| Trumpet Basics Pupils Book Trumpet Faber Music Limited
Trumpet SKU: HU.F0571519989 Brass, Methods. Trumpet Basics (pupil's book). Soft...(+)
Trumpet
SKU: HU.F0571519989
Brass, Methods. Trumpet Basics (pupil's book). Softcover Book. 64 pages. Faber Music #F0571519989. Published by Faber Music (HU.F0571519989).
12 x 9 x 0.2 inches.
$20.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Friedrichs - Warming Up Together, 40 Duets for Trombones - Intermediate Cherry Classics
Trombone Duet Method book - Late Intermediate SKU: CY.CC3162 Composed by ...(+)
Trombone Duet Method book - Late Intermediate SKU: CY.CC3162 Composed by Andrew Friedrichs. Classical. Book. Cherry Classics #CC3162. Published by Cherry Classics (CY.CC3162). ISBN 9790530111321. 8.5 x 11 in inches. Here is a description of Warming Up Together from the composer, Andrew Friedrichs: Warming Up Together is a book of duets that are designed to provide a musical context as well as a focus on specific areas of technique. There are eight sections in this book that correspond to what I feel are the most fundamental components of trombone technique: tone (long tones), flexibility (slow slurs, wide slurs, and fast slurs), range (high range and low range), and articulation (slow articulation and fast articulation). The idea for this book came out of my own warm up. I was trying to develop a warm up routine that was a series of technical categories rather than a series of exercises, but I also wanted to have the opportunity to be able to play it with someone else. As a trombone player and teacher, I have made specific choices within the duets based on technical challenges that I've observed in my own playing and in the playing of students and colleagues. As a composer, I've focused on addressing various styles in order to keep the duets fun and fresh while allowing the musical contexts to be as far reaching as possible in their application. As a not-to-be-taken-seriously backrow member of the orchestra, I've thrown in the critical element of terrible humor by way of pathetic jokes and ignominious puns. $25.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| 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 | | |
| Go for Guitar! Volume 1 MDS (Music Distribution Services) (+)
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Warming Ups
-
Chinese Riverboat Song
-
Hands Free
-
Kalinda
-
Trinity
-
Easy Strings
-
Turn and Turn About
-
La Petite Valse
-
Holiday at C
-
Little and Large
-
Cha Cha Cha
-
Let's Rock
-
Poesta
-
Kibboets
-
Popcorn
-
Double Talk
-
Plaisir d'Amour
-
Duet 1
-
Duet 2
-
After Beat
-
Chicago Blues
-
More Warming Ups
-
Jee Mineur
-
Blues In E
-
Winter ade
-
Slovakian Dance
-
Hungarian Dance
-
Duo 1
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Duo 2
-
Espana
-
Let's Boogie Beethoven
-
Preliminary Exercise
-
He's a Jolly Good Fellow
-
Shanty
-
Row the Boat
-
Le Coq Est Mort
-
This Old Man
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Czardas
-
Arabesca
-
Dangerous Crossroads
-
Russian Lullaby
-
Kapren Varen
-
Old Head Of Kinsale
-
SMS'je
-
E harmonic minor
-
Caravan
-
Trio
-
Celtic Dance
-
Tres Guitarras
-
Blues
| | |
| The Young Flute Player Book 4 Music Distribution Services
2 or 3 flutes SKU: M7.APUE-516087 Beginner Duets & Trios. Composed...(+)
2 or 3 flutes SKU: M7.APUE-516087 Beginner Duets & Trios. Composed by Karen North. Sheet music. 32 pages. MDS (Music Distribution Services) #APUE 516087. Published by MDS (Music Distribution Services) (M7.APUE-516087). ISBN 9781875516087. Young players who are just starting to read music can find it very difficult to follow a duet or trio. This book solves the problem with colour coded music, making it easy for beginners to follow their ensemble part. Students only need to know 4 or 5 notes to start playing the first duets in this book, which covers Beginner and Preliminary levels. The music spans a wide range of composers, as well as traditional tunes from around the world. There is a selection of festive music, a section of rounds, and there are warm up exercises, each focusing on one aspect of ensemble technique. The arrangements work well with anything from two players up to a large flute choir/ensemble. Many pieces offer maximum flexibility as they can be played as a trio; OR the blue and red parts are harmonically complete to be played as a duet; OR there are also optional piano parts for some pieces, to be found in Book 3 (accompaniments). There are free recordings of all the duets and trios on The Young Flute Player YouTube channel. These videos can be adjusted to any speed, so are great for students to practice their part at home.This ensemble book can be used either independently, or in conjunction with the tutor/method books in The Young Flute Player series. $21.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| The Young Flute Player Book 5 Book 5 - Beginner Music Distribution Services
2 or 3 flutes SKU: M7.APUE-516094 Intermediate Duets & Trios. Comp...(+)
2 or 3 flutes SKU: M7.APUE-516094 Intermediate Duets & Trios. Composed by Karen North. Sheet music. 36 pages. MDS (Music Distribution Services) #APUE 516094. Published by MDS (Music Distribution Services) (M7.APUE-516094). ISBN 9781875516094. This book of Duets and Trios (Grade 1 - Grade 3 level) makes it easy for students to follow their ensemble part by using colour coded clefs/key signatures. The music covers a wide range of composers, as well as traditional tunes from around the world. There is a selection of festive music, a section of rounds, plus there are warm up exercises, each focusing on one aspect of ensemble technique. The arrangements work well with anything from two players up to a large flute choir/ensemble. Many pieces offer maximum flexibility as they can be played as a trio; OR the blue and red parts are harmonically complete to be played as a duet; OR there are also optional piano parts for some pieces, to be found in Book 3 (accompaniments). There are free recordings of all the duets and trios on The Young Flute Player YouTube channel. These videos can be adjusted to any speed, so are great for students to practise their part at home. This ensemble book can be used either independently, or in conjunction with the tutor/method books in The Young Flute Player series. $21.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| The Young Clarinet Player - Beginner Music Distribution Services
2-3 clarinets - intermediate SKU: M7.APUE-516148 Intermediate Duets & ...(+)
2-3 clarinets - intermediate SKU: M7.APUE-516148 Intermediate Duets & Trios. Composed by Karen North. Sheet music. Performance score. 36 pages. MDS (Music Distribution Services) #APUE 516148. Published by MDS (Music Distribution Services) (M7.APUE-516148). ISBN 9781875516148. This book of Duets and Trios (Grade 1 - Grade 3 level) makes it easy for students to follow their ensemble part by using colour coded clefs/key signatures. The music covers a wide range of composers, as well as traditional tunes from around the world. There is a selection of festive music, a section of rounds, plus there are warm up exercises, each focusing on one aspect of ensemble technique. The arrangements work well with anything from two players up to a large clarinet choir/ensemble. Many pieces offer maximum flexibility as they can be played as a trio; OR the blue and red parts are harmonically complete to be played as a duet. There are free recordings of all the duets and trios on The Young Instrumentalist YouTube channel. These videos can be adjusted to any speed, so are great for students to practise their part at home. $21.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Flute 101.5 Flute Theodore Presser Co.
A Method and Duet Collection for the Advanced Beginner Flutist. Textbook. 76...(+)
A Method and Duet Collection
for the Advanced Beginner
Flutist. Textbook. 76 pages.
Theodore Presser Company #414-
41229. Published by Theodore
Presser Company
$26.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Popular Christmas Duets 1 Piano, 4 hands - Intermediate Hal Leonard
Intermediate Level 1 Piano, 4 Hands - Intermediate SKU: HL.1471182 8 D...(+)
Intermediate Level 1 Piano, 4 Hands - Intermediate SKU: HL.1471182 8 Delightful Arrangements for Piano Duet The Phillip Keveren Series. Composed by Various. Arranged by Phillip Keveren. Piano Duet. Christmas, Christmas Secular, Holiday, Piano Duet. Softcover. 48 pages. Published by Hal Leonard (HL.1471182). ISBN 9798350127799. UPC: 196288213604. 9.0x12.0x0.108 inches. Warm up the eggnog and enjoy these new intermediate-level duets with your favorite duet partner! This new collection features 8 delightful Christmas classics expertly arranged by Phillip Keveren, including: All I Want for Christmas Is You ⢠Baby, It's Cold Outside ⢠Happy Xmas (War Is Over) â¢ÂLast Christmas ⢠Mary, Did You Know? ⢠Merry Christmas ⢠White Christmas. $16.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Cello Basics Cello [Sheet music + Audio access] - Beginner Faber Music Limited
A Method for Individual and Group Learning. Composed by Jessica O'Leary and Pa...(+)
A Method for Individual and
Group Learning. Composed by
Jessica O'Leary and Paul
Harris. Method/Instruction;
String - Cello Studies or
Collection. Faber Edition:
Basics. Book and Digital
Download. Faber Music #12-
0571542085. Published by Faber
Music
$18.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Step by Step Saxophone Saxophone - Easy Universal Edition
(Easy pupil-teacher studies). Composed by James Rae. For saxophone. Score and pa...(+)
(Easy pupil-teacher studies). Composed by James Rae. For saxophone. Score and part. 44 pages. Published by Universal Edition
$19.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| A Voyage for Two Violins 2 Violins (duet) - Beginner Imagine Music
Composed by Matt Renzi. Performance score. Published by Imagine Music Publishing...(+)
Composed by Matt Renzi. Performance score. Published by Imagine Music Publishing (IG.IMS1513).
$14.00 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| The Young Clarinet Player Clarinet Theodore Presser Co.
Clarinet SKU: PR.494031980 Beginner Duets & Trios. Composed by Kar...(+)
Clarinet SKU: PR.494031980 Beginner Duets & Trios. Composed by Karen North. Theodore Presser Company #494-03198. Published by Theodore Presser Company (PR.494031980). UPC: 680160686162. Young players who are just starting to read music can find it difficult to follow a duet or trio. This book solves the problem with color coded music, making it easy for clarinet beginners to follow their ensemble part.Students only need to know 4 or 5 notes to play the first duets in this book, which covers Beginner and Preliminary levels.The music spans a wide range of composers, as well as traditional tunes from around the world. There is a selection of festive music, a section of rounds, plus there are warm up exercises, each focusing on one aspect of ensemble technique. The arrangements by Karen North have been prepared in consultation with clarinet specialist Sally Lucas.The arrangements work well for two players up to a large clarinet ensemble. Many pieces offer maximum flexibility as they can be played as a Duet (use the two upper parts) or as a Trio.Free recordings of all the duets & trios: https://www.youtube.com/channel/UCh0MBwKcJUR75_3wXRyYj5QPreview pages: https://www.theyoungfluteplayer.com/clarinet-musicSpecifications:• Beginner-Preliminary level• 32 pages• 29 duets and trios• 8 warm-up exercises• 9 rounds• Keys up to one sharp or flat• Time signatures: 2/4, 3/4, 4/4, C, 6/8, 2/2. $15.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Adams S /Flute Basics With Cd Flute [Sheet music + CD] Faber Music Limited
By Sally Adams. For Flute. This edition: Pupil's Book. Book; CD; Method/Instruct...(+)
By Sally Adams. For Flute. This edition: Pupil's Book. Book; CD; Method/Instruction; Woodwind - Flute Method or Collection. Faber Edition. Published by Faber Music
$15.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Clarinet Basics Clarinet [Sheet music + CD] - Beginner Faber Music Limited
(A Method for Individual and Group Learning). By Paul Harris. For Clarinet. Book...(+)
(A Method for Individual and Group Learning). By Paul Harris. For Clarinet. Book; CD; Method/Instruction; Woodwind - Clarinet Method or Collection. Faber Edition: Basics. Published by Faber Music
$15.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Trumpet Basics Trumpet [Sheet music + CD] - Beginner Faber Music Limited
(A Method for Individual and Group Learning). By John Miller. For Trumpet. Book;...(+)
(A Method for Individual and Group Learning). By John Miller. For Trumpet. Book; Brass - B-Flat Cornet (Trumpet) Method or Collection; CD; Method/Instruction. Faber Edition: Basics. Published by Faber Music
$15.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Saxophone Basics Saxophone [Sheet music + CD] Faber Music Limited
(A Method for Individual and Group Learning (Student's Book)). By Andy Hampton. ...(+)
(A Method for Individual and Group Learning (Student's Book)). By Andy Hampton. For Saxophone. This edition: Student's Book. Book; CD; Method/Instruction; Woodwind - Saxophone Method or Collection. Faber Edition: Basics. Published by Faber Music
$15.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Improv Duets for Classical Musicians GIA Publications
(A Concise Collection of Musical Games for Two Players). By Jeffrey Agrell. Musi...(+)
(A Concise Collection of Musical Games for Two Players). By Jeffrey Agrell. Music Education. Book. 46 pages. Published by GIA Publications
$16.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Christmas Saxophone Basics Saxophone - Beginner Faber Music Limited
A Fun Collection of Christmas Solos and Duets. Composed by Paul Harris. Instr...(+)
A Fun Collection of
Christmas Solos and Duets.
Composed by Paul Harris.
Instrumental Series; Solo;
Solo Small Ensembles. Basics
Series. Christmas; Winter.
Book. Faber Music #12-
0571541623. Published by
Faber Music
$12.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| New Sousas Favorite March Bk-Fl1 2 Flutes (duet) Carl Fischer
The New Sousa's Favorite Marches. (Flute 1 and Piccolo). By John Philip Sousa (1...(+)
The New Sousa's Favorite Marches. (Flute 1 and Piccolo). By John Philip Sousa (1854-1932). Concert Band. For Piccolo, Flute I. Carl Fischer Band Books Series. Concert Band Method. Standard notation. 16 pages. Published by Carl Fischer
(1)$4.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Russian Fiddle Tunes for Two Violins 2 Violins (duet) Greenblatt & Seay
Arranged by Deborah Greenblatt. Violin Duet. For 2 violins. Tunes for Two. Russi...(+)
Arranged by Deborah Greenblatt. Violin Duet. For 2 violins. Tunes for Two. Russian Folk. Tune book. Standard Notation. 47 pages
(1)$15.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Russian Fiddle Tunes for Two Cellos 2 Cellos (duet) Greenblatt & Seay
Arranged by Deborah Greenblatt. Cello Duet. For 2 cellos. Tunes for Two. Russian...(+)
Arranged by Deborah Greenblatt. Cello Duet. For 2 cellos. Tunes for Two. Russian Folk. Tune book. Standard Notation. 47 pages
$15.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Russian Fiddle Tunes for Two Violas 2 Violas (duet) Greenblatt and Seay
Arranged by Deborah Greenblatt. Viola Duet. For 2 violas. Tunes for Two. Russian...(+)
Arranged by Deborah Greenblatt. Viola Duet. For 2 violas. Tunes for Two. Russian Folk. Tune book. Standard Notation. 47 pages
$15.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Russian Fiddle Tunes for Two Mandolins 2 Mandolins (duet) Greenblatt & Seay
Arranged by Deborah Greenblatt. Mandolin Duet. For 2 mandolins. Tunes for Two. R...(+)
Arranged by Deborah Greenblatt. Mandolin Duet. For 2 mandolins. Tunes for Two. Russian Folk. Tune book. Standard Notation. 47 pages
$15.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Christmas Flute Basics Flute Faber Music Limited
A Fun Collection of Christmas Solos and Duets. Composed by Paul Harris. Instr...(+)
A Fun Collection of
Christmas Solos and Duets.
Composed by Paul Harris.
Instrumental Series. Basics
Series. Christmas. Book.
Faber Music #12-0571540694.
Published by Faber Music
$12.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Christmas Clarinet Basics Clarinet Faber Music Limited
A Fun Collection of Christmas Solos and Duets. Composed by Paul Harris. Instr...(+)
A Fun Collection of
Christmas Solos and Duets.
Composed by Paul Harris.
Instrumental Series. Basics
Series. Christmas. Book.
Faber Music #12-0571540686.
Published by Faber Music
$12.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Get Ready for Major Scale Duets! Piano solo [Sheet music] FJH
By Rossi/Mcarthur. For Piano. The FJH Piano Teaching Library. Includes instructi...(+)
By Rossi/Mcarthur. For Piano. The FJH Piano Teaching Library. Includes instructional pages, review games, ear-training activities, scale reference charts, technical warm-ups, and more. Book. Published by The FJH Music Company, Inc.
(1)$6.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Trumpet Method Complete Trumpet Charles Colin Music
Trumpet SKU: M7.AHW-1012 Composed by Charles Colin. Sheet music. Performa...(+)
Trumpet SKU: M7.AHW-1012 Composed by Charles Colin. Sheet music. Performance book. Charles Colin Corp. #AHW 1012. Published by Charles Colin Corp. (M7.AHW-1012). English. A collection of method books, exercises, solos, embouchure and breath control studies, and duets directed to players at all levels of their development. $109.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| The Young Saxophone Player - Beginner Music Distribution Services
2 or 3 saxophones - very easy to easy SKU: M7.APUE-516155 Beginner Due...(+)
2 or 3 saxophones - very easy to easy SKU: M7.APUE-516155 Beginner Duets & Trios. Composed by Karen North. Score with online audio files. Performance score. 32 pages. MDS (Music Distribution Services) #APUE 516155. Published by MDS (Music Distribution Services) (M7.APUE-516155). ISBN 9781875516155. English. Young players who are just starting to read music can find it very difficult to follow a duet or trio. This book solves the problem with colour coded music, making it easy for saxophone beginners to follow their ensemble part. Students only need to know 4 or 5 notes to start playing the first duets in this book, which covers Beginner and Preliminary levels. The music spans a wide range of composers, as well as traditional tunes from around the world. There is a selection of festive music, a section of rounds, plus there are warm up exercises, each focusing on one aspect of ensemble technique. The arrangements by Karen North have been prepared in consultation with saxophone specialist Camilla Bellstedt. The arrangements work well from two players up to a large saxophone ensemble. Many pieces offer maximum flexibility as they can be played as a Duet (use the two upper parts) or as a Trio. Free recordings of all the duets and trios in this book are available on The Young Instrumentalist YouTube channel. $21.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
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