Composed by Various. Arranged by Carol Klose, Christopher Norton, and Hywel Davi...(+)
Composed by Various.
Arranged by Carol Klose,
Christopher Norton, and
Hywel Davies. BH Piano.
Ballet, Classical.
Softcover. 96 pages.
Boosey and Hawkes
#M060123917. Published by
Boosey and Hawkes
Orchestra String Orchestra - Grade 1 SKU: CF.BAS5 Composed by Joseph Comp...(+)
Orchestra String
Orchestra - Grade 1
SKU: CF.BAS5
Composed by Joseph
Compello. SWS - FS. Carl
Fischer Beginning String
Orchestra Series.
Classical. Score and
Parts. With Standard
notation.
12+8+8+5+5+5+3+2 pages.
Duration 2:30. Carl
Fischer Music #BAS5.
Published by Carl Fischer
Music (CF.BAS5).
ISBN
9780825845086. UPC:
798408045081. 8.5 X 11
inches. Key: D
major.
The musical
effect of Prarie
Lullaby should be
graceful and serene,
evocative of a peaceful
night on the open plains.
To that end, players will
need to strive for an
unlabored rhythmic flow,
smooth bowing and a
clear, steady tone as
close to p as
possible. Beginning at
m.39, the violin and
viola parts are marked
pizzicato. If
young players are unable
to return quickly to
argo at m.53,
they may make the bow
preparation easier by
taking a full measure
rest at m.52. This option
is marked in the parts
and score. The divisi
notes at m. 69 are
provided for ensembles
which lack violas.
Ensembles with violas may
have them play the lower
notes while the second
violins play the upper
notes. Percussion, which
is completely optional,
should be very subdued.
Choose a bell mallet
which allows the tones to
be heard just above the
strings. the woodblock
part is intended to
imitate the clip-clop
sound of a horse's
hooves. Two different
sizes of woodblocks or
temple blocks are needed.
Finding two suitable
sounds on one woodblock
is difficult. Again, the
right mallets are very
important. The suspended
cymbal should be played
with brushes if the
string ensemble is small.
If the suspended cymbal
with brushes cannot be
heard above a large
number of strings, then
sticks should be used
instead. The percussion
part can be performed by
one player, provided the
instruments and mallets
are set up properly and
the player has the skill
to make the transitions
smoothly. Note the
optional rest at mm.
53-54. Performance time
with the repeat is two
and a half
minutes. The musical
effect ofA Prarie
LullabyA should be
graceful and serene,
evocative of a peaceful
night on the open plains.
To that end, players will
need to strive for an
unlabored rhythmic flow,
smooth bowing and a
clear, steady tone as
close toA p as
possible. Beginning at
m.39, the violin and
viola parts are markedA
pizzicato. If
young players are unable
to return quickly toA
argo at m.53,
they may make the bow
preparation easier by
taking a full measure
rest at m.52. This option
is marked in the parts
and score. TheA
divisiA notes at
m. 69 are provided for
ensembles which lack
violas. Ensembles with
violas may have them play
the lower notes while the
second violins play the
upper notes. Percussion,
which is completely
optional, should be very
subdued. Choose a bell
mallet which allows the
tones to be heard just
above the strings. the
woodblock part is
intended to imitate the
clip-clop sound of a
horse's hooves. Two
different sizes of
woodblocks or temple
blocks are needed.
Finding two suitable
sounds on one woodblock
is difficult. Again, the
right mallets are very
important. The suspended
cymbal should be played
with brushes if the
string ensemble is small.
If the suspended cymbal
with brushes cannot be
heard above a large
number of strings, then
sticks should be used
instead. The percussion
part can be performed by
one player, provided the
instruments and mallets
are set up properly and
the player has the skill
to make the transitions
smoothly. Note the
optional rest at mm.
53-54. Performance time
with the repeat is two
and a half
minutes. The musical
effect ofA Prarie
LullabyA should be
graceful and serene,
evocative of a peaceful
night on the open plains.
To that end, players will
need to strive for an
unlabored rhythmic flow,
smooth bowing and a
clear, steady tone as
close toA p as
possible. Beginning at
m.39, the violin and
viola parts are markedA
pizzicato. If
young players are unable
to return quickly toA
argo at m.53,
they may make the bow
preparation easier by
taking a full measure
rest at m.52. This option
is marked in the parts
and score. TheA
divisiA notes at
m. 69 are provided for
ensembles which lack
violas. Ensembles with
violas may have them play
the lower notes while the
second violins play the
upper notes. Percussion,
which is completely
optional, should be very
subdued. Choose a bell
mallet which allows the
tones to be heard just
above the strings. the
woodblock part is
intended to imitate the
clip-clop sound of a
horse's hooves. Two
different sizes of
woodblocks or temple
blocks are needed.
Finding two suitable
sounds on one woodblock
is difficult. Again, the
right mallets are very
important. The suspended
cymbal should be played
with brushes if the
string ensemble is small.
If the suspended cymbal
with brushes cannot be
heard above a large
number of strings, then
sticks should be used
instead. The percussion
part can be performed by
one player, provided the
instruments and mallets
are set up properly and
the player has the skill
to make the transitions
smoothly. Note the
optional rest at mm.
53-54. Performance time
with the repeat is two
and a half
minutes. The musical
effect of Prarie
Lullaby should be
graceful and serene,
evocative of a peaceful
night on the open plains.
To that end, players will
need to strive for an
unlabored rhythmic flow,
smooth bowing and a
clear, steady tone as
close to p as
possible. Beginning at
m.39, the violin and
viola parts are marked
pizzicato. If
young players are unable
to return quickly to
argo at m.53,
they may make the bow
preparation easier by
taking a full measure
rest at m.52. This option
is marked in the parts
and score. The divisi
notes at m. 69 are
provided for ensembles
which lack violas.
Ensembles with violas may
have them play the lower
notes while the second
violins play the upper
notes. Percussion, which
is completely optional,
should be very subdued.
Choose a bell mallet
which allows the tones to
be heard just above the
strings. the woodblock
part is intended to
imitate the clip-clop
sound of a horse's
hooves. Two different
sizes of woodblocks or
temple blocks are needed.
Finding two suitable
sounds on one woodblock
is difficult. Again, the
right mallets are very
important. The suspended
cymbal should be played
with brushes if the
string ensemble is small.
If the suspended cymbal
with brushes cannot be
heard above a large
number of strings, then
sticks should be used
instead. The percussion
part can be performed by
one player, provided the
instruments and mallets
are set up properly and
the player has the skill
to make the transitions
smoothly. Note the
optional rest at mm.
53-54. Performance time
with the repeat is two
and a half
minutes. The musical
effect of Prarie Lullaby
should be graceful and
serene, evocative of a
peaceful night on the
open plains. To that end,
players will need to
strive for an unlabored
rhythmic flow, smooth
bowing and a clear,
steady tone as close to p
as possible. Beginning at
m.39, the violin and
viola parts are marked
pizzicato. If young
players are unable to
return quickly to argo at
m.53, they may make the
bow preparation easier by
taking a full measure
rest at m.52. This option
is marked in the parts
and score. The divisi
notes at m. 69 are
provided for ensembles
which lack violas.
Ensembles with violas may
have them play the lower
notes while the second
violins play the upper
notes. Percussion, which
is completely optional,
should be very subdued.
Choose a bell mallet
which allows the tones to
be heard just above the
strings. the woodblock
part is intended to
imitate the clip-clop
sound of a horse's
hooves. Two different
sizes of woodblocks or
temple blocks are needed.
Finding two suitable
sounds on one woodblock
is difficult. Again, the
right mallets are very
important. The suspended
cymbal should be played
with brushes if the
string ensemble is small.
If the suspended cymbal
with brushes cannot be
heard above a large
number of strings, then
sticks should be used
instead. The percussion
part can be performed by
one player, provided the
instruments and mallets
are set up properly and
the player has the skill
to make the transitions
smoothly. Note the
optional rest at mm.
53-54. Performance time
with the repeat is two
and a half
minutes. The musical
effect of Prarie
Lullaby should be
graceful and serene,
evocative of a peaceful
night on the open plains.
To that end, players will
need to strive for an
unlabored rhythmic flow,
smooth bowing and a
clear, steady tone as
close to p as
possible.Beginning at
m.39, the violin and
viola parts are
marked pizzicato. If
young players are unable
to return quickly
to argo at m.53, they
may make the bow
preparation easier by
taking a full measure
rest at m.52. This option
is marked in the parts
and
score.The divisi no
tes at m. 69 are provided
for ensembles which lack
violas. Ensembles with
violas may have them play
the lower notes while the
second violins play the
upper notes.Percussion,
which is completely
optional, should be very
subdued. Choose a bell
mallet which allows the
tones to be heard just
above the strings. the
woodblock part is
intended to imitate the
clip-clop sound of a
horse's hooves. Two
different sizes of
woodblocks or temple
blocks are needed.
Finding two suitable
sounds on one woodblock
is difficult. Again, the
right mallets are very
important. The suspended
cymbal should be played
with brushes if the
string ensemble is small.
If the suspended cymbal
with brushes cannot be
heard above a large
number of strings, then
sticks should be used
instead.The percussion
part can be performed by
one player, provided the
instruments and mallets
are set up properly and
the player has the skill
to make the transitions
smoothly. Note the
optional rest at mm.
53-54.Performance time
with the repeat is two
and a half minutes.
About Carl
Fischer Beginning String
Orchestra
Series
Thi
s series of Grade 1
pieces is designed for
first year string groups.
The pieces in this series
are characterized by:
Limited parts
(often 2nd violin and
viola are the same part,
cello and bass are same
part)
Limited
keys and rhythms - only
simple 8th note
patterns
Selected and Arranged in Sets for Mandolin. Composed by Kevin Allison. Squar...(+)
Selected and Arranged in
Sets
for Mandolin. Composed by
Kevin Allison. Squareback
saddle-stitched. Book.
108
pages. Published by Mel
Bay
Publications, Inc
Russian Dance Orchestre à Cordes - Débutant Carl Fischer
Orchestra String Orchestra - Grade 1 SKU: CF.BAS16 Composed by Douglas To...(+)
Orchestra String
Orchestra - Grade 1
SKU: CF.BAS16
Composed by Douglas
Townsend. Carl Fischer
Beginning String
Orchestra Series.
Classical. Score and
Parts. With Standard
notation. 12 pages. Carl
Fischer Music #BAS16.
Published by Carl Fischer
Music (CF.BAS16).
ISBN
9780825851735. UPC:
798408051730. 8.5 X 11
inches. Key: D
major.
About Carl
Fischer Beginning String
Orchestra
Series
Thi
s series of Grade 1
pieces is designed for
first year string groups.
The pieces in this series
are characterized by:
Limited parts
(often 2nd violin and
viola are the same part,
cello and bass are same
part)
Limited
keys and rhythms - only
simple 8th note
patterns
Choral TBB chorus SKU: CF.CM9204 Composed by Traditional. Arranged by Gar...(+)
Choral TBB chorus
SKU:
CF.CM9204
Composed by
Traditional. Arranged by
Gary E. Parks.
Performance Score. With
Standard notation. 8
pages. Duration 1 minute,
50 seconds. Carl Fischer
Music #CM9204. Published
by Carl Fischer Music
(CF.CM9204).
ISBN
9780825883224. UPC:
798408083229. 6.875 x
10.5 inches. Key: D
minor. Text: Catherine E.
Parks. Cathryne E.
Parks.
Gary and
Cathryne Parks work
together to bring us a
rollicking sea chantey to
life for TBB voices. The
descriptive text of the
elements of a sailor's
life paints a full
picture of not just the
challenges and joys, but
of the loneliness as
well. A great choice for
your concert program.
Duration: 1:50.
Composed by
Shelley Smith David (D)
Smith. Fold. Performance
Score. With Standard
notation. 8 pages.
Duration 2 minutes, 28
seconds. Carl Fischer
Music #CM9404. Published
by Carl Fischer Music
(CF.CM9404).
ISBN
9780825898020. UPC:
798408098025. 6.875 x
10.5 inches. Text: Percy
Bysshe Shelley. Percy
Shelley.
Classical guitar - Intermediate SKU: MB.99904M Composed by Giovanni De Ch...(+)
Classical guitar -
Intermediate
SKU:
MB.99904M
Composed by
Giovanni De Chiaro.
Squareback saddle stitch,
Wedding. Style. Book and
online audio. 112 pages.
Mel Bay Publications, Inc
#99904M. Published by Mel
Bay Publications, Inc
(MB.99904M).
ISBN
9780786697045. 8.75 x
11.75 inches.
This
collection provides fresh
repertoire for wedding
ceremonies offering a
wonderful alternative to
the church organ.
Selections include Canon
in D Pachelbel ; Jesu,
Joy of Mans Desiring Bach
; Wedding March
Mendelssohn ; and other
popular and enjoyable
pieces suitable for the
occasion. Written in
standard notation only
with suggested
fingerings. Includes
access to online audio
recording.
By William Bay. For Guitar (Electric). method. You Can Teach Yourself. Rock. Lev...(+)
By William Bay. For
Guitar (Electric).
method. You Can Teach
Yourself. Rock. Level:
Beginning. Book CD DVD.
Size 8.75x11.75. 108
pages. Published by Mel
Bay Publications, Inc.
Composed by Stefan Grossman. Guitar: Fingerpicking,Style,Blues ,Met hod,Sol...(+)
Composed by Stefan
Grossman.
Guitar:
Fingerpicking,Style,Blues
,Met
hod,Solos. Grossman
Audio.
Book and Online Audio.
116
pages. Published by Mel
Bay
Publications, Inc
Composed by Silvia
Elvers. Separate edition
with choral collection.
Sacred vocal music,
Special days, Praise and
thanks. Full score.
Duration 1 minute. Carus
Verlag #CV 03.228/40.
Published by Carus Verlag
(CA.322840).
ISBN
9790007178086. Key: D
major. Language: German.
Text: Elvers, Silvia.
Text: Silvia
Elvers.
By Jerry Silverman. For Guitar (Fingerpicking). SongBook. Bill's Music Shelf. Vi...(+)
By Jerry Silverman. For
Guitar (Fingerpicking).
SongBook. Bill's Music
Shelf. Victorian.
Beginning. Book. 140
pages. Published by Mel
Bay Publications, Inc
Jazz ensemble - Grade 4 SKU: LO.60-1335H Composed by Bob Washut. Jazz. Co...(+)
Jazz ensemble - Grade 4
SKU: LO.60-1335H
Composed by Bob Washut.
Jazz. Conductor's score.
Heritage Music Press
#60/1335H. Published by
Heritage Music Press
(LO.60-1335H).
ISBN
9780893288129.
Alte
rnating between Latin and
swing, this impressive
new piece is reminiscent
of the way jazz players
usually perform On Green
Dolphin Street. The
opening Latin section is
over a rhythmic ostinato
and pedal F, which makes
the release to swing even
more effective. The solos
for alto saxophone and
trumpet are one chorus
each (but could easily be
extended) using the same
Latin/swing format as the
head. Following the solo
section is a saxophone
soli and an exciting
breakdown section. Some
wide dynamic contrasts in
the final ensemble
section take the chart
out. (Trumpet 1 to
written D, Trombone to
A-flat, Trombone 4 is for
bass trombone.).
3rd Day of Christmas
[St John's Day].
Composed by Johann
Sebastian Bach. Stapled.
Orchester-Bibliothek
(Orchestral Library).
Cantata; Baroque. Part. 8
pages. Duration 20'.
Breitkopf and Haertel #OB
4651-26. Published by
Breitkopf and Haertel
(BR.OB-4651-26).
Summer Dance Orchestre à Cordes - Facile Carl Fischer
Orchestra String Orchestra - Grade 2-2.5 SKU: CF.YAS19 Composed by Alan L...(+)
Orchestra String
Orchestra - Grade 2-2.5
SKU: CF.YAS19
Composed by Alan Lee
Silva. Carl Fischer Young
String Orchestra Series.
Classical. Score and
Parts. With Standard
notation. 12 pages. Carl
Fischer Music #YAS19.
Published by Carl Fischer
Music (CF.YAS19).
ISBN
9780825854859. UPC:
798408054854. 8.5 X 11
inches. Key: D
major.
Summer
Dance is a melodic,
up-tempo piece with
plenty of musical and
technical challenges for
every player. Musicians
should strive to play it
with an energetic yet
legato feel. A
spirited introduction
features an opening
melody in the violins and
active repeated-note
pedal patters in the
violas and low strings.
An AABA form begins at
m.5 and the orchestration
is immediately pared down
to feature violin I and
cello. It then builds
again in density to the B
section, where a quick
dynamic drop allows a
question-and-answer
melody between the two
parts to sing out. In m.
29, the melody is
harmonized and a
countermelody in violin I
introduced. The violins
take the melody soaring
in octaves in m. 33, as
the piece again builds to
the B section and
suddenly quiets. Measure
55 then provides more
question-and-answer
interplay, this time for
viola and cello, while
violin continues with its
newly harmonized melody.
Summer Dance finishes
with a soft recurrence of
the opening figure and a
build toward a powerful
divisi voicing
on beat 3 of m. 63, right
before the final
chord. Summer
Dance is a melodic,
up-tempo piece with
plenty of musical and
technical challenges for
every player. Musicians
should strive to play it
with an energetic yetA
legato feel. A
spirited introduction
features an opening
melody in the violins and
active repeated-note
pedal patters in the
violas and low strings.
An AABA form begins at
m.5 and the orchestration
is immediately pared down
to feature violin I and
cello. It then builds
again in density to the B
section, where a quick
dynamic drop allows a
question-and-answer
melody between the two
parts to sing out. In m.
29, the melody is
harmonized and a
countermelody in violin I
introduced. The violins
take the melody soaring
in octaves in m. 33, as
the piece again builds to
the B section and
suddenly quiets. Measure
55 then provides more
question-and-answer
interplay, this time for
viola and cello, while
violin continues with its
newly harmonized melody.
Summer Dance finishes
with a soft recurrence of
the opening figure and a
build toward a powerfulA
divisi voicing
on beat 3 of m. 63, right
before the final
chord. Summer Dance is
a melodic, up-tempo piece
with plenty of musical
and technical challenges
for every player.
Musicians should strive
to play it with an
energetic yet legato
feel. A spirited
introduction features an
opening melody in the
violins and active
repeated-note pedal
patters in the violas and
low strings. An AABA form
begins at m.5 and the
orchestration is
immediately pared down to
feature violin I and
cello. It then builds
again in density to the B
section, where a quick
dynamic drop allows a
question-and-answer
melody between the two
parts to sing out. In m.
29, the melody is
harmonized and a
countermelody in violin I
introduced. The violins
take the melody soaring
in octaves in m. 33, as
the piece again builds to
the B section and
suddenly quiets. Measure
55 then provides more
question-and-answer
interplay, this time for
viola and cello, while
violin continues with its
newly harmonized melody.
Summer Dance finishes
with a soft recurrence of
the opening figure and a
build toward a powerful
divisi voicing on beat 3
of m. 63, right before
the final
chord. Summer Dance is
a melodic, up-tempo piece
with plenty of musical
and technical challenges
for every player.
Musicians should strive
to play it with an
energetic yet legato
feel.A spirited
introduction features an
opening melody in the
violins and active
repeated-note pedal
patters in the violas and
low strings. An AABA form
begins at m.5 and the
orchestration is
immediately pared down to
feature violin I and
cello. It then builds
again in density to the B
section, where a quick
dynamic drop allows a
question-and-answer
melody between the two
parts to sing out.In m.
29, the melody is
harmonized and a
countermelody in violin I
introduced. The violins
take the melody soaring
in octaves in m. 33, as
the piece again builds to
the B section and
suddenly quiets. Measure
55 then provides more
question-and-answer
interplay, this time for
viola and cello, while
violin continues with its
newly harmonized melody.
Summer Dance finishes
with a soft recurrence of
the opening figure and a
build toward a
powerful divisi
voicing on beat 3 of m.
63, right before the
final chord.
About Carl
Fischer Young String
Orchestra
Series
Thi
s series of Grade 2/Grade
2.5 pieces is designed
for second and third year
ensembles. The pieces in
this series are
characterized
by: --Occasionally
extending to third
position --Keys
carefully considered for
appropriate
difficulty --Addition
of separate 2nd violin
and viola
parts --Viola T.C.
part
included --Increase
in independence of parts
over beginning levels
Bass guitar - Intermediate-Advanced SKU: MB.95254BCD Composed by Johann S...(+)
Bass guitar -
Intermediate-Advanced
SKU: MB.95254BCD
Composed by Johann
Sebastian Bach. Edited by
Josquin Des Pres.
Saddle-stitched, Solos.
Baroque. Bass tablature
songbook and examples CD.
With guitar tablature and
standard guitar notation.
48 pages. Published by
Mel Bay Publications, Inc
(MB.95254BCD).
ISBN
9780786628438. UPC:
796279042697. 8.75x11.75
inches. Transcribed by
Josquin des
Pres.
Johann
Sebastian Bach is
recognized as one of the
world's supremely great
musicians. Known
primarily as an organist
and then only later
recognized as a composer,
Bach transformed the
conventional structures
of preludes and fugues.
J.S. Bach for Bass will
open up a whole new world
of phrasing for the
aspiring bassist.
Selections include
Prelude #1 in C Major,
Suite #1 in G Major,
Partita #2 in D and more.
This book is written in
notation and tablature.
Also available in
Japanese from ATN,
Inc.
By Mizzy McCaskill and Dona Gilliam. For Flute. Solos. Complete. Celtic/Irish. L...(+)
By Mizzy McCaskill and
Dona Gilliam. For Flute.
Solos. Complete.
Celtic/Irish. Level:
Beginning. Book/CD Set.
Size 8.75x11.75. 192
pages. Published by Mel
Bay Publications, Inc.