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| Frog Dance
Piano solo
Theodore Presser Co.
For Piano. Composed by Vincent Persichetti (1915- 1987). Contemporary. Solo Pa...(+)
For Piano. Composed by
Vincent Persichetti (1915-
1987). Contemporary. Solo
Part. With Standard
Notation. Composed 1926. 8
pages. Duration 2 minutes,
30 seconds. Theodore Presser
Company #160-00224.
Published by Theodore
Presser Company
$11.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | | |
| The Ultimate Country Fake Book - 4th Edition
Fake Book [Fake Book]
Hal Leonard
Fake Book (Includes melody line and chords). Size 9x12 inches. 568 pages. Publis...(+)
Fake Book (Includes melody line and chords). Size 9x12 inches. 568 pages. Published by Hal Leonard.
(8)$55.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | | |
| The Real Country Book
C Instruments [Fake Book]
Hal Leonard
(C Instruments). By Various. For C Instruments. Fake Book. Softcover. 520 pages....(+)
(C Instruments). By Various. For C Instruments. Fake Book. Softcover. 520 pages. Published by Hal Leonard
$49.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | | |
| Berko's Journey
Theodore Presser Co.
Orchestra Bass Clarinet, Bass Trombone, Bassoon 1, Bassoon 2, Cello, Clarinet in...(+)
Orchestra Bass Clarinet, Bass Trombone, Bassoon 1, Bassoon 2, Cello, Clarinet in Bb 1, Clarinet in Bb 2, Clarinet in Bb 3, Contrabassoon, Double Bass, English Horn, Flute 1, Flute 2, Flute 3, Harp, Horn 1, Horn 3, Horn 4, Oboe 1, Oboe 2, Percussion 1 and more. SKU: PR.11642143L Composed by Stacy Garrop. Spiral. Large Score. 68 pages. Duration 20 minutes. Theodore Presser Company #116-42143L. Published by Theodore Presser Company (PR.11642143L). UPC: 680160693320. 11 x 17 inches. For most of my life, I never knew where my father’s family came from, beyond a few broad strokes: they had emigrated in the early 1900s from Eastern Europe and altered the family name along the way. This radically changed in the summer of 2021 when my mother and sister came across a folder in our family filing cabinet and made an astounding discovery of documents that revealed when, where, and how my great-grandfather came to America. The information I had been seeking was at home all along, waiting over forty years to be discovered.Berko Gorobzoff, my great-grandfather, left Ekaterinoslav in 1904. At that time, this city was in the southern Russian area of modern-day Ukraine; as his family was Jewish, he and his siblings were attempting to escape the ongoing religious persecution and pogroms instigated by Tzar Nicholas II to root out Jewish people from Russia. Berko’s older brother Jakob had already emigrated to Illinois, and Berko was traveling with Chaje, Jakob’s wife, to join him. Their timing was fortuitous, as the following year saw a series of massive, brutal pogroms in the region. After arriving in Illinois, Berko went on to Omaha, Nebraska, where he married my great-grandmother Anna about eighteen months later. They remained in Omaha for the rest of their lives.There is one more intriguing part to this historical account: I have a great-aunt in Texas who, as it turns out, is the youngest daughter of Berko and Anna. Through a series of phone calls, my great-aunt and I discussed what she could remember: her parents spoke Yiddish at home, her mother didn’t learn to read or write in English so my great-aunt was tasked with writing letters to family members, Berko ran a grocery store followed by a small hotel, and her parents enjoyed playing poker with friends. Above all else, neither of her parents ever spoke a word about their past or how they got to America. This was a common trait among Eastern European Jewish immigrants whose goal was to “blend in” within their new communities and country.To craft Berko’s Journey, I melded the facts I uncovered about Berko with my own research into methods of transportation in the early 1900s. Also, to represent his heritage, I wove two Yiddish songs and one Klezmer tune into the work. In movement 1, Leaving Ekaterinoslav, we hear Berko packing his belongings, saying his goodbyes to family and friends, and walking to the train station. Included in this movement is a snippet of the Yiddish song “The Miller’s Tears” which references how the Jews were driven out of their villages by the Russian army. In movement 2, In Transit, we follow Berko as he boards a train and then a steamship, sails across the Atlantic Ocean, arrives at Ellis Island and anxiously waits in line for immigration, jubilantly steps foot into New York City, and finally boards a train that will take him to Chicago. While he’s on the steamship, we hear a group of fellow steerage musicians play a klezmer tune (“Freylachs in d minor”). In movement 3, At Home in Omaha, we hear Berko court and marry Anna. Their courtship is represented by “Tumbalalaika,” a Yiddish puzzle folksong in which a man asks a woman a series of riddles in order to get better acquainted with each other and to test her intellect.On a final note, I crafted a musical motive to represent Berko throughout the piece. This motive is heard at the beginning of the first movement; its first pitches are B and E, which represent the first two letters of Berko’s name. I scatter this theme throughout the piece as Berko travels towards a new world and life. As the piece concludes, we hear Berko’s theme repeatedly and in close succession, representing the descendants of the Garrop line that came from Berko and Anna.
For most of my life, I never knew where my father’s family came from, beyond a few broad strokes: they had emigrated in the early 1900s from Eastern Europe and altered the family name along the way. This radically changed in the summer of 2021 when my mother and sister came across a folder in our family filing cabinet and made an astounding discovery of documents that revealed when, where, and how my great-grandfather came to America. The information I had been seeking was at home all along, waiting over forty years to be discovered.Berko Gorobzoff, my great-grandfather, left Ekaterinoslav in 1904. At that time, this city was in the southern Russian area of modern-day Ukraine; as his family was Jewish, he and his siblings were attempting to escape the ongoing religious persecution and pogroms instigated by Tzar Nicholas II to root out Jewish people from Russia. Berko’s older brother Jakob had already emigrated to Illinois, and Berko was traveling with Chaje, Jakob’s wife, to join him. Their timing was fortuitous, as the following year saw a series of massive, brutal pogroms in the region. After arriving in Illinois, Berko went on to Omaha, Nebraska, where he married my great-grandmother Anna about eighteen months later. They remained in Omaha for the rest of their lives.There is one more intriguing part to this historical account: I have a great-aunt in Texas who, as it turns out, is the youngest daughter of Berko and Anna. Through a series of phone calls, my great-aunt and I discussed what she could remember: her parents spoke Yiddish at home, her mother didn’t learn to read or write in English so my great-aunt was tasked with writing letters to family members, Berko ran a grocery store followed by a small hotel, and her parents enjoyed playing poker with friends. Above all else, neither of her parents ever spoke a word about their past or how they got to America. This was a common trait among Eastern European Jewish immigrants whose goal was to “blend in” within their new communities and country.To craftxa0Berko’s Journey,xa0I melded the facts I uncovered about Berko with my own research into methods of transportation in the early 1900s. Also, to represent his heritage, I wove two Yiddish songs and one Klezmer tune into the work. In movement 1,xa0Leaving Ekaterinoslav,xa0we hear Berko packing his belongings, saying his goodbyes to family and friends, and walking to the train station. Included in this movement is a snippet of the Yiddish song “The Miller’s Tears” which references how the Jews were driven out of their villages by the Russian army. In movement 2,xa0In Transit,xa0we follow Berko as he boards a train and then a steamship, sails across the Atlantic Ocean, arrives at Ellis Island and anxiously waits in line for immigration, jubilantly steps foot into New York City, and finally boards a train that will take him to Chicago. While he’s on the steamship, we hear a group of fellow steerage musicians play a klezmer tune (“Freylachs in d minor”). In movement 3,xa0At Home in Omaha,xa0we hear Berko court and marry Anna. Their courtship is represented by “Tumbalalaika,” a Yiddish puzzle folksong in which a man asks a woman a series of riddles in order to get better acquainted with each other and to test her intellect.On a final note, I crafted a musical motive to represent Berko throughout the piece. This motive is heard at the beginning of the first movement; its first pitches are B and E, which represent the first two letters of Berko’s name. I scatter this theme throughout the piece as Berko travels towards a new world and life. As the piece concludes, we hear Berko’s theme repeatedly and in close succession, representing the descendants of the Garrop line that came from Berko and Anna. $71.99 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | | |
| Berko's Journey [Score]
Theodore Presser Co.
Orchestra Bass Clarinet, Bass Trombone, Bassoon 1, Bassoon 2, Cello, Clarinet in...(+)
Orchestra Bass Clarinet, Bass Trombone, Bassoon 1, Bassoon 2, Cello, Clarinet in Bb 1, Clarinet in Bb 2, Clarinet in Bb 3, Contrabassoon, Double Bass, English Horn, Flute 1, Flute 2, Flute 3, Harp, Horn 1, Horn 3, Horn 4, Oboe 1, Oboe 2, Percussion 1 and more. SKU: PR.11642143S Composed by Stacy Garrop. Sws. Score. 68 pages. Duration 20 minutes. Theodore Presser Company #116-42143S. Published by Theodore Presser Company (PR.11642143S). UPC: 680160693313. 11 x 17 inches. For most of my life, I never knew where my father’s family came from, beyond a few broad strokes: they had emigrated in the early 1900s from Eastern Europe and altered the family name along the way. This radically changed in the summer of 2021 when my mother and sister came across a folder in our family filing cabinet and made an astounding discovery of documents that revealed when, where, and how my great-grandfather came to America. The information I had been seeking was at home all along, waiting over forty years to be discovered.Berko Gorobzoff, my great-grandfather, left Ekaterinoslav in 1904. At that time, this city was in the southern Russian area of modern-day Ukraine; as his family was Jewish, he and his siblings were attempting to escape the ongoing religious persecution and pogroms instigated by Tzar Nicholas II to root out Jewish people from Russia. Berko’s older brother Jakob had already emigrated to Illinois, and Berko was traveling with Chaje, Jakob’s wife, to join him. Their timing was fortuitous, as the following year saw a series of massive, brutal pogroms in the region. After arriving in Illinois, Berko went on to Omaha, Nebraska, where he married my great-grandmother Anna about eighteen months later. They remained in Omaha for the rest of their lives.There is one more intriguing part to this historical account: I have a great-aunt in Texas who, as it turns out, is the youngest daughter of Berko and Anna. Through a series of phone calls, my great-aunt and I discussed what she could remember: her parents spoke Yiddish at home, her mother didn’t learn to read or write in English so my great-aunt was tasked with writing letters to family members, Berko ran a grocery store followed by a small hotel, and her parents enjoyed playing poker with friends. Above all else, neither of her parents ever spoke a word about their past or how they got to America. This was a common trait among Eastern European Jewish immigrants whose goal was to “blend in” within their new communities and country.To craft Berko’s Journey, I melded the facts I uncovered about Berko with my own research into methods of transportation in the early 1900s. Also, to represent his heritage, I wove two Yiddish songs and one Klezmer tune into the work. In movement 1, Leaving Ekaterinoslav, we hear Berko packing his belongings, saying his goodbyes to family and friends, and walking to the train station. Included in this movement is a snippet of the Yiddish song “The Miller’s Tears” which references how the Jews were driven out of their villages by the Russian army. In movement 2, In Transit, we follow Berko as he boards a train and then a steamship, sails across the Atlantic Ocean, arrives at Ellis Island and anxiously waits in line for immigration, jubilantly steps foot into New York City, and finally boards a train that will take him to Chicago. While he’s on the steamship, we hear a group of fellow steerage musicians play a klezmer tune (“Freylachs in d minor”). In movement 3, At Home in Omaha, we hear Berko court and marry Anna. Their courtship is represented by “Tumbalalaika,” a Yiddish puzzle folksong in which a man asks a woman a series of riddles in order to get better acquainted with each other and to test her intellect.On a final note, I crafted a musical motive to represent Berko throughout the piece. This motive is heard at the beginning of the first movement; its first pitches are B and E, which represent the first two letters of Berko’s name. I scatter this theme throughout the piece as Berko travels towards a new world and life. As the piece concludes, we hear Berko’s theme repeatedly and in close succession, representing the descendants of the Garrop line that came from Berko and Anna.
For most of my life, I never knew where my father’s family came from, beyond a few broad strokes: they had emigrated in the early 1900s from Eastern Europe and altered the family name along the way. This radically changed in the summer of 2021 when my mother and sister came across a folder in our family filing cabinet and made an astounding discovery of documents that revealed when, where, and how my great-grandfather came to America. The information I had been seeking was at home all along, waiting over forty years to be discovered.Berko Gorobzoff, my great-grandfather, left Ekaterinoslav in 1904. At that time, this city was in the southern Russian area of modern-day Ukraine; as his family was Jewish, he and his siblings were attempting to escape the ongoing religious persecution and pogroms instigated by Tzar Nicholas II to root out Jewish people from Russia. Berko’s older brother Jakob had already emigrated to Illinois, and Berko was traveling with Chaje, Jakob’s wife, to join him. Their timing was fortuitous, as the following year saw a series of massive, brutal pogroms in the region. After arriving in Illinois, Berko went on to Omaha, Nebraska, where he married my great-grandmother Anna about eighteen months later. They remained in Omaha for the rest of their lives.There is one more intriguing part to this historical account: I have a great-aunt in Texas who, as it turns out, is the youngest daughter of Berko and Anna. Through a series of phone calls, my great-aunt and I discussed what she could remember: her parents spoke Yiddish at home, her mother didn’t learn to read or write in English so my great-aunt was tasked with writing letters to family members, Berko ran a grocery store followed by a small hotel, and her parents enjoyed playing poker with friends. Above all else, neither of her parents ever spoke a word about their past or how they got to America. This was a common trait among Eastern European Jewish immigrants whose goal was to “blend in” within their new communities and country.To craftxa0Berko’s Journey,xa0I melded the facts I uncovered about Berko with my own research into methods of transportation in the early 1900s. Also, to represent his heritage, I wove two Yiddish songs and one Klezmer tune into the work. In movement 1,xa0Leaving Ekaterinoslav,xa0we hear Berko packing his belongings, saying his goodbyes to family and friends, and walking to the train station. Included in this movement is a snippet of the Yiddish song “The Miller’s Tears” which references how the Jews were driven out of their villages by the Russian army. In movement 2,xa0In Transit,xa0we follow Berko as he boards a train and then a steamship, sails across the Atlantic Ocean, arrives at Ellis Island and anxiously waits in line for immigration, jubilantly steps foot into New York City, and finally boards a train that will take him to Chicago. While he’s on the steamship, we hear a group of fellow steerage musicians play a klezmer tune (“Freylachs in d minor”). In movement 3,xa0At Home in Omaha,xa0we hear Berko court and marry Anna. Their courtship is represented by “Tumbalalaika,” a Yiddish puzzle folksong in which a man asks a woman a series of riddles in order to get better acquainted with each other and to test her intellect.On a final note, I crafted a musical motive to represent Berko throughout the piece. This motive is heard at the beginning of the first movement; its first pitches are B and E, which represent the first two letters of Berko’s name. I scatter this theme throughout the piece as Berko travels towards a new world and life. As the piece concludes, we hear Berko’s theme repeatedly and in close succession, representing the descendants of the Garrop line that came from Berko and Anna. $40.99 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | | |
| A Child's Garden of Jazz for Brass Quintet
Brass Quintet: 2 trumpets, horn, trombone, tuba [Score and Parts] - Advanced
Cherry Classics
By Henry Wolking. For Brass Quintet. Contemporary jazz. Advanced. Score and part...(+)
By Henry Wolking. For Brass Quintet. Contemporary jazz. Advanced. Score and parts. Published by Cherry Classics
$32.50 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | | |
| Bright Ferment - String Quartet No. 2
String Quartet: 2 violins, viola, cello [Score and Parts]
Fennica Gehrman
String quartet SKU: FG.55011-510-1 Composed by Matthew Whittall. Score an...(+)
String quartet SKU: FG.55011-510-1 Composed by Matthew Whittall. Score and parts. Fennica Gehrman #55011-510-1. Published by Fennica Gehrman (FG.55011-510-1). ISBN 9790550115101. Matthew Whittall's preface to Bright Ferment (2019): I have a complicated history with the string quartet. Actually, it's not that complicated. I spent months writing a huge one in my early twenties and hastily withdrew it after a long delayed premiere, vowing never to write another. In a typical case of karmic retribution, my fear of the form would eventually be overcome by the unrefusable offer to write the compulsory piece for the Banff International String Quartet Competition in my native Canada. The short duration requested, about nine minutes, also felt like a good way to wade gingerly back into the medium. The title was originally just a nice-sounding pair of words that surfaced in a brainstorming session with fellow composer Alex Freeman over an injudicious amount of fermented barley. When I looked it up later, I found that it was a phrase of older coinage, seemingly used more for poetic resonance than any fixed meaning. Ferment by itself denotes a state of confusion, change or lack of order. With bright, it takes on a more positive connotation with regard to society and creativity: a wild profusion of ideas barely checked by reason. (It may not actually mean that, but it describes this piece nicely, so let's go with it.) Fermentation in its trendy culinary usage is also hinted at via a recurrent percolating device of scattered pizzicati. As one may guess from the tone of this introduction, there is little attempt at gravity in Bright Ferment, the only means by which I felt I could sidestep the historical and expressive weight of the string quartet genre. Styles, gestures and moods are tossed around, cross-cut and abandoned in stream-of-consciousness fashion, connected by little except an intuitive sense of rightness in their juxtaposition. If the piece acquires depth in spite of me, it will only be because its disparate parts amplify and strengthen each other simply by being together - much like the ensemble itself. Bright Ferment was commissioned by the Banff Centre for the Arts and Creativity and the Canadian Broadcasting Corporation, with additional funding from the Americas Society (New York), for the 2019 Banff International String Quartet Competition. Duration: ca. 9 minutes. $54.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | | |
| Downshifting
Theodore Presser Co.
Band Bass Clarinet, Clarinet 1, Clarinet 2, Clarinet 3, Contrabass Clarinet, Eup...(+)
Band Bass Clarinet, Clarinet 1, Clarinet 2, Clarinet 3, Contrabass Clarinet, Euphonium, Flute 1, Flute 2, Horn 1, Horn 2, Horn 3, Horn 4, Oboe 1, Oboe 2, Percussion 1, Percussion 2, Percussion 3, Percussion 4, Percussion 5, Piccolo, String Bass and more. SKU: PR.165000970 For Band. Composed by Dan Welcher. Folder. Premiered by the University of Texas Symphony Band, Scott S. Hanna, conductor, at Butler School of Music, UT/Austin, Austin, Texas. Contemporary. Set of Score and Parts. With Standard notation. Composed 14-Sep. 40 pages. Duration 7 minutes. Theodore Presser Company #165-00097. Published by Theodore Presser Company (PR.165000970). ISBN 9781491100462. UPC: 680160626717. 9x12 inches. Commissioned by a consortium of 20 high school and university bands coordinated by Scott Hanna of the University of Texas at Austin, Downshifting is inspired by Welcher’s joy of bicycle riding. Welcher explains in the program note: When I decided to write a piece for band that was basically entertaining and uplifting, it made perfect sense to call it Downshifting... With three gears on the front sprocket and seven on the rear, it’s possible to keep one’s legs going at a constant speed (for me, q = 126) while the bike itself may be moving very slowly or very quickly. I determined to capitalize on this in writing Downshifting, which keeps the same mathematical inner pulse, ‘shifting’ (with a ratchet) as the terrain changes..
One of the joys of life for me is riding my 21-speed bicycle. As a basically non-athletic person who nonetheless likes to stay in shape, I have found that riding my bike provides just the exercise I need. The workout is strenuous, but pleasant—and the infinite variety of scenery I pass keeps me alert and wide awake. When I decided to write a piece for band that was basically entertaining and uplifting, it made perfect sense to call it Downshifting.With three gears on the front sprocket and seven on the rear, it’s possible to keep ones legs going at a constant speed (for me, that’s 126 to the quarter note) while the bike itself may be moving very slowly or very quickly. I determined to capitalize on this in writing the music, which manages to keep the same mathematical inner pulse, “shifting†(with a ratchet) as the terrain changes. So Downshifting begins with that steady pulse, on a grid of eighth notes in 2/4 to propel the little vehicle forward. There’s a joyous little tune in our heads as we begin our ride. As the initial thrill of riding on the flat gives way to monotony, we stay in that pulse for the first minute or so of the ride. Then, as the first hill becomes visible, we shift the bike down: even though the eighths are equal, the pulse feels slower (and we’re now in 6/8 time). Ultimately the compound meter shifts again as the climb begins, and we’re now plodding doggedly up the hill. (The music reflects all of these changes, with subtitles such as “Working harder—Seeing the climb, aheadâ€, “Steady and committed…the climb begins!â€, “Straining against the gradeâ€, etc.).There are two hills, and two long climbs (but in different keys, reflecting the change in scenery). When at last the summit of the second hill is reached (“Flying, Over the Topâ€), we coast at last down the other side at breakneck speed. The initial joyous melody returns, but now in a spread-out coasting pulse. At the end of the ride, we slow to a stop—then take one last sprint (shifting five times in the process) in order to end on a biker’s high.Downshifting was commissioned by a consortium of fourteen high school and college bands, overseen by my longtime colleague at the University of Texas, Scott Hanna. The piece is dedicated to him (and to all bicycle enthusiasts). $175.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | | |
| Kammermusik 1958 Vocal Portion
Schott
Tenor, guitar and 8 solo-instruments (Klar. * Fg. - Hr. - Git. - Str. (1 * 1 * 1...(+)
Tenor, guitar and 8 solo-instruments (Klar. * Fg. - Hr. - Git. - Str. (1 * 1 * 1 * 1 * 1 [auch chorisch ad lib.])) SKU: HL.49015144 Uber die Hymne In lieblicher Blaue von Friedrich Holderlin. Composed by Hans Werner Henze. Sheet music. Edition Schott. Classical. Piano reduction. Composed 1958/1963. 48 pages. Duration 40'. Schott Music #ED 4897. Published by Schott Music (HL.49015144). ISBN 9790001056359. 7.5x10.75x0.177 inches. German. A number of sketches for this work were made in Greece in the summer of 1958. When the work was finished, I dedicated it to Benjamin Britten. In 1963, on the occasion of the 60th birthday of my old friend Josef Rufer, I added an epilogue in which I recapture the mood of the whole work and introduce a sort of quotation from Schonberg's Chamber Symphony No. 1, as a greeting to Rufer who devoted his whole life to the Viennese master.- Hans Werner Henze. $24.99 - See more - Buy online | | | |
| Sound Patterns for Mixed Voices - Sequential Sight-Reading in the Choral Classrooom
Choral 3-part
SAB
Hal Leonard
SAB Choral (Student) SKU: HL.1301483 Student Edition. Choral. Sigh...(+)
SAB Choral (Student) SKU: HL.1301483 Student Edition. Choral. Sightsinging. Softcover. Published by Hal Leonard (HL.1301483). ISBN 9798350107722. UPC: 196288171911. 8.5x11.0 inches. Designed for SAB mixed voice choirs, â??Sound Patterns for Mixed Voicesâ? teaches sight-reading skills quickly while singing â??real musicâ? from day one. This step-by-step method includes age and range appropriate songs with lyrics, dynamics, and accompaniment, along with preparatory exercises that are interesting, authentic, and flexible. This resource may be used with SAB beginners from approximately age 12 through 15 and for older singers with less singing experience. The sequential approach focuses on the keys C, G, and F, basic rhythms and simple intervals in the tonic, dominant and subdominant chords. $8.99 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | | |
| Sound Patterns for Mixed Voices - Sequential Sight-Reading in the Choral Classrooom
Choral 3-part
SAB [Sheet music + Audio access]
Hal Leonard
SAB Choral (Teacher) SKU: HL.1301492 Teacher Edition. Choral. Sigh...(+)
SAB Choral (Teacher) SKU: HL.1301492 Teacher Edition. Choral. Sightsinging. Softcover Audio Online. Published by Hal Leonard (HL.1301492). ISBN 9798350107739. UPC: 196288171928. 9.0x12.0 inches. Designed for SAB mixed voice choirs, â??Sound Patterns for Mixed Voicesâ? teaches sight-reading skills quickly while singing â??real musicâ? from day one. This step-by-step method includes age and range appropriate songs with lyrics, dynamics, and accompaniment, along with preparatory exercises that are interesting, authentic, and flexible. This resource may be used with SAB beginners from approximately age 12 through 15 and for older singers with less singing experience. The sequential approach focuses on the keys C, G, and F, basic rhythms and simple intervals in the tonic, dominant and subdominant chords. $84.99 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | | |
| Sound Patterns for Mixed Voices - Sequential Sight-Reading in the Choral Classrooom
Hal Leonard
Choral (Kit of score and part books) SKU: HL.1301493 Classroom Bundle<...(+)
Choral (Kit of score and part books) SKU: HL.1301493 Classroom Bundle. Choral. Sightsinging. General Merchandise. Published by Hal Leonard (HL.1301493). ISBN 9798350107746. UPC: 196288171935. 9.75x12.5x9.0 inches. Designed for SAB mixed voice choirs, “Sound Patterns for Mixed Voices” teaches sight-reading skills quickly while singing “real music” from day one. This step-by-step method includes age and range appropriate songs with lyrics, dynamics, and accompaniment, along with preparatory exercises that are interesting, authentic, and flexible. This resource may be used with SAB beginners from approximately age 12 through 15 and for older singers with less singing experience. The sequential approach focuses on the keys C, G, and F, basic rhythms and simple intervals in the tonic, dominant and subdominant chords. $260.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | | |
| Sound Patterns for Changing Voices - Sequential Sight-Reading in the Choral Classroom [Sheet music + Audio access]
Hal Leonard
Choral (Teacher) SKU: HL.360733 Teacher Edition. Choral. Male Voic...(+)
Choral (Teacher) SKU: HL.360733 Teacher Edition. Choral. Male Voices, Sightsinging. Softcover Audio Online. 84 pages. Published by Hal Leonard (HL.360733). ISBN 9781705124963. UPC: 840126949957. 9.0x12.0x0.256 inches. For Tenor and Baritone changing voices, Sound Patterns for Changing Voices teaches sight reading skills quickly while singing “real music†from day one. This step-by-step method includes age and range appropriate songs with lyrics, dynamics and accompaniment, along with preparatory exercises that are interesting, authentic and flexible. This resource may be used with changing voice beginners from approximately age 11 through 15, and for older singers with less singing experience. The sequential approach focuses on the keys C, G, and F, basic rhythms and simple intervals in the tonic, dominant and subdominant chords. Teacher Edition comes complete with teaching suggestions and online digital access to student notation and audio files. $79.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | | |
| Sound Patterns for Changing Voices - Sequential Sight-Reading in the Choral Classroom
Hal Leonard
Choral (Kit of score and part books) SKU: HL.360736 Classroom Bundle(+)
Choral (Kit of score and part books) SKU: HL.360736 Classroom Bundle. Choral. Male Voices, Sightsinging. General Merchandise. Published by Hal Leonard (HL.360736). ISBN 9781705124970. UPC: 840126949964. 11.0x13.0x9.0 inches. This classroom bundle contains 30 Student Editions and 1 Teacher Edition. For Tenor and Baritone changing voices, Sound Patterns for Changing Voices teaches sight reading skills quickly while singing “real music†from day one. This step-by-step method includes age and range appropriate songs with lyrics, dynamics and accompaniment, along with preparatory exercises that are interesting, authentic and flexible. This resource may be used with changing voice beginners from approximately age 11 through 15, and for older singers with less singing experience. The sequential approach focuses on the keys C, G, and F, basic rhythms and simple intervals in the tonic, dominant and subdominant chords. Teacher Edition comes complete with teaching suggestions and online digital access to student notation and audio files. $250.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | | |
| Organ Concerto (No. 6) in B flat major Op. 4/6 HWV 294
Breitkopf & Härtel
Woodwinds (solo: org(hp) - 2rec.0.0.0. - 0.0.0.0. - str - bc) SKU: BR.OB-5386...(+)
Woodwinds (solo: org(hp) - 2rec.0.0.0. - 0.0.0.0. - str - bc) SKU: BR.OB-5386-30 Urtext. Composed by George Frideric Handel. Edited by Ton Koopman. Folder. Orchester-Bibliothek (Orchestral Library). I want to make an edition that is not a Koopman interpretation, but contains only that which Handel really wrote. ' (Ton Koopman). Solo concerto; Baroque. Set of parts. 4 pages. Duration 12'. Breitkopf and Haertel #OB 5386-30. Published by Breitkopf and Haertel (BR.OB-5386-30). ISBN 9790004334614. 10 x 12.5 inches. Ton Koopman's new edition of all 16 organ concertos by Handel has drawn to a close. The quality of this edition has been highly praised from all quarters. Source-critical responsibility goes hand in hand with a high level of performance practice when Koopman provides interpretative tips for the ad libitum passages in the organ part without restricting the creativity of the interpreter who is interested in stylistic matters and prefers to work out his own solutions.The popular Concerto Op. 4 No. 6 in B flat major was originally a harp concerto (and is thus called Concerto per la Harpa in the autograph) and was performed in this version at its premiere in 1736, when it was inserted into Handel's oratorio Alexander's Feast in order to illustrate the harp playing of the Greek singer Timotheus. A harp edition is also in preparation.I want to make an edition that is not a Koopman interpretation, but contains only that which Handel really wrote. Nevertheless, there are occasional performance suggestions in small print which are elucidated in the Critical Commentary. (Ton Koopman in Concerto) Koopman offers a basically unmarked text, thus leaving the performance details up to the performer. Especially note-worthy is the clear printing, extensive preface and detailed Critical Notes. (Katholische Kirchenmusik)Whoever wishes to hear the entire Koopman edition on CD can look forward to the new recording by Christian Schmitt and the Stuttgarter Kammerorchester (Brilliant Classics). This is the first recording for which all 16 new Koopman editions were used as the basis for the performance. $10.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | | |
| De/Con
String Quartet: 2 violins, viola, cello
Breitkopf & Härtel
String Quartet (2vl,va,vc) SKU: BR.EB-9260 Composed by Manuela Kerer. Cha...(+)
String Quartet (2vl,va,vc) SKU: BR.EB-9260 Composed by Manuela Kerer. Chamber music; Folder. Edition Breitkopf. World premiere: Stockholm (Festival O/MODERNT), June 19, 2017 Music post-1945; New music (post-2000). Set of parts. Composed 2016/17. 32 pages. Duration 15' - 18'. Breitkopf and Haertel #EB 9260. Published by Breitkopf and Haertel (BR.EB-9260). ISBN 9790004185605. 9 x 12 inches. When Hugo Ticciati asked me to write a new piece for his quartet, I was immediately enthusiastic about this project. I love how Hugo and his O/MODERNT String Quartet unite old and new music in a completely natural way. So, I was absolutely excited about Hugo`s idea of having my piece based on two of my idols, Bach and Beethoven, deconstructing the one and constructing the other. With all my respect for these great composers I gave to the piece a very personal inner part consisting of my own music that influenced and inspired the other parts. For the whole piece I felt very close to Beethoven, who said: To make a fugue is not art, which [is something] I have made dozens of times in my study. But the imagination will assert its rights and must come today, in light of the old traditional form, to another truly poetic element. De/Con is a travel into different centuries with different sound-languages. For me, it was like having a wonderful constructive discussion with Johann Sebastian Bach and Ludwig van Beethoven, each of us trying to speak our own language, approaching the others step by step. The piece could be defined as a Love Letter to two of the greatest composers ever. De/Con could be preceded by (parts of) Johann Sebastian Bach's Die Kunst der Fuge (The Art of the Fugue) and succeeded by Ludwig van Beethoven's Grosse Fuge (Great Fugue). Ideally, then, all parts should be played attacca. It could, but it hasn't to be played with these two pieces. (Manuela Kerer)
World premiere: Stockholm (Festival O/MODERNT), June 19, 2017. $54.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | | |
| Libro de glosas
Breitkopf & Härtel
Quintet (ob.clar.B-clar.A-sax.bsn .) SKU: BR.KM-2515 Set of parts....(+)
Quintet (ob.clar.B-clar.A-sax.bsn.) SKU: BR.KM-2515 Set of parts. Composed by Jose Maria Sanchez-Verdu. Chamber music; Folder. Kammermusik-Bibliothek (Chamber Music Library). World premiere: 's-Hertogenbosch, December 16, 2007 Music post-1945; New music (post-2000). Set of parts. Composed 2007. 40 pages. Duration 10'. Breitkopf and Haertel #KM 2515. Published by Breitkopf and Haertel (BR.KM-2515). ISBN 9790004503355. 11 x 14 inches. Libro de glosas is based on the Trattado de glosas by Diego Ortiz (1510 - ca. 1570). The intertextuality between different materials and musical techniques and processes of the 16th century was one of my main interests when I wrote this piece for the wonderful sound and quality of the Calefax ensemble.The intertextual relationships are as follows:Recercada I is based on the first chords of the chanson Doulce memoire by Pierre Sandrin. It is also used in Trattado de glosas.Recercada II is based on the incipit of the madrigal O felici occhi miei by Jacques Arcadelt. It is also used in Trattado de glosas.Recercada III is based on the ostinato Passamezzo antico. It is also used in Trattado de glosas.Recercada IV is freely based on the tenor La Spagna. It is also used in Trattado de glosas.Batalla (V) is a free composition in form of a battaglia and is based on some ostinati of Spanish origin as well as on an anonymous theme from the 16th century. There are also some bars of a batalla by Joseph Ximenez (18th century).Libro de glosas esta basada en el Trattado de glosas de Diego Ortiz (1510 - ca. 1570). La intertextualidad entre diferentes materiales y tecnicas y procesos de la musica del siglo XVI era uno de mis principales intereses cuando escribi esta pieza para el maravilloso sonido y calidad del Calefax ensemble.Las relaciones intertextuales son las siguientes:Recercada I esta basada libremente sobre los primeros acordes de la chanson Doulce memoire de Pierre Sandrin. Esta es utilizada como ejemplo en el Trattado de glosas.Recercada II esta basada libremente sobre el incipit del madrigal O felici occhi miei de Jacques Arcadelt. Esta pieza es utilizada tambien como ejemplo en el Trattado de glosas.Recercada III esta basada libremente sobre el ostinato Passamezzo antico. Tambien es presentada en el Trattado de glosas.Recercada IV esta construida libremente sobre el tenor La Spagna. Tambien es utilizado por Ortiz en el Trattado de glosas.Batalla (V) es una libre composicion en forma de battaglia sobre ostinati de origen espanol y sobre un tema anonimo (siglo XVI). Tambien aparecen brevemente varios compases de una batalla de Joseph Ximenez (siglo XVIII).(Jose M. Sanchez-Verdu). $71.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | | |
| Zatten Concerto for Trumpet & Piano
Trumpet, Piano - Advanced
Cherry Classics
Trumpet in C and piano - advanced SKU: CY.CC2871 Composed by Roger T. Pet...(+)
Trumpet in C and piano - advanced SKU: CY.CC2871 Composed by Roger T. Petrich. Contemporary. Solo part and Piano accompaniment. Published by Cherry Classics (CY.CC2871). û¿Zatten was commissioned in 2005 by Trumpeter Paul Neebe during the composer's vacation to do ancestral research in the town of Zatten, currently part of Poland.
Roger Petrich writes the following about his Zatten Concerto for Trumpet:
The 'DNA' of this compostion tracks back to my great-grandfather and the tiny Plattdeutsch village where he was born. Zatten, [then] located in the eastern part of Berlin/Brandenburg is in an area of forest and small farms dating back to the 1600's. My grandfather R. T. Petrich, whose initials I bear, was six years old when he, along with his parents, sister, and older brother left Prussia to start a new life in the USA.
My own childhood memories include many visits to the family homestead in Dakota Territory, where I used to play in the barn which hosted many summer dances. The Dakota sky was vast by day, and nights could become magical with the addition of the Northern Lights. Though not a professional musician, my father kept up his trumpet playing all his life. In a special way it was his voice - a sound that deeply imprinted all my growing up years. All of this is mixed together in my Zatten Concerto
The Zatten Concerto is in three movements, the two outer movements faster and the middle is a Largo. This work is appropriate for advanced performers.
The title Zatten (the name of the small village in Germany where his family was located before immigrating to the USA) is spelled out in Morse Code in the very opening eight bars of the work. The Concerto is originally written for Trumpet and String Orchestra, this version using a reduction for Piano. $37.50 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | | |
| Poetry In Motion
Choral Unison
Unison, Piano [Octavo] - Intermediate
Kjos Music Company
Poetry in Motion arranged by Lori Hope Baumel. For unison voices, piano accompan...(+)
Poetry in Motion arranged by Lori Hope Baumel. For unison voices, piano accompaniment. Treble Spotlight. Secular. Grade 3. Octavo. Published by Neil A. Kjos Music Company
$1.70 $1.615 (5% off) See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | | |
| The Classic Country Book - easy guitar
Melody line, Lyrics and Chords [Sheet music] - Easy
Hal Leonard
Easy guitar/vocal songbook for guitar and voice. With leadsheet notation (includ...(+)
Easy guitar/vocal songbook for guitar and voice. With leadsheet notation (includes melody line and chords), chord names, guitar chord diagrams, strum and pick patterns and lyrics. Series: Easy Guitar. 176 pages. Published by Hal Leonard.
(23)$22.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | | |
| Madrigals to Five Voices (1601)
Choral SATB
Stainer and Bell
SATB choir SKU: ST.EM27 Composed by Richard Carlton. Edited by Edmund H F...(+)
SATB choir SKU: ST.EM27 Composed by Richard Carlton. Edited by Edmund H Fellowes. Library Volumes. Edited Edmund Fellowes. Revised Thurston Dart. Paperback. Madrigals. Choral Score. Stainer & Bell Ltd. #EM27. Published by Stainer & Bell Ltd. (ST.EM27). ISBN 9790220203428. A minor canon of Norwich Cathedral, Carlton belonged also to the older generation of madrigal composers, particularly fond of the 'Byrd' or English cadence of flat versus sharp leading-notes. Although he claims to have laboured 'somewhat to imitate the Italian style', he admitted in his preface, 'I cannot forget that I am an English man.'
CONTENTS
All creatures then (SSATB)
Calm was the air (SSAT (or A) B)
Content thyself with thy estate (SAATB)
Even as the flowers do wither (SSATB)
From stately tower (SSATB)
If women can be courteous (SSATB)
Let every sharp (SSATB)
Like as the gentle heart (SSATB)
Nought is on earth (SSATB)
Nought under heaven (SSATB)
O vain desire (SSATB)
Sound saddest notes (SSATB)
So whilom learned (SSATB)
The heathen Gods for love (SA (or T) A (or T) BB)
The love of change (SSATB)
The self-same things (SS (or A) ATB)
The witless boy (SSATB)
When Flora fair (SSATB)
Who seeks to captivate (SAATB)
Who vows devotion (SSATB)
With her sweet locks (SSATB)
Ye gentle ladies (SSATB). $47.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | | |
| The Bach Buch
Theodore Presser Co.
Chamber Music Bass Clarinet 2, Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Flu...(+)
Chamber Music Bass Clarinet 2, Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Flute 1, Flute 2, Oboe 1, Oboe 2, alto Saxophone, soprano Saxophone SKU: PR.114414480 18 Transcriptions of J.S. Bach for Chamber Winds. Composed by Johann Sebastian Bach. Folder. Baroque. Set of Score and Parts. With Standard notation. 64+12+12+12+12+12+12+12+12+12+12+12+12+12+12 pages. Duration 48 minutes. Theodore Presser Company #114-41448. Published by Theodore Presser Company (PR.114414480). ISBN 9781598063264. UPC: 680160597932. 9x12 inches. Key: Bb major. Transcribed by Carter Pann. A unique collection of elegant transcriptions of Bach’s keyboard and instrumental gems scored for 10 woodwinds, with flexible scoring and ossia parts – ideal for schools and “pull-out†groups on wind ensemble concerts.
The music of Johann Sebastian Bach (1685-1750) is a gift. Nearly every piece that poured out of this man is as inspired and perfected as the next. His body of work has cut a deep incision in the recorded history of music and set a benchmark to which all the contrapuntal masters who followed have aspired to meet.The transcriptions found within this volume add to the thousands upon thousands of versions of his music already re-worked for different groups and media. The music here does not, however, embellish Bach’s own scores (save but for a couple of instances in which it was felt necessary to add an inner voice to serve the expansive range of the ten woodwinds). The selections are ordered (loosely) to assume a smooth, inclined trajectory of both difficulty and musical breadth. The first piece is a small and simpleminuet, the last is a long interior movement of one of the most beloved and advanced violin concertos in the whole repertoire.As a keyboard player I grew up learning and falling in love with much of Bach’s music at the piano. For this very reason, much of this volume consists of the composer’s keyboard works. One cannot, however, deny many of the most cherished works from Bach’s oeuvre when compiling a set of transcriptions, and many of those “hits†are included here as well.Departing from a traditional harmoniemusik ensemble, I have replaced the horns here with saxophones. There are two reasons: 1) the nature of much of this music requires instruments with an ease of agility not executable so readily on the horn; and 2) the opportunity for saxophone players to be included in such an ensemble was very attractive, pedagogically.I hope you enjoy these gems from such a great genius. $95.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | | |
| Musique vocale profane, volume 2: Cantates pour voix de basse et en duo (Airs) [Score and Parts]
Barenreiter
By Jean-Philippe Rameau (1683-1764). Edited by Jean-Paul C. Montagnier; Sylvie B...(+)
By Jean-Philippe Rameau (1683-1764). Edited by Jean-Paul C. Montagnier; Sylvie Bouissou. For Low Voice, High Voice, Alto Solo, Violin 1 (Flute), Violin 2, Basso Continuo/ Bass Viola Da Gamba. Opera Omnia OOR III.1. Score; Set of Parts (paperbound). Published by Baerenreiter Verlag
$79.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
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