theme is a variation of the U.S. Air Force Song (Off We Go), with a secondary theme based on A Toast to the Host (the bridge of The Air Force Song). Throughout the work, fragments of other Air Force-related songs appear: Lord, Guard and Guide (the Air Force Hymn), Air Force Blue, and Those Magnificent Men in Their Flying Machines.The original request for this work was a daunting task: I was asked to create an Air Force “companion piece†to Robert Jager’s Esprit de Corps that would mirror the style and spirit of that landmark work. The goal was to use elements of our various Air Force tunes in the same way that Jager incorporated The Marine’s Hymn into his work – that is, to weave amusical tapestry of the Air Force’s musical heritage without ever becoming a mere arrangement of the original material. As a former student of Robert Jager at Tennessee Technological University, I discussed my plans for the piece with him, shared my progress along the way, and sought his guidance as I had done so many times in the past. He was delighted that I managed to incorporate a few “Jager-isms†into the music, including one direct quote from Esprit de Corps. Although Blue Horizons was conceived asa dedication to the Air Force’s musical legacy, it is also a personal homage to my teacher and friend, Robert Jager.Performance Notes• If only two flutists are available, omit the piccolo part and have them play Flute 1 and 2; in this case, Flute 1 should switch over to piccolo (still playing from the Flute 1 part) at m. 81 and back to regular flute at m. 114. If only covering the Flute 1 and 2 parts, Flute 2 should ignore indications to switch to piccolo and just play the entire work on regular flute.• Oboe 1 and 2 parts should be covered before adding the English Horn part.• The clarinet in Eb part should not be covered unless there are a sufficient number of players on the clarinet in Bb parts.• The trumpet cues in mm. 77-80 are only necessary if the horns need assistance finishing their soli phrase with enough strength to be heard. If you can hear them without extra support, leave the trumpets out.• From mm. 89-95, be sure the wind players with static eighth notes do not cover up the players with moving lines.• There is a strong tendency to rush m. 121.• During the oboe solo from mm. 157-168, ensure that the suspension/resolution lines in the bassoon and clarinet parts are heard; emphasize the importance of growing into the suspension with a slight crescendo.• In the scherzo section that begins at m. 217, be sure that each player knows how his/her part fits into the overall sound. I recommend isolating different textural items so the players can hear those parts on their own. (The bass line from mm. 243-260, for example, or the moving inner-voice linefrom mm. 251-260.)• In this same scherzo section, care should be taken to not play too loud and save a little strength for the climax fanfare at m. 279.• If you have an abundance of tubas, I would recommend having one or two of them play up an octave from mm. 243-271 if the lower part seems too heavy. $150.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Blue Horizons [Score] - Intermediate Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon 1, Bassoon 2, Chimes, Clarinet, Clarinet ...(+)
Band Bass Clarinet, Bass Drum, Bassoon 1, Bassoon 2, Chimes, Clarinet, Clarinet 1, Clarinet 2, Clarinet 3, Contrabass Clarinet, Crash Cymbals, English Horn, Euphonium, Euphonium T.C., Flute 1, Flute 2, Glockenspiel, Harp, Horn 1, Horn 2, Horn 3 and more. - Grade 5 SKU: CF.SPS85F Composed by Jeremy Martin. Sws. Sps. Full score. 44 pages. Duration 7 minutes, 8 seconds. Carl Fischer Music #SPS85F. Published by Carl Fischer Music (CF.SPS85F). ISBN 9781491156438. UPC: 680160914975. 9 x 12 inches. Blue Horizons is a spirited tribute to the musical heritage of the United States Air Force. The main theme is a variation of the U.S. Air Force Song (Off We Go), with a secondary theme based on A Toast to the Host (the bridge of The Air Force Song). Throughout the work, fragments of other Air Force-related songs appear: Lord, Guard and Guide (the Air Force Hymn), Air Force Blue, and Those Magnificent Men in Their Flying Machines. The original request for this work was a daunting task: I was asked to create an Air Force companion piece to Robert Jager's Esprit de Corps that would mirror the style and spirit of that landmark work. The goal was to use elements of our various Air Force tunes in the same way that Jager incorporated The Marine's Hymn into his work - that is, to weave a musical tapestry of the Air Force's musical heritage without ever becoming a mere arrangement of the original material. As a former student of Robert Jager at Tennessee Technological University, I discussed my plans for the piece with him, shared my progress along the way, and sought his guidance as I had done so many times in the past. He was delighted that I managed to incorporate a few Jager-isms into the music, including one direct quote from Esprit de Corps. Although Blue Horizons was conceived as a dedication to the Air Force's musical legacy, it is also a personal homage to my teacher and friend, Robert Jager. Performance Notes * If only two flutists are available, omit the piccolo part and have them play Flute 1 and 2; in this case, Flute 1 should switch over to piccolo (still playing from the Flute 1 part) at m. 81 and back to regular flute at m. 114. If only covering the Flute 1 and 2 parts, Flute 2 should ignore indications to switch to piccolo and just play the entire work on regular flute. * Oboe 1 and 2 parts should be covered before adding the English Horn part. * The clarinet in Eb part should not be covered unless there are a sufficient number of players on the clarinet in Bb parts. * The trumpet cues in mm. 77-80 are only necessary if the horns need assistance finishing their soli phrase with enough strength to be heard. If you can hear them without extra support, leave the trumpets out. * From mm. 89-95, be sure the wind players with static eighth notes do not cover up the players with moving lines. * There is a strong tendency to rush m. 121. * During the oboe solo from mm. 157-168, ensure that the suspension/resolution lines in the bassoon and clarinet parts are heard; emphasize the importance of growing into the suspension with a slight crescendo. * In the scherzo section that begins at m. 217, be sure that each player knows how his/her part fits into the overall sound. I recommend isolating different textural items so the players can hear those parts on their own. (The bass line from mm. 243-260, for example, or the moving inner-voice line from mm. 251-260.) * In this same scherzo section, care should be taken to not play too loud and save a little strength for the climax fanfare at m. 279. * If you have an abundance of tubas, I would recommend having one or two of them play up an octave from mm. 243-271 if the lower part seems too heavy. Blue Horizons is a spirited tribute to the musical heritage of the United States Air Force. The main theme is a variation of the U.S. Air Force Song (Off We Go), with a secondary theme based on A Toast to the Host (the bridge of The Air Force Song). Throughout the work, fragments of other Air Force-related songs appear: Lord, Guard and Guide (the Air Force Hymn), Air Force Blue, and Those Magnificent Men in Their Flying Machines.The original request for this work was a daunting task: I was asked to create an Air Force “companion piece†to Robert Jager’s Esprit de Corps that would mirror the style and spirit of that landmark work. The goal was to use elements of our various Air Force tunes in the same way that Jager incorporated The Marine’s Hymn into his work – that is, to weave amusical tapestry of the Air Force’s musical heritage without ever becoming a mere arrangement of the original material. As a former student of Robert Jager at Tennessee Technological University, I discussed my plans for the piece with him, shared my progress along the way, and sought his guidance as I had done so many times in the past. He was delighted that I managed to incorporate a few “Jager-isms†into the music, including one direct quote from Esprit de Corps. Although Blue Horizons was conceived asa dedication to the Air Force’s musical legacy, it is also a personal homage to my teacher and friend, Robert Jager.Performance Notes• If only two flutists are available, omit the piccolo part and have them play Flute 1 and 2; in this case, Flute 1 should switch over to piccolo (still playing from the Flute 1 part) at m. 81 and back to regular flute at m. 114. If only covering the Flute 1 and 2 parts, Flute 2 should ignore indications to switch to piccolo and just play the entire work on regular flute.• Oboe 1 and 2 parts should be covered before adding the English Horn part.• The clarinet in Eb part should not be covered unless there are a sufficient number of players on the clarinet in Bb parts.• The trumpet cues in mm. 77-80 are only necessary if the horns need assistance finishing their soli phrase with enough strength to be heard. If you can hear them without extra support, leave the trumpets out.• From mm. 89-95, be sure the wind players with static eighth notes do not cover up the players with moving lines.• There is a strong tendency to rush m. 121.• During the oboe solo from mm. 157-168, ensure that the suspension/resolution lines in the bassoon and clarinet parts are heard; emphasize the importance of growing into the suspension with a slight crescendo.• In the scherzo section that begins at m. 217, be sure that each player knows how his/her part fits into the overall sound. I recommend isolating different textural items so the players can hear those parts on their own. (The bass line from mm. 243-260, for example, or the moving inner-voice linefrom mm. 251-260.)• In this same scherzo section, care should be taken to not play too loud and save a little strength for the climax fanfare at m. 279.• If you have an abundance of tubas, I would recommend having one or two of them play up an octave from mm. 243-271 if the lower part seems too heavy. $18.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| The Total Blues Bassist Bass guitar [Sheet music + CD] Alfred Publishing
A Fun and Comprehensive Overview of Blues Bass Playing. By Matthew Liston. For B...(+)
A Fun and Comprehensive Overview of Blues Bass Playing. By Matthew Liston. For Bass Guitar. Bass Guitar Method or Supplement. Blues. Book and CD. 128 pages. Published by Alfred Publishing.
$20.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| The Total Rock Keyboardist Keyboard [Sheet music + CD] Alfred Publishing
Written by Joe Bouchard, Sheila Romeo. Instructional book and examples CD for ke...(+)
Written by Joe Bouchard, Sheila Romeo. Instructional book and examples CD for keyboard. 128 pages. Published by Alfred Publishing.
$19.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Jazz Dream Theodore Presser Co.
Chamber Music Flute(s) SKU: PR.144407290 Composed by Ali Ryerson. Perform...(+)
Chamber Music Flute(s) SKU: PR.144407290 Composed by Ali Ryerson. Performance Score. 4 pages. Duration 4 minutes. Theodore Presser Company #144-40729. Published by Theodore Presser Company (PR.144407290). ISBN 9781491135150. UPC: 680160687008. Jazz luminary Ali Ryerson traces a unique and personal artistic path in this solo work. With an engaging form reminiscent of jazz charts (a dreamy introduction, a catchy, swinging head, and improvisatory-feeling 12-bar choruses), Ryerson’s music pays deeply-felt homage to Charlie Parker and other jazz greats, while maintaining an organic connection to the lineage of unaccompanied woodwind music in the classical tradition. Classical players will gain insight into jazz harmony, rhythm, and expression as they learn this knockout recital piece, while Ryerson fans in the jazz world gain an image of her musical mind in this fully-notated composition. Jazz Dream, a jazz-inspired solo flute piece, was commissioned by Claudia Anderson for her Glass Ceilings project. Claudia once told me that playing jazz flute has been one of her musical ambitions. I daresay her performance of JD could very well break a glass ceiling of her own!Moved by the events of 2020, composing Jazz Dream became my way of honoring my musical heroes from the Black community, namely the jazz musicians who created this music and truly broke glass ceilings. As jazz shares its origins with the blues, both genres having originated in the African-American community, I decided on a 12-bar blues form as the framework for the piece.The opening theme gently draws us into a dream-like state, with a melody in slow motion and lines that linger. When the REM cycle kicks into gear, there’s an abrupt rhythmic shift that leads straight into a swingin’ blues. Idiomatic jazz rhythms abound, with blue notes galore – the tension notes that virtually define the sound of both the blues and jazz (i.e. the flatted third, fifth, and seventh notes of a scale in place of the expected major intervals).After several groovin’ choruses of a 12-bar blues in B(, often played as if the soloist is improvising, the blues modulates to the key of E(, and as a tribute to the great Charlie Parker (AKA Bird), I harmonically suggest the more complex set of bebop changes that Parker introduced in his composition, Blues for Alice. Often referred to as Bird Changes or Bird Blues, instead of the basic I - IV – V chord progression commonly used in the blues, Parker used a series of sequential ii-V progressions (and secondary ii-V progressions). With the addition of some tritone substitutions, a chromatically descending bass line deftly replaces the original I-IV-V root movement. This is the harmonic background I was hearing as I wrote this particular chorus.After my 12-bar nod to Bird’s changes, the introductory dream theme returns, now in tempo and with a straight-ahead swing feel. Variations on this theme follow, again to be played as if improvising, with the soloist once again bringing their own personality into the performance. This section builds to a climax, the music pauses, then modulates to C, with a return to the original blues theme. The energy and groove increase through the final flourish, where a blues line ends on the idiomatic flatted fifth. $9.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Total Beginning Guitarist Guitar notes and tablatures [Sheet music + CD] - Beginner Alfred Publishing
(A Fun and Comprehensive Beginning Method Featuring Rock, Blues, and Jazz Styles...(+)
(A Fun and Comprehensive Beginning Method Featuring Rock, Blues, and Jazz Styles). By Rich Hinman and Amanda Monaco. For Guitar. Book; CD; Guitar Method or Supplement; Method/Instruction. The Total Guitarist. Beginner. 128 pages. Published by Alfred Music Publishing
$19.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| A Perfect Fit
Features the music of David Shaffer, Warren Barker, Lennie Niehaus, Quincy Hilli...(+)
Features the music of David Shaffer, Warren Barker, Lennie Niehaus, Quincy Hilliard, Barry Kopetz and Andre Jutras, who are among the premier composers of wind band music in the world today. From the bright fanfares of David Shaffer's Flight Of The Pegasus to the lush flowing melodic lines in Warren Barker's superb arrangement of the Welsh standard, Danny Boy, this is music everyone will enjoy!
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Shaffer: Flight of the Pegasus
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Jutras: A Barrie North Celebration
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Barker: Deir Un De'
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Shaffer: Suncoast Carnival
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Barker: Overture A La Russe
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Kopetz: Knightsbridge Chronicles
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Hilliard: Variations On An Africal Hymnsong
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Barker: Danny Boy
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Niehaus: Morro Bay
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Shaffer: Regatta For Winds
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Barker: By The Rivers Bend
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| Hal Leonard Acoustic Guitar Tab Method - Combo Edition Guitar notes and tablatures Acoustic guitar [Sheet music + Audio access] Hal Leonard
Books 1 and 2 with Online Audio, Plus Bonus Material. By Various. Guitar Tab ...(+)
Books 1 and 2 with Online
Audio, Plus Bonus Material.
By Various. Guitar Tab
Method. Acoustic,
Instruction. Softcover Audio
Online. With guitar
tablature. 82 pages.
Published by Hal Leonard
$27.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Playing Keyboard My Hobby +cd - Beginner Schott
Keyboard (NOTEN+CD) - very easy to intermediate SKU: HL.49033180 The m...(+)
Keyboard (NOTEN+CD) - very easy to intermediate SKU: HL.49033180 The modern Keyboardschool. Composed by Bye. This edition: Ring/Spiral binding. Sheet music with CD. Edition Schott. Edition with CD. 104 pages. Schott Music #ED 9591. Published by Schott Music (HL.49033180). ISBN 9783795756352. German. Diese Keyboardschule richtet sich an alle Lehrer und Schuler, die das Keyboard mit Begleitautomatik als vollwertiges Instrument spielen lernen mochten. Die Lerninhalte sind textlich und grafisch ubersichtlich aufbereitet, und die zahlreichen beliebten Stucke motivieren zum Spielen und Uben. Die Vorteile dieser Schule: Fingered-Chord-Methode: Die linke Hand wird konsequent fur die Begleitung eingesetzt. Sounds, Style, Sync-Start, Intro, Fill-In, Ending usw: Diese Schule stellt endlich auch Keyboard-Techniken heraus. Die Spielstucke sind fur den Gruppenunterricht geeignet. Leicht verstandliche Erklarungen von Musiktheorie und musikalischem Grundwissen Test zur Lernkontrolle am Ende eines jeden KapitelsNeu: vergrossertes Rastral zur besseren LesbarkeitMit neuen, didaktisch aufbereiteten InfoboxenMehr Praxis geht nicht! $33.00 - See more - Buy online | | |
| Enjoy Playing Guitar Tutor Book 1 (with CD) Guitar [CD] Oxford University Press
By Debbie Cracknell. For Guitar tutor. Enjoy Playing Guitar. 64 pages. Published...(+)
By Debbie Cracknell. For Guitar tutor. Enjoy Playing Guitar. 64 pages. Published by Oxford University Press
$20.50 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| The Classical Music Fake Book
C Instruments [Fake Book] Music Sales
Composed by Various. Arranged by Peter Lavender. Music Sales America. Baroque an...(+)
Composed by Various. Arranged by Peter Lavender. Music Sales America. Baroque and Classical Period. Fake book (softcover). With melody line (no accompaniment included) and chord names. 128 pages. Music Sales #AM92350. Published by Music Sales
(7)$19.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Piano Treasury of Easy Classical Music
Piano solo [Sheet music + CD] - Easy Music Sales
Edited by Amy Appleby. Collection and examples CD for easy solo piano. Over 200 ...(+)
Edited by Amy Appleby. Collection and examples CD for easy solo piano. Over 200 great masterpieces from the baroque, classical, romantic and modern eras. Series: Piano Treasury Series. 399 pages. Published by Music Sales.
(1)$34.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Children's Fiddling Method Volume 2 Violin [Sheet music + Audio access] - Easy Mel Bay
Composed by Carol Ann Wheeler. Squareback saddle stitch, Country, Bluegrass, Met...(+)
Composed by Carol Ann Wheeler. Squareback saddle stitch, Country, Bluegrass, Method, Children and Young Beginner. Style. Book and online audio. 104 pages. Mel Bay Publications, Inc #95279M. Published by Mel Bay Publications, Inc
(1)$19.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| American Primitive Guitar Guitar notes and tablatures [Sheet music + CD] - Intermediate Grossman's Guitar Workshop
Taught by John Fahey. For Guitar (Fingerpicking). Solos. Grossman Audio. America...(+)
Taught by John Fahey. For Guitar (Fingerpicking). Solos. Grossman Audio. American. Level: Intermediate. Book/CD Set. Size 8.5x11. 56 pages. Published by Grossman's Guitar Workshop.
$26.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Zephyrus Theodore Presser Co.
Chamber Music SKU: PR.164002120 Composed by Dan Welcher. Set of Score and...(+)
Chamber Music SKU: PR.164002120 Composed by Dan Welcher. Set of Score and Parts. With Standard notation. 32+16+12+12+12 pages. Duration 16 minutes. Theodore Presser Company #164-00212. Published by Theodore Presser Company (PR.164002120). UPC: 680160037582. Works of chamber music including flute and strings are not nearly as numerous as those for clarinet, or even the oboe. Probably the reason for this is the less assertive, more pure tone the flute possesses - it can't compete for volume or range with the clarinet, except in its top octave, and the oboe's tone is more penetrating and easily discerned from within a string texture. Consequently, composers who have written for flute and strings have done so in lightweight divertimento works: compare, for instance, the delicate flute quartets of Mozart with his monumental quintet for clarinet and strings. When Karl and Joan Karber approached me with the ideas of writing a work for flute and string trio, I originally thought it would be best to write a humorous, rather offhand piece - but a look at their repertoire (mostly comprised of smaller works of the Rococo period) convinced me that it was the last thing they needed. In spite of the challenge (or maybe because of it?), I determined to write a large work, and a serious work. Zephyrus (named for the God of the West Wind, in deference to the flute) is a three-movement work, with each movement cast in a very different form, but all three being built of the same twelve-note series. There is also a rhythmic motive and a pair of themes that appear in all three movements. The first movement plays with the idea of contrast and persuasion. The flute, at the outset, is the hell-for-leather protagonist, charging and swooping around the strings - who seem oddly unconcerned by his passion. Indeed, they have a more somber song to sing - and as the movement unfolds, the flute becomes less and less active, while the strings become increasingly enlivened. By the midpoint, when all four instruments are finally in the same meter and the same tempo, the flute's energy has finally infected the other three players, and this energy does not let up until the movement's abrupt final cadence. The second movement begins with a tag from the first - as if the energy left over was too great to simply stop. At length, though, a very poignant flute melody appears over an almost bluesy harmony in the strings. After this has been fully exposed, a slight increase in motion, marked gently rocking in triplets, features a theme-fragment from Leonard Bernstein's Symphony No. 2 (Kaddish). Bernstein died as I was writing this work, and it seemed quite natural to encourage what was already implicit in the music, and create an Elegy for L.B. The music rises and peaks, then in the recapitulation of the opening the Kaddish theme reappears, as the ensemble suggests a gentle song of sleep. The final movement is a Rondo-Variations form, with the slight alteration of adding the main theme of the second movement in what would be the trio of the form. The ritornello theme is a kind of ethnic dance music, almost an allusion to the Klezmer ensembles of Eastern Europe. The successive episodes between the ritornelli are loosely organized variations on the basic theme, but always beginning with a metric modulation, a rhythmic changing of gears. The movement reaches and apex of speed and furious pulsing, then abruptly pirouttes, and finishes. Zephyrus was written between April and November of 1990 in Austin, Aspen, and Honolulu, and is dedicated to Karl Kraber and The Chamber Soloists of Austin. --Dan Welcher. $85.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Zephyrus Theodore Presser Co.
SKU: PR.16400212S Composed by Dan Welcher. With Standard notation. Durati...(+)
SKU: PR.16400212S Composed by Dan Welcher. With Standard notation. Duration 16 minutes. Theodore Presser Company #164-00212S. Published by Theodore Presser Company (PR.16400212S). UPC: 680160037605. Works of chamber music including flute and strings are not nearly as numerous as those for clarinet, or even the oboe. Probably the reason for this is the less assertive, more pure tone the flute possesses - it can't compete for volume or range with the clarinet, except in its top octave, and the oboe's tone is more penetrating and easily discerned from within a string texture. Consequently, composers who have written for flute and strings have done so in lightweight divertimento works: compare, for instance, the delicate flute quartets of Mozart with his monumental quintet for clarinet and strings. When Karl and Joan Karber approached me with the ideas of writing a work for flute and string trio, I originally thought it would be best to write a humorous, rather offhand piece - but a look at their repertoire (mostly comprised of smaller works of the Rococo period) convinced me that it was the last thing they needed. In spite of the challenge (or maybe because of it?), I determined to write a large work, and a serious work. Zephyrus (named for the God of the West Wind, in deference to the flute) is a three-movement work, with each movement cast in a very different form, but all three being built of the same twelve-note series. There is also a rhythmic motive and a pair of themes that appear in all three movements. The first movement plays with the idea of contrast and persuasion. The flute, at the outset, is the hell-for-leather protagonist, charging and swooping around the strings - who seem oddly unconcerned by his passion. Indeed, they have a more somber song to sing - and as the movement unfolds, the flute becomes less and less active, while the strings become increasingly enlivened. By the midpoint, when all four instruments are finally in the same meter and the same tempo, the flute's energy has finally infected the other three players, and this energy does not let up until the movement's abrupt final cadence. The second movement begins with a tag from the first - as if the energy left over was too great to simply stop. At length, though, a very poignant flute melody appears over an almost bluesy harmony in the strings. After this has been fully exposed, a slight increase in motion, marked gently rocking in triplets, features a theme-fragment from Leonard Bernstein's Symphony No. 2 (Kaddish). Bernstein died as I was writing this work, and it seemed quite natural to encourage what was already implicit in the music, and create an Elegy for L.B. The music rises and peaks, then in the recapitulation of the opening the Kaddish theme reappears, as the ensemble suggests a gentle song of sleep. The final movement is a Rondo-Variations form, with the slight alteration of adding the main theme of the second movement in what would be the trio of the form. The ritornello theme is a kind of ethnic dance music, almost an allusion to the Klezmer ensembles of Eastern Europe. The successive episodes between the ritornelli are loosely organized variations on the basic theme, but always beginning with a metric modulation, a rhythmic changing of gears. The movement reaches and apex of speed and furious pulsing, then abruptly pirouttes, and finishes. Zephyrus was written between April and November of 1990 in Austin, Aspen, and Honolulu, and is dedicated to Karl Kraber and The Chamber Soloists of Austin. --Dan Welcher. $38.99 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Blues Horn Ensemble book/CD Saxophone [Sheet music + Audio access] ADG productions
Composed by Andrew D. Gordon and Frank Villafranca. Saddle stitch. Blues/Saxopho...(+)
Composed by Andrew D. Gordon and Frank Villafranca. Saddle stitch. Blues/Saxophone Instruction. Book and Downloadable audio. Duration 60 minutes. Published by ADG Productions
$21.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Mel Bay's Complete Jazz Flute Book
Flute [Sheet music] - Intermediate Mel Bay
by William Bay. For flute. Complete. Jazz. Level: Intermediate. Book. Method. Si...(+)
by William Bay. For flute. Complete. Jazz. Level: Intermediate. Book. Method. Size 8.75x11.75. 144 pages. Published by Mel Bay Pub., Inc.
(3)$24.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| You Can Teach Yourself Banjo - DVD Banjo [DVD] - Easy Mel Bay
By Janet Davis. For Banjo (5-String). method. You Can Teach Yourself. All Styles...(+)
By Janet Davis. For Banjo (5-String). method. You Can Teach Yourself. All Styles. Level: Beginning. Book DVD. Size 8.75x11.75. 116 pages. Published by Mel Bay Publications, Inc.
(3)$19.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Chord Progressions -- Theory and Practice Musical course - Solfege [Book] Alfred Publishing
(Everything You Need to Create and Use Chords in Every Key). By Dan Fox and Dick...(+)
(Everything You Need to Create and Use Chords in Every Key). By Dan Fox and Dick Weissman. Book; Reference Textbooks; Textbook - General; Theory. 96 pages. Published by Alfred Music
$17.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Blues Fiddle on the Fringe String Orchestra [Score and Parts] - Intermediate Highland/Etling
Composed by Julie Lyonn Lieberman. Orchestra. For string w/ drumset. Part(s); Sc...(+)
Composed by Julie Lyonn Lieberman. Orchestra. For string w/ drumset. Part(s); Score; String Orchestra. Highland String Alternatives. Blues; Jazz; Light Concert. Grade 3. 128 pages. Published by Highland/Etling
$47.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| You Can Teach Yourself Blues Harp Harmonica [DVD] - Easy Mel Bay
taught by Phil Duncan. You Can Teach Yourself. Level: Beginning. Book DVD. Size ...(+)
taught by Phil Duncan. You Can Teach Yourself. Level: Beginning. Book DVD. Size 8.75x11.75. 84 pages. Published by Mel Bay Pub., Inc.
$19.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
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