For voice and C instrument. Format: fakebook. With vocal melody, lyrics and chor...(+)
For voice and C
instrument. Format:
fakebook. With vocal
melody, lyrics and chord
names. Folk. Series: Hal
Leonard Fake Books. 536
pages. 9.6x12 inches.
Published by Hal Leonard.
For voice and C instrument. Format: fakebook. With vocal melody, lyrics and chor...(+)
For voice and C
instrument. Format:
fakebook. With vocal
melody, lyrics and chord
names. Traditional pop
and vocal standards.
Series: Hal Leonard Fake
Books. 424 pages. 9x12
inches. Published by Hal
Leonard.
Ligne De Mélodie, Paroles et Accords [Fake Book] - Intermédiaire Hal Leonard
For voice and C instrument. Format: fakebook. With vocal melody, lyrics, chord n...(+)
For voice and C
instrument. Format:
fakebook. With vocal
melody, lyrics, chord
names and guitar chord
chart. Gospel and
worship. Series: Hal
Leonard Fake Books. 295
pages. 9x12 inches.
Published by Hal Leonard.
Scott Joplin Reconsidered. Composed by Scott Joplin (1868-1917). Edited by L...(+)
Scott Joplin
Reconsidered.
Composed by Scott Joplin
(1868-1917). Edited by
Lara
Downes. Collection.
Theodore
Presser Company
#440-40028.
Published by Theodore
Presser
Company
Children's Songs Ligne De Mélodie, Paroles et Accords [Fake Book] Hal Leonard
For voice and C instrument. Format: fakebook. With vocal melody, lyrics, chord n...(+)
For voice and C
instrument. Format:
fakebook. With vocal
melody, lyrics, chord
names and leadsheet
notation. Children's.
Series: Hal Leonard
Paperback Songs
(Melodies, lyrics, and
chords in a convenient
format), . 256 pages.
4.2x6.7 inches. Published
by Hal Leonard.
(E-Z Play Today #199). Composed by Various. For Organ, Piano/Keyboard, Electroni...(+)
(E-Z Play Today #199).
Composed by Various. For
Organ, Piano/Keyboard,
Electronic Keyboard. E-Z
Play Today. Softcover.
528 pages. Published by
Hal Leonard
For Violin and
Orchestra. Composed
by Behzad Ranjbaran.
Contemporary. Large
Score. With Standard
notation. Composed 1994.
144 pages. Duration 31
minutes. Theodore Presser
Company #416-41366L.
Published by Theodore
Presser Company
(PR.41641366L).
UPC:
680160585755.
From
my early years studying
violin at the Tehran
Music Conservatory, I was
captivated by the sound
of the kamancheh, an
ancient Persian bowed
instrument considered one
of the ancestors to the
modern violin. I was
pleased when the National
Endowment for the Arts
awarded me a grant to
write a violin concerto
as it provided me with an
occasion to rekindle my
fascination with the
kamancheh. The notion of
writing a violin concerto
that would incorporate
the power and brilliance
of a modern instrument
with the delicate and
lyrical character of an
ancient one was simply
irresistible. Moreover,
the inspiration from the
kamancheh also informed
my use of Persian modes,
melodic, and rhythmic
figures. The notes of the
violins open strings (G,
D, A, E) also influenced
many of the melodic and
harmonic elements of my
violin concerto. The
opening tutti is mostly
based on intervals of a
perfect 4th and 5th. The
primary material for each
movement incorporates
notes of two of the open
strings of the violin,
creating a three-note
melodic motif as the
basis of themes: 1 st
movement: A-D-A 2nd
movement: D-G-D 3rd
movement: E-A-E The
overall structure of the
concerto is organic and
cyclical, as themes are
shared between the three
movements. For example,
the main musical idea of
the third movement is a
transformation of the
first movements primary
theme. While the
movements share similar
musical materials, each
one is defined by
distinguishing
characters. The first
movement is conflicted;
alternating between
sections of unabashed
lyricism and unforgiving
ferocity. The second
movement is haunting,
mysterious, and
expressive with long
melodic lines that vary
continuously. It moves
through different moods
and characters including
a reimagining of a
traditional Persian
wedding tune played by
the orchestra (m. 98).
The third movement is
festive in character and
features much brilliant
passagework for the solo
violin. At the climax of
this movement, themes
from the previous
movements re-emerge
simultaneously with
greater intensity,
propelling the concerto
to an energetic finale.
The Concerto was composed
in 1994 and is dedicated
to Joshua Bell. From
my early years studying
violin at the Tehran
Music Conservatory, I was
captivated by the sound
of the kamancheh, an
ancient Persian bowed
instrument considered one
of the ancestors to the
modern violin. I was
pleased when the National
Endowment for the Arts
awarded me a grant to
write a violin concerto
as it provided me with an
occasion to rekindle my
fascination with the
kamancheh. The notion of
writing a violin concerto
that would incorporate
the power and brilliance
of a modern instrument
with the delicate and
lyrical character of an
ancient one was simply
irresistible. Moreover,
the inspiration from the
kamancheh also informed
my use of Persian modes,
melodic, and rhythmic
figures. The notes of the
violinas open strings (G,
D, A, E) also influenced
many of the melodic and
harmonic elements of my
violin concerto. The
opening tutti is mostly
based on intervals of a
perfect 4th and 5th. The
primary material for each
movement incorporates
notes of two of the open
strings of the violin,
creating a three-note
melodic motif as the
basis of themes: 1 st
movement: A-D-A 2nd
movement: D-G-D 3rd
movement: E-A-E The
overall structure of the
concerto is organic and
cyclical, as themes are
shared between the three
movements. For example,
the main musical idea of
the third movement is a
transformation of the
first movementas primary
theme. While the
movements share similar
musical materials, each
one is defined by
distinguishing
characters. The first
movement is conflicted;
alternating between
sections of unabashed
lyricism and unforgiving
ferocity. The second
movement is haunting,
mysterious, and
expressive with long
melodic lines that vary
continuously. It moves
through different moods
and characters including
a reimagining of a
traditional Persian
wedding tune played by
the orchestra (m. 98).
The third movement is
festive in character and
features much brilliant
passagework for the solo
violin. At the climax of
this movement, themes
from the previous
movements re-emerge
simultaneously with
greater intensity,
propelling the concerto
to an energetic finale.
The Concerto was composed
in 1994 and is dedicated
to Joshua Bell. From
my early years studying
violin at the Tehran
Music Conservatory, I was
captivated by the sound
of the kamancheh, an
ancient Persian bowed
instrument considered one
of the ancestors to the
modern violin. I was
pleased when the National
Endowment for the Arts
awarded me a grant to
write a violin concerto
as it provided me with an
occasion to rekindle my
fascination with the
kamancheh. The notion of
writing a violin concerto
that would incorporate
the power and brilliance
of a modern instrument
with the delicate and
lyrical character of an
ancient one was simply
irresistible. Moreover,
the inspiration from the
kamancheh also informed
my use of Persian modes,
melodic, and rhythmic
figures. The notes of the
violin's open strings (G,
D, A, E) also influenced
many of the melodic and
harmonic elements of my
violin concerto. The
opening tutti is mostly
based on intervals of a
perfect 4th and 5th. The
primary material for each
movement incorporates
notes of two of the open
strings of the violin,
creating a three-note
melodic motif as the
basis of themes: 1 st
movement: A-D-A 2nd
movement: D-G-D 3rd
movement: E-A-E The
overall structure of the
concerto is organic and
cyclical, as themes are
shared between the three
movements. For example,
the main musical idea of
the third movement is a
transformation of the
first movement's primary
theme. While the
movements share similar
musical materials, each
one is defined by
distinguishing
characters. The first
movement is conflicted;
alternating between
sections of unabashed
lyricism and unforgiving
ferocity. The second
movement is haunting,
mysterious, and
expressive with long
melodic lines that vary
continuously. It moves
through different moods
and characters including
a reimagining of a
traditional Persian
wedding tune played by
the orchestra (m. 98).
The third movement is
festive in character and
features much brilliant
passagework for the solo
violin. At the climax of
this movement, themes
from the previous
movements re-emerge
simultaneously with
greater intensity,
propelling the concerto
to an energetic finale.
The Concerto was composed
in 1994 and is dedicated
to Joshua Bell. From
my early years studying
violin at the Tehran
Music Conservatory, I was
captivated by the sound
of the kamancheh, an
ancient Persian bowed
instrument considered one
of the ancestors to the
modern violin. I was
pleased when the National
Endowment for the Arts
awarded me a grant to
write a violin concerto
as it provided me with an
occasion to rekindle my
fascination with the
kamancheh. The notionof
writing a violin concerto
that would incorporate
the power and brilliance
of a modern instrument
with the delicate and
lyrical character of an
ancient one was simply
irresistible. Moreover,
the inspiration from the
kamancheh also informed
my use of Persian modes,
melodic, and rhythmic
figures.The notes of the
violin’s open
strings (G, D, A, E) also
influenced many of the
melodic and harmonic
elements of my violin
concerto. The opening
tutti is mostly based on
intervals of a perfect
4th and 5th. The primary
material for each
movement incorporates
notes of two of the open
strings of the violin,
creating a three-note
melodic motif as the
basis of themes:1 st
movement: A-D-A2nd
movement: D-G-D3rd
movement: E-A-EThe
overall structure of the
concerto is organic and
cyclical, as themes are
shared between the three
movements. For example,
the main musical idea of
the third movement is a
transformation of the
first movement’s
primary theme. While the
movements share similar
musical materials, each
one is definedby
distinguishing
characters. The first
movement is conflicted;
alternating between
sections of unabashed
lyricism and
unforgivingferocity. The
second movement is
haunting, mysterious, and
expressive with long
melodic lines that vary
continuously. It moves
through different moods
and characters including
a reimagining of a
traditional Persian
wedding tune played by
the orchestra (m. 98).
The third movement is
festive in character and
features much brilliant
passagework for the solo
violin. At the climax of
this movement, themes
fromthe previous
movements re-emerge
simultaneously with
greater intensity,
propelling the concerto
to an energetic finale.
The Concerto was composed
in 1994 and is dedicated
to Joshua Bell.
Choral (SSA Choir) SKU: HL.35031921 Composed by George L.O. Strid and Mar...(+)
Choral (SSA Choir)
SKU: HL.35031921
Composed by George L.O.
Strid and Mary Donnelly.
Shawnee Press. Concert.
Octavo. Duration 165
seconds. Published by
Shawnee Press
(HL.35031921).
ISBN
9781540013248. UPC:
888680718800.
6.75x10.5x0.036 inches.
Mary Donnelly & George
L.O.
Strid.
Donnelly and
Strid have arranged the
traditional Chinese folk
song, “Mo Li
Hua,†into a
delightful display of
trebled voiced beauty
accompanied by a gentle
piano with optional
soprano recorder and
various Orff instruments
and percussion. A
wonderful multi-cultural
selection for any time of
year and offers both
Chinese and English
language.
Jumbo Easy Guitar Songbook Guitare notes et tablatures Guitare classique [Partition] - Facile Hal Leonard
Performed by Various. Easy Guitar (Simplified arrangements for guitar). With not...(+)
Performed by Various.
Easy Guitar (Simplified
arrangements for guitar).
With notes and tablature.
Size 9x12 inches. 400
pages. Published by Hal
Leonard.
Jasmine Flower.
Composed by Hyo-Won Woo.
Hak-Won Yoon Choral
Series. Music Education.
Octavo. 8 pages. Walton
Music #WW1573. Published
by Walton Music
(GI.WW1573).
Composed by Bob Chilcott. Mixed Voices. Secular. Vocal score. 40 pages. Duration...(+)
Composed by Bob Chilcott.
Mixed Voices. Secular.
Vocal score. 40 pages.
Duration 12'. Oxford
University Press
#9780193404212. Published
by Oxford University
Press (OU.9780193404212).
Kneipenhocker Ligne De Mélodie, (Paroles) et Accords [Partition]
Melody, Lyrics and Chords SKU: BT.MVH10001031 230 Lumpenlieder, SpaÃ...(+)
Melody, Lyrics and Chords
SKU:
BT.MVH10001031
230
Lumpenlieder,
Spaßlieder,
Trinklieder and frivole
Lieder für die
fröhliche
Runde. Arranged by
Gerhard Hildner. Book
with CD. 303 pages.
Musikverlag Monika
Hildner #MVH10001031.
Published by Musikverlag
Monika Hildner
(BT.MVH10001031).
ISBN
9783932839597.
230
songs to sing in the pub,
or at a party or other
social gathering. This
songbook contains a
selection of traditional
German songs that are
joyful and fun to play.
All songs are arranged in
a melody line, lyrics and
chords format. This book
is accompanied by 3 CDs
that contain the first
verse and the chorus of
every title to enable the
player to become
acquainted with them.
Die 230 besten
Lumpenlieder,
Spaßlieder,
Trinklieder und frivolen
Lieder für die
gesellige Runde und
fürs
Wirtshaus-Singen. Dank
des besonderen Formats
DIN A5 maxi ( 20 %) ist
die Schrift sehr gut
lesbar. Die einzelnen
Titel sind jeweils
arrangiert mit
Melodiezeile, den
Akkorden und Text zum
Spielen mit Keyboard und
Gitarre sowie zur
Gesangsbegleitung. Als
Begleitung zum Buch
erhalten Sie 3 CDs zum
Kennenlernen aller im
Buch enthaltenen Lieder
und zum Mitsingen. Der 1.
Vers und der Refrain
werden dabei angespielt,
Gesangsbegleitung
inklusive.
Instruments en Do [Fake Book] - Intermédiaire Sher Music Company
For C instrument. Format: fakebook (spiral bound). With melody, chord names, int...(+)
For C instrument. Format:
fakebook (spiral bound).
With melody, chord names,
introductory text and
black and white photos.
Jazz and Pop. 438 pages.
9x12 inches. Published by
Sher Music Company.
Asian Edition. By piano accompaniment performed by Kuang-Hao Huang, violin ...(+)
Asian Edition. By piano
accompaniment performed
by
Kuang-Hao Huang, violin
performed by Augustin
Hadelich, and Dr.
Shinichi
Suzuki. This edition:
International. MakeMusic
Cloud;
Method/Instruction;
String - Violin (Suzuki);
Suzuki. Suzuki Violin
School.
Book and CD. 32 pages.
Alfred
Music #00-50633.
Published by
Alfred Music
International Edition. By Kuang-Hao Huang. This edition: Performance/Accompa...(+)
International Edition. By
Kuang-Hao Huang. This
edition:
Performance/Accompaniment
CD;
International.
Method/Instruction;
String -
Violin (Suzuki); Suzuki.
Suzuki Violin School. CD.
Alfred Music #00-50107.
Published by Alfred Music
Violin Part. Composed by Dr. Shinichi Suzuki. This edition: International. ...(+)
Violin Part. Composed by
Dr.
Shinichi Suzuki. This
edition:
International.
Method/Instruction;
String -
Violin (Suzuki); Suzuki.
Suzuki Violin School.
Book and
CD. 32 pages. Alfred
Music
#00-50106. Published by
Alfred
Music