Alto saxophone SKU: GI.G-J185 Alto Saxophone. Composed by Christop...(+)
Alto saxophone
SKU:
GI.G-J185
Alto
Saxophone. Composed
by Christopher D. Azzara.
Edited by Christopher D.
Azzara. Band Method. Jump
Right In. Music
Education. Method book.
20 pages. GIA
Publications #J185.
Published by GIA
Publications (GI.G-J185).
English.
Composi
tions and arrangements
for winds and percussion
with optional
improvisation! Twelve
selections for concert
band in one book.
Highlights include:
• Optional
improvisation sections in
each selection •
Grade levels II–IV
• Full score with
complete instrumentation
• Music for all
ages and for all seasons
• Recordings (CD or
cassette) available,
performed by
instrumentalists from the
Eastman School of Music
• Playable with
minimal to full
instrumentation Part
books (specify instrument
and catalog
number below): Flute
(J179) - Oboe (J180) -
Clarinet I (J181) -
Clarinet II (J182) - Bass
Clarinet (J183) - Bassoon
(J184) - Alto Saxophone
(J185) - Tenor Saxophone
(J186) - Baritone
Saxophone (J187) -
Trumpet I (J188) -
Trumpet II (J189) - Horn
(J190) - Trombone I
(J191) - Trombone II
(J192) - Baritone BC
(J193) - Baritone TC
(J194) - Tuba (J195) -
Bells/Xylophone/Piano
(J196) - Percussion
(J197) -ÂÂ
Demonstration compact
disc (J198CD).
Composed by Peter Ilyich
Tchaikovsky. Arranged by
Bud Caputo. Concert
String Orchestra (CAS).
Set of Score and Parts.
With Standard notation.
24+24+6+15+15+15+7+24
pages. Duration 5:57.
Carl Fischer Music
#CAS110. Published by
Carl Fischer Music
(CF.CAS110).
ISBN
9781491151297. UPC:
680160908790. 9 x 12
inches. Key: E
minor.
Bud Caputo
presents Nutcracker Suite
Selections for string
orchestra featuring three
abridged movements
of?Tchaikovsky's
Nutcracker Suite:?Dance
of the Sugar Plum Fairy,
March, and Trepak. These
abridged movements are
sure to be crowd-pleasers
around the?winter
holidays or a favorite
for?any time of the
year. This arrangement
will challenge students,
while fostering rhythmic
independence, execution
of bowing and pizzicato,
and the ability to
balance the melody with
the accompaniment
throughout the
arrangement. However,
ranges remain primarily
in first position with
some optional
8va<
span class=s4> passages,
allowing intermediate
groups to perform this in
time for the winter
holiday concert. Suitable
for Grades 3 through
5. To the
Director:Dance
of the Sugar Plum
Fairy:A steady tempo
is critical when
performing this movement,
as students may have a
tendency to rush during
the pizzicato sections.
There is a
regularly occurring
descending sixteenth-note
rhythmic figure that is
transcribed form the bass
clarinet part in the
original.
It
is important to maintain
clarity and
balance in performing
these passages as seen
in
mm. 16-19, in the Basses
and m. 34 in the
Cello and Bass.
The
balancing of the chords
will be a challenge
in
the execution of the many
sforzandos
em> in this
movement. March:Measures 2 and
4, and similar melodic
patterns that follow,
require the performers to
carefully balance their
forte/pianos
on beats 3 and 4,
along with the rapid
diminuendo. The contrasting
rhythmic patterns in mm.
5-8, and later throughout
this movement must line
up precisely. Strings
playing the pizzicato
eight note, walking bass
line, must not rush,
and the upper strings
playing the
eighth-note/eight-rest
figure must
follow their section
leaders in executing this
in a unified manner.
While there is
no formal tempo change
from mm. 40 to 41,
directors may need to
relax the tempo at the
beginning of the
movement to
accommodate the
technical challenge of
the double time feel that
happens in m. 41. Trepak:
Tchaikovsky was careful
to notate the
p,
fand
sf,
requiring the performers
to recognize the
difference between all
three markings that frame
the chief melody. The
upper strings must be
careful to support the
melody in the lower
strings that begins in m.
33. Directors will
challenge their students
to have fun in the last
twelve measures with the
accelerando
passage to the
end. Care must
be taken to use
anaccelerando
that works for
all
the players in the
particular
ensemble.. This
arrangement will
challenge students, while
fostering rhythmic
independence, execution
of bowing and pizzicato,
and the ability to
balance the melody with
the accompaniment
throughout the
arrangement. However,
ranges remain primarily
in first position with
some optional
8va<
span class=s4> passages,
allowing intermediate
groups to perform this in
time for the winter
holiday concert.A
Suitable for Grades 3
through 5. To the
Director:Dance
of the Sugar Plum
Fairy:A steady tempo
is critical when
performing this movement,
as students may have a
tendency to rush during
the pizzicato sections.
There is a
regularly occurring
descending sixteenth-note
rhythmic figure that is
transcribed form the bass
clarinet part in the
original.
It
is important to maintain
clarity and
balance in performing
these passages as seen
in
mm.A 16-19, in the Basses
and m.A 34A in the
Cello and Bass.
The
balancing of the chords
will be a challenge
in
the execution of the many
sforzandos
em>A in this
movement. March: A Measures 2 and
4, and similar melodic
patterns that follow,
require the performers to
carefully balance their
forte/pianos
on beats 3 and 4,
along with the rapid
diminuendo. The contrasting
rhythmic patterns in mm.
5-8, and later throughout
this movement must line
up precisely. Strings
playing the pizzicato
eight note, walking bass
line, must not rush,
and the upper strings
playing the
eighth-note/eight-restA
figure must
follow their section
leaders in executing this
in a unified manner.
While there is
no formal tempo change
from mm. 40 to 41,
directors may need to
relax the tempo at the
beginning of the
movement toA
accommodate the
technical challenge of
the double time feel that
happens in m. 41. Trepak:
A
Tchaikovsky was careful
to notate the
p,
fand
sf,
requiring the performers
to recognize the
difference between all
three markings that frame
the chief melody. The
upper strings must be
careful to support the
melody in the lower
strings that begins in m.
33. Directors will
challenge their students
to have fun in the last
twelve measures with the
accelerando
passage to the
end. Care must
be taken to use
anaccelerando
that works for
all
the players in the
particular
ensemble.. This
arrangement will
challenge students, while
fostering rhythmic
independence, execution
of bowing and pizzicato,
and the ability to
balance the melody with
the accompaniment
throughout the
arrangement. However,
ranges remain primarily
in first position with
some optional
8va<
span class=s4> passages,
allowing intermediate
groups to perform this in
time for the winter
holiday concert.A
Suitable for Grades 3
through 5. To the
Director:Dance
of the Sugar Plum
Fairy:A steady tempo
is critical when
performing this movement,
as students may have a
tendency to rush during
the pizzicato sections.
There is a
regularly occurring
descending sixteenth-note
rhythmic figure that is
transcribed form the bass
clarinet part in the
original.
It
is important to maintain
clarity and
balance in performing
these passages as seen
in
mm.A 16-19, in the Basses
and m.A 34A in the
Cello and Bass.
The
balancing of the chords
will be a challenge
in
the execution of the many
sforzandos
em>A in this
movement. March: A Measures 2 and
4, and similar melodic
patterns that follow,
require the performers to
carefully balance their
forte/pianos
on beats 3 and 4,
along with the rapid
diminuendo. The contrasting
rhythmic patterns in mm.
5-8, and later throughout
this movement must line
up precisely. Strings
playing the pizzicato
eight note, walking bass
line, must not rush,
and the upper strings
playing the
eighth-note/eight-restA
figure must
follow their section
leaders in executing this
in a unified manner.
While there is
no formal tempo change
from mm. 40 to 41,
directors may need to
relax the tempo at the
beginning of the
movement toA
accommodate the
technical challenge of
the double time feel that
happens in m. 41. Trepak:
A
Tchaikovsky was careful
to notate the
p,
fand
sf,
requiring the performers
to recognize the
difference between all
three markings that frame
the chief melody. The
upper strings must be
careful to support the
melody in the lower
strings that begins in m.
33. Directors will
challenge their students
to have fun in the last
twelve measures with the
accelerando
passage to the
end. Care must
be taken to use
anaccelerando
that works for
all
the players in the
particular
ensemble.. This
arrangement will
challenge students, while
fostering rhythmic
independence, execution
of bowing and pizzicato,
and the ability to
balance the melody with
the accompaniment
throughout the
arrangement. However,
ranges remain primarily
in first position with
some optional
8va<
span class=s4> passages,
allowing intermediate
groups to perform this in
time for the winter
holiday concert. Suitable
for Grades 3 through
5. To the
Director:Dance
of the Sugar Plum
Fairy:A steady tempo
is critical when
performing this movement,
as students may have a
tendency to rush during
the pizzicato sections.
There is a
regularly occurring
descending sixteenth-note
rhythmic figure that is
transcribed form the bass
clarinet part in the
original.
It
is important to maintain
clarity and
balance in performing
these passages as seen
in
mm. 16-19, in the Basses
and m. 34 in the
Cello and Bass.
The
balancing of the chords
will be a challenge
in
the execution of the many
sforzandos
em> in this
movement. March:Measures 2 and
4, and similar melodic
patterns that follow,
require the performers to
carefully balance their
forte/pianos
on beats 3 and 4,
along with the rapid
diminuendo. The contrasting
rhythmic patterns in mm.
5-8, and later throughout
this movement must line
up precisely. Strings
playing the pizzicato
eight note, walking bass
line, must not rush,
and the upper strings
playing the
eighth-note/eight-rest
figure must
follow their section
leaders in executing this
in a unified manner.
While there is
no formal tempo change
from mm. 40 to 41,
directors may need to
relax the tempo at the
beginning of the
movement to
accommodate the
technical challenge of
the double time feel that
happens in m. 41. Trepak:
Tchaikovsky was careful
to notate the
p,
fand
sf,
requiring the performers
to recognize the
difference between all
three markings that frame
the chief melody. The
upper strings must be
careful to support the
melody in the lower
strings that begins in m.
33. Directors will
challenge their students
to have fun in the last
twelve measures with the
accelerando
passage to the
end. Care must
be taken to use
anaccelerando
that works for
all
the players in the
particular
ensemble.. This
arrangement will
challenge students, while
fostering rhythmic
independence, execution
of bowing and pizzicato,
and the ability to
balance the melody with
the accompaniment
throughout the
arrangement. However,
ranges remain primarily
in first position with
some optional 8va
passages, allowing
intermediate groups to
perform this in time for
the winter holiday
concert. Suitable for
Grades 3 through 5. To
the Director: Dance of
the Sugar Plum Fairy: A
steady tempo is critical
when performing this
movement, as students may
have a tendency to rush
during the pizzicato
sections. There is a
regularly occurring
descending sixteenth-note
rhythmic figure that is
transcribed form the bass
clarinet part in the
original. It is important
to maintain clarity and
balance in performing
these passages as seen in
mm. 16-19, in the Basses
and m. 34 in the Cello
and Bass. The balancing
of the chords will be a
challenge in the
execution of the many
sforzandos in this
movement. March: Measures
2 and 4, and similar
melodic patterns that
follow, require the
performers to carefully
balance their
forte/pianos on beats 3
and 4, along with the
rapid diminuendo. The
contrasting rhythmic
patterns in mm. 5-8, and
later throughout this
movement must line up
precisely. Strings
playing the pizzicato
eight note, walking bass
line, must not rush, and
the upper strings playing
the
eighth-note/eight-rest
figure must follow their
section leaders in
executing this in a
unified manner. While
there is no formal tempo
change from mm. 40 to 41,
directors may need to
relax the tempo at the
beginning of the movement
to accommodate the
technical challenge of
the double time feel that
happens in m. 41. Trepak:
Tchaikovsky was careful
to notate the p, f and
sf, requiring the
performers to recognize
the difference between
all three markings that
frame the chief melody.
The upper strings must be
careful to support the
melody in the lower
strings that begins in m.
33. Directors will
challenge their students
to have fun in the last
twelve measures with the
accelerando passage to
the end. Care must be
taken to use an
accelerando that works
for all the players in
the particular
ensemble. This
arrangement will
challenge students, while
fostering rhythmic
independence, execution
of bowing and pizzicato,
and the ability to
balance the melody with
the accompaniment
throughout the
arrangement. However,
ranges remain primarily
in first position with
some optional 8va
passages, allowing
intermediate groups to
perform this in time for
the winter holiday
concert. Suitable for
Grades 3 through 5.To the
Director:Dance of the
Sugar Plum Fairy: A
steady tempo is critical
when performing this
movement, as students may
have a tendency to rush
during the pizzicato
sections. There is a
regularly occurring
descending sixteenth-note
rhythmic figure that is
transcribed form the bass
clarinet part in the
original. It is important
to maintain clarity and
balance in performing
these passages as seen in
mm. 16-19, in the
Basses and m. 34 in
the Cello and Bass. The
balancing of the chords
will be a challenge in
the execution of the many
sforzandos in this
movement. March:
 Measures 2 and 4, and
similar melodic patterns
that follow, require the
performers to carefully
balance their
forte/pianos on beats 3
and 4, along with the
rapid diminuendo. The
contrasting rhythmic
patterns in mm. 5-8, and
later throughout this
movement must line up
precisely. Strings
playing the pizzicato
eight note, walking bass
line, must not rush, and
the upper strings playing
the
eighth-note/eight-restÂÂ
figure must follow their
section leaders in
executing this in a
unified manner. While
there is no formal tempo
change from mm. 40 to 41,
directors may need to
relax the tempo at the
beginning of the movement
to accommodate the
technical challenge of
the double time feel that
happens in m. 41. Trepak:
 Tchaikovsky was
careful to notate the p,
f and sf, requiring the
performers to recognize
the difference between
all three markings that
frame the chief melody.
The upper strings must be
careful to support the
melody in the lower
strings that begins in m.
33. Directors will
challenge their students
to have fun in the last
twelve measures with the
accelerando passage to
the end. Care must be
taken to use an
accelerando that works
for all the players in
the particular
ensemble.
About Carl
Fischer Concert String
Orchestra
Series
Thi
s series of pieces (Grade
3 and higher) is designed
for advancing ensembles.
The pieces in this series
are characterized
by:
Expanded use
of rhythms, ranges and
keys but technical
demands are still
carefully
considered
More
comprehensive bowing
techniques
Viola
T.C.
included
Careful
selection of keys and
degree of difficulty for
advancing
musicians
Oboe SKU: GI.G-J180 Oboe. Composed by Christopher D. Azzara. Edite...(+)
Oboe
SKU:
GI.G-J180
Oboe. Composed by
Christopher D. Azzara.
Edited by Christopher D.
Azzara. Band Method. Jump
Right In. Music
Education. Method book.
19 pages. GIA
Publications #J180.
Published by GIA
Publications (GI.G-J180).
English.
Composi
tions and arrangements
for winds and percussion
with optional
improvisation! Twelve
selections for concert
band in one book.
Highlights include:
• Optional
improvisation sections in
each selection •
Grade levels II–IV
• Full score with
complete instrumentation
• Music for all
ages and for all seasons
• Recordings (CD or
cassette) available,
performed by
instrumentalists from the
Eastman School of Music
• Playable with
minimal to full
instrumentation Part
books (specify instrument
and catalog
number below): Flute
(J179) - Oboe (J180) -
Clarinet I (J181) -
Clarinet II (J182) - Bass
Clarinet (J183) - Bassoon
(J184) - Alto Saxophone
(J185) - Tenor Saxophone
(J186) - Baritone
Saxophone (J187) -
Trumpet I (J188) -
Trumpet II (J189) - Horn
(J190) - Trombone I
(J191) - Trombone II
(J192) - Baritone BC
(J193) - Baritone TC
(J194) - Tuba (J195) -
Bells/Xylophone/Piano
(J196) - Percussion
(J197) -ÂÂ
Demonstration compact
disc (J198CD).
Organ solo SKU: CA.1819000 Composed by Giacomo Puccini. Edited by Virgili...(+)
Organ solo
SKU:
CA.1819000
Composed
by Giacomo Puccini.
Edited by Virgilio
Bernardoni. Complete
editions / Selected
works: Edizione Nazionale
delle Opere di Giacomo
Puccini. Free organ
music. Full score. 40
pages. Carus Verlag #CV
18.190/00. Published by
Carus Verlag
(CA.1819000).
ISBN
9790007188337.
Now
that the manuscripts of
the organ sonatas have
resurfaced, it has
finally become possible
to form an acquaintance
with the major part of
Giacomo Puccini's early
compositions in Lucca,
which until now were
known only from
anecdotes. The present
selection with 12 works
sheds light on this
segment of his oeuvre,
scheduled to appear in a
complete single-volume
scholarly edition in the
Edizione Nazionale delle
Opere di Giacomo Puccini
(ENOGP, II/2.1).
By Victoria Meredith. For TTBB choir. Successful Sight Singing Performance Selec...(+)
By Victoria Meredith. For
TTBB choir. Successful
Sight Singing Performance
Selections. Secular,
Choral. Grade 3. Choral
octavo. Published by Neil
A. Kjos Music Company
Classic Works Selected and Reworked for Solo Piano by the Composer. Composed b...(+)
Classic Works Selected
and
Reworked for Solo Piano
by the
Composer. Composed by
Carl
Davis (1935-). Piano
Collection; Piano
Supplemental. Book. Faber
Music #12-0571542220.
Published by Faber Music
Children's Choir SKU: HL.50606507 For Children's and Upper Voices Hung...(+)
Children's Choir
SKU:
HL.50606507
For
Children's and Upper
Voices Hungarian.
Composed by Á and
rpád Balázs. EMB.
Classical, Hungarian.
Softcover. 88 pages.
Editio Musica Budapest
#Z15201. Published by
Editio Musica Budapest
(HL.50606507).
ISBN
9781705190708. UPC:
196288126836.
To
celebrate the 85th
birthday of Arpad Balazs,
a selection of his rich
output of choral music
has been published. Arpad
Balazs is an outstanding
artist of his generation
who is known and sung not
only in Hungary. His
compositional technique
is unmistakably
individual, characterised
by a festoon of easily
singable outer-inner
voices that embrace one
another, and a linear
thinking deriving from
Palestrina through
Kodaly. Even as a young
composer, he was active
in the choral scene both
in Hungary and
internationally. He
sensed the basic
principles of singability
and applied them
consciously, and he spoke
in a musical language
comprehensible to singing
communities. Imbued with
the spirit of Kodaly,
raised on Ferenc Farkas's
excellent school, with
experiencegained at
masterclasses by
Khachaturian and
Petrassi, with his oeuvre
he has significantly
contributed to the
flourishing of the
Hungarian culture of
vocal music, and to its
success in Hungary and
abroad.
By Brad Ross, lyrics by Ellen Greenfield and Hal Hackady. For Keyboard; Piano; V...(+)
By Brad Ross, lyrics by
Ellen Greenfield and Hal
Hackady. For Keyboard;
Piano; Voice. This
edition: Piano/Vocal.
Book; Piano/Vocal/Chords;
Shows and Movies.
Broadway. 64 pages.
Published by Alfred Music
Publishing
By F. Lai. Arranged by Kees Vlak. For Concert Band. Liberation Day / Film / Sele...(+)
By F. Lai. Arranged by
Kees Vlak. For Concert
Band. Liberation Day /
Film / Selections of
Opera/Musical/Movies/TV /
Arrangements of Modern
Light Music. Movie and
Musical. Grade 4. Score
and Parts
Composed by Carol Lynn Mizell. For selected handbells (chimes, glockenspiel), ob...(+)
Composed by Carol Lynn
Mizell. For selected
handbells (chimes,
glockenspiel), oboe,
unison voices. Level 2 .
Full score and parts.
Published by Chorister's
Guild
SATB Mixed Choir SKU: HL.50606506 SATB Hungarian. Composed by &Aac...(+)
SATB Mixed Choir
SKU:
HL.50606506
SATB
Hungarian. Composed
by Á and rpád
Balázs. EMB.
Classical, Hungarian.
Softcover. 100 pages.
Editio Musica Budapest
#Z15200. Published by
Editio Musica Budapest
(HL.50606506).
ISBN
9781705190692. UPC:
196288126829.
To
celebrate the 85th
birthday of Arpad Balazs,
a selection of his rich
output of choral music
has been published. Arpad
Balazs is an outstanding
artist of his generation
who is known and sung not
only in Hungary. His
compositional technique
is unmistakably
individual, characterised
by a festoon of easily
singable outer-inner
voices that embrace one
another, and a linear
thinking deriving from
Palestrina through
Kodaly. Even as a young
composer, he was active
in the choral scene both
in Hungary and
internationally. He
sensed the basic
principles of singability
and applied them
consciously, and he spoke
in a musical language
comprehensible to singing
communities. Imbued with
the spirit of Kodaly,
raised on Ferenc Farkas's
excellent school, with
experience gained at
masterclasses by
Khachaturian and
Petrassi, with his oeuvre
he has significantly
contributed to the
flourishing of the
Hungarian culture of
vocal music, and to its
success in Hungary and
abroad.
12 Selections for Study and Performance for Mediym Voice. Composed by Andy Bec...(+)
12 Selections for Study
and
Performance for Mediym
Voice.
Composed by Andy Beck.
Solo;
Vocal Collection. Book.
72
pages. Alfred Music #00-
46840. Published by
Alfred
Music
Rio Grande Chorale TTBB TTBB A Cappella [Octavo] - Intermédiaire Kjos Music Company
By Olive Lewin. Edited by Nancy Telfer. For TTBB choir. Successful Sight Singing...(+)
By Olive Lewin. Edited by
Nancy Telfer. For TTBB
choir. Successful Sight
Singing Performance
Selections. Sacred,
Choral. Grade 3. Choral
octavo. Published by Neil
A. Kjos Music Company
Piano - intermediate to difficult SKU: HL.49005500 A selection of 28 o...(+)
Piano - intermediate to
difficult
SKU:
HL.49005500
A
selection of 28 original
compositions.
Composed by Robert
Schumann. This edition:
Paperback/Soft Cover.
Sheet music. Edition
Schott. Classical. 64
pages. Schott Music #ED
5181. Published by Schott
Music (HL.49005500).
ISBN 9790001059176.
9.0x12.0x0.236 inches.
Schott Piano
Collection.
Piano; Voice SKU: HL.50565825 For Low Voice. Composed by Maurice R...(+)
Piano; Voice
SKU:
HL.50565825
For
Low Voice. Composed
by Maurice Ravel.
Editions Durand.
Classical. Softcover. 156
pages. Editions Durand
#DR16086. Published by
Editions Durand
(HL.50565825).
Musique vocale
francaise is a series
designed for students,
teachers and professional
singers. The present
edition includes a
selection of Maurice
Ravel's best-known songs
both in the original key
or transposed. Useful for
high school contest
soloists,
college/university
students and professional
singers, it includes also
English translations of
the lyrics.
Selected Pieces from the Piano Syllabus of The Associated Board of the Royal ...(+)
Selected Pieces from the
Piano Syllabus of The
Associated Board of the
Royal Schools of Music.
Composed by Various.
Piano
(Solo). Score. 136 pages.
Edition Peters #EP73547.
Published by Edition
Peters