| The Real Book - Volume 3 Instruments en Sib [Fake Book] Hal Leonard
Bb Edition. By Various. Fake Book (Includes melody line and chords). Size 8.5x11...(+)
Bb Edition. By Various.
Fake Book (Includes
melody line and chords).
Size 8.5x11 inches. 464
pages. Published by Hal
Leonard.
(1)$49.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Real Book - Volume 3 (Eb Instruments) Fake Book [Fake Book] Hal Leonard
E Flat Edition. By Various. Fake Book (Includes melody line and chords). Softcov...(+)
E Flat Edition. By
Various. Fake Book
(Includes melody line and
chords). Softcover. Size
9x11 inches. 464 pages.
Published by Hal Leonard.
$49.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Real Book - Volume 3 - Mini Edition Fake Book [Fake Book] Hal Leonard
Second Edition C Instruments. By Various. Fake Book (Includes melody line and ch...(+)
Second Edition C
Instruments. By Various.
Fake Book (Includes
melody line and chords).
Softcover. 464 pages.
Published by Hal Leonard.
$39.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| RandB Fake Book - C Instruments - 2nd Edition
Fake Book [Fake Book] - Intermédiaire 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. Randb and classic
soul. Series: Hal Leonard
Fake Books. 437 pages.
9x12 inches. Published by
Hal Leonard.
(9)$44.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Best of Contemporary Christian
Fake Book [Fake Book] - Intermédiaire Hal Leonard
Over 400 Songs. Fake Book (Includes melody line and chords). Size 9x12 inches. 5...(+)
Over 400 Songs. Fake Book
(Includes melody line and
chords). Size 9x12
inches. 583 pages.
Published by Hal Leonard.
(4)$49.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| String Quartet No. 3 Quatuor à cordes: 2 violons, alto, violoncelle [Conducteur] Theodore Presser Co.
String quartet String Quartet SKU: PR.16400272S Cassatt. Composed ...(+)
String quartet String
Quartet SKU:
PR.16400272S
Cassatt. Composed
by Dan Welcher. Premiere:
Cassatt Quartet,
Northeastern Illinois
University, Chicago, IL.
Contemporary. Full score.
With Standard notation.
Composed 2007. WRT11142.
52 pages. Duration 24
minutes. Theodore Presser
Company #164-00272S.
Published by Theodore
Presser Company
(PR.16400272S). UPC:
680160588442. 8.5 x 11
inches. My third
quartet is laid out in a
three-movement structure,
with each movement based
on an early, middle, and
late work of the great
American impressionist
painter Mary Cassatt.
Although the movements
are separate, with
full-stop endings, the
music is connected by a
common scale-form,
derived from the name
MARY CASSATT, and by a
recurring theme that
introduces all three
movements. I see this
theme as Mary's Theme, a
personality that stays
intact while undergoing
gradual change. I
The Bacchante (1876)
[Pennsylvania Academy of
Fine Arts, Philadelphia,
Pennsylvania] The
painting shows a young
girl of Italian or
Spanish origin, playing a
small pair of cymbals.
Since Cassatt was trying
very hard to fit in at
the French Academy at the
time, she painted a lot
of these subjects, which
were considered typical
and universal. The style
of the painting doesn't
yet show Cassatt's
originality, except
perhaps for certain
details in the face.
Accordingly the music for
this movement is
Spanish/Italian, in a
similar period-style but
using the musical
signature described
above. The music begins
with Mary's Theme,
ruminative and slow, then
abruptly changes to an
alla Spagnola-type fast
3/4 - 6/8 meter. It
evokes the
Spanish-influenced music
of Ravel and Falla.
Midway through,
there's an accompanied
recitative for the viola,
which figures large in
this particular movement,
then back to a truncated
recapitulation of the
fast music. The overall
feeling is of a
well-made, rather
conventional movement in
a contemporary
Spanish/Italian style.
Cassatt's painting, too,
is rather conventional.
II At the Opera
(1880) [Museum of Fine
Arts, Boston,
Massachusetts]
This painting is one of
Cassatt's most well known
works, and it hangs in
the Museum of Fine Arts
in Boston. The painting
shows a woman alone in a
box at the opera house,
completely dressed
(including gloves) and
looking through opera
glasses at someone or
something that is NOT on
the stage. Across the
auditorium from her, but
exactly at eye level, is
a gentleman with opera
glasses intently watching
her - though it is not
him that she's looking
at. It's an intriguing
picture. This
movement is far less
conventional than the
first movement, as the
painting is far less
conventional. The music
begins with a rapid,
Shostakovich-type
mini-overture lasting
less than a minute, based
on Mary's Theme. My
conjecture is that the
woman in the painting has
arrived late to the
opera, busily stumbling
into her box. What
happens next is a kind of
collage, a kind of
surrealistic overlaying
of two different
elements: the foreground
music, at first is a
direct quotation of
Soldier's Chorus from
Gounod's FAUST (an opera
Cassatt would certainly
have heard in the
brand-new Paris Opera
House at that time),
played by Violin II,
Viola, and Cello. This
music is played sul
ponticello in the melody
and col legno in the
marching accompaniment.
On top of this, the first
violin hovers at first on
a high harmonic, then
descends into a slow
melody, completely
separate from the Gounod.
It's as if the woman in
the painting is hearing
the opera onstage but is
not really interested in
it. Then the cello joins
the first violin in a
kind of love-duet (just
the two of them, at
first). This music isn't
at all Gounod-derived;
it's entirely from the
same scale patterns as
the first movement and
derives from Mary's Theme
and its scale. The music
stays in a kind of
dichotomy feeling,
usually
three-against-one, until
the end of the movement,
when another Gounod
melody, Valentin's aria
Avant de quitter ce lieux
reappears in a kind of
coda for all four
players. It ends
atmospherically and
emotionally disconnected,
however. The overall
feeling is a kind of
schizophrenic,
opera-inspired dream.
III Young Woman in
Green, Outdoors in the
Sun (1909) [Worcester Art
Museum, Massachusetts]
The painting, one
of Cassatt's last, is
very simple: just a
figure, looking sideways
out of the picture. The
colors are pastel and yet
bold - and the woman is
likewise very
self-assured and not in
the least demure. It is
eight minutes long, and
is all about melody -
three melodies, to be
exact (Young Woman,
Green, and Sunlight). No
angst, no choppy rhythms,
just ever-unfolding
melody and lush
harmonies. I quote one
other French composer
here, too: Debussy's song
Green, from Ariettes
Oubliees. 1909 would have
been Debussy's heyday in
Paris, and it makes
perfect sense musically
as well as visually to do
this. Mary Cassatt
lived her last several
years in near-total
blindness, and as she
lost visual acuity, her
work became less sharply
defined - something akin
to late water lilies of
Monet, who suffered
similar vision loss. My
idea of making this
movement entirely melodic
was compounded by having
each of the three
melodies appear twice,
once in a pure form, and
the second time in a more
diffuse setting. This
makes an interesting two
ways form:
A-B-C-A1-B1-C1.
String Quartet No.3
(Cassatt) is dedicated,
with great affection and
respect, to the Cassatt
String Quartet, whose
members have dedicated
themselves in large
measure to the furthering
of the contemporary
repertoire for
quartet. $38.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| String Quartet No. 3 Quatuor à cordes: 2 violons, alto, violoncelle Theodore Presser Co.
Chamber Music String Quartet SKU: PR.164002720 Cassatt. Composed b...(+)
Chamber Music String
Quartet SKU:
PR.164002720
Cassatt. Composed
by Dan Welcher. Spiral
and Saddle. Premiere:
Cassatt Quartet,
Northeastern Illinois
University, Chicago, IL.
Contemporary. Set of
Score and Parts. With
Standard notation.
Composed 2007. WRT11142.
52+16+16+16+16 pages.
Duration 24 minutes.
Theodore Presser Company
#164-00272. Published by
Theodore Presser Company
(PR.164002720). UPC:
680160573042. 8.5 x 11
inches. My third
quartet is laid out in a
three-movement structure,
with each movement based
on an early, middle, and
late work of the great
American impressionist
painter Mary Cassatt.
Although the movements
are separate, with
full-stop endings, the
music is connected by a
common scale-form,
derived from the name
MARY CASSATT, and by a
recurring theme that
introduces all three
movements. I see this
theme as Mary's Theme, a
personality that stays
intact while undergoing
gradual change. I
The Bacchante (1876)
[Pennsylvania Academy of
Fine Arts, Philadelphia,
Pennsylvania] The
painting shows a young
girl of Italian or
Spanish origin, playing a
small pair of cymbals.
Since Cassatt was trying
very hard to fit in at
the French Academy at the
time, she painted a lot
of these subjects, which
were considered typical
and universal. The style
of the painting doesn't
yet show Cassatt's
originality, except
perhaps for certain
details in the face.
Accordingly the music for
this movement is
Spanish/Italian, in a
similar period-style but
using the musical
signature described
above. The music begins
with Mary's Theme,
ruminative and slow, then
abruptly changes to an
alla Spagnola-type fast
3/4 - 6/8 meter. It
evokes the
Spanish-influenced music
of Ravel and Falla.
Midway through,
there's an accompanied
recitative for the viola,
which figures large in
this particular movement,
then back to a truncated
recapitulation of the
fast music. The overall
feeling is of a
well-made, rather
conventional movement in
a contemporary
Spanish/Italian style.
Cassatt's painting, too,
is rather conventional.
II At the Opera
(1880) [Museum of Fine
Arts, Boston,
Massachusetts]
This painting is one of
Cassatt's most well known
works, and it hangs in
the Museum of Fine Arts
in Boston. The painting
shows a woman alone in a
box at the opera house,
completely dressed
(including gloves) and
looking through opera
glasses at someone or
something that is NOT on
the stage. Across the
auditorium from her, but
exactly at eye level, is
a gentleman with opera
glasses intently watching
her - though it is not
him that she's looking
at. It's an intriguing
picture. This
movement is far less
conventional than the
first movement, as the
painting is far less
conventional. The music
begins with a rapid,
Shostakovich-type
mini-overture lasting
less than a minute, based
on Mary's Theme. My
conjecture is that the
woman in the painting has
arrived late to the
opera, busily stumbling
into her box. What
happens next is a kind of
collage, a kind of
surrealistic overlaying
of two different
elements: the foreground
music, at first is a
direct quotation of
Soldier's Chorus from
Gounod's FAUST (an opera
Cassatt would certainly
have heard in the
brand-new Paris Opera
House at that time),
played by Violin II,
Viola, and Cello. This
music is played sul
ponticello in the melody
and col legno in the
marching accompaniment.
On top of this, the first
violin hovers at first on
a high harmonic, then
descends into a slow
melody, completely
separate from the Gounod.
It's as if the woman in
the painting is hearing
the opera onstage but is
not really interested in
it. Then the cello joins
the first violin in a
kind of love-duet (just
the two of them, at
first). This music isn't
at all Gounod-derived;
it's entirely from the
same scale patterns as
the first movement and
derives from Mary's Theme
and its scale. The music
stays in a kind of
dichotomy feeling,
usually
three-against-one, until
the end of the movement,
when another Gounod
melody, Valentin's aria
Avant de quitter ce lieux
reappears in a kind of
coda for all four
players. It ends
atmospherically and
emotionally disconnected,
however. The overall
feeling is a kind of
schizophrenic,
opera-inspired dream.
III Young Woman in
Green, Outdoors in the
Sun (1909) [Worcester Art
Museum, Massachusetts]
The painting, one
of Cassatt's last, is
very simple: just a
figure, looking sideways
out of the picture. The
colors are pastel and yet
bold - and the woman is
likewise very
self-assured and not in
the least demure. It is
eight minutes long, and
is all about melody -
three melodies, to be
exact (Young Woman,
Green, and Sunlight). No
angst, no choppy rhythms,
just ever-unfolding
melody and lush
harmonies. I quote one
other French composer
here, too: Debussy's song
Green, from Ariettes
Oubliees. 1909 would have
been Debussy's heyday in
Paris, and it makes
perfect sense musically
as well as visually to do
this. Mary Cassatt
lived her last several
years in near-total
blindness, and as she
lost visual acuity, her
work became less sharply
defined - something akin
to late water lilies of
Monet, who suffered
similar vision loss. My
idea of making this
movement entirely melodic
was compounded by having
each of the three
melodies appear twice,
once in a pure form, and
the second time in a more
diffuse setting. This
makes an interesting two
ways form:
A-B-C-A1-B1-C1.
String Quartet No.3
(Cassatt) is dedicated,
with great affection and
respect, to the Cassatt
String Quartet, whose
members have dedicated
themselves in large
measure to the furthering
of the contemporary
repertoire for
quartet. $53.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| The Real Vocal Book - Volume 2 Fake Book [Fake Book] Hal Leonard
C Edition. By Various. Fake Book (Includes melody line and chords). 368 pages. P...(+)
C Edition. By Various.
Fake Book (Includes
melody line and chords).
368 pages. Published by
Hal Leonard.
$45.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Real Vocal Book - Volume II Voix basse [Fake Book] Hal Leonard
Low Voice. By Various. Fake Book (Includes melody line and chords). 368 pages. P...(+)
Low Voice. By Various.
Fake Book (Includes
melody line and chords).
368 pages. Published by
Hal Leonard.
$45.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Hal Leonard Real Jazz Standards Fake Book Instruments en Do [Fake Book] - Intermédiaire Hal Leonard
C Edition. Fake Book (Includes melody line and chords). Book only. Size 9x12 inc...(+)
C Edition. Fake Book
(Includes melody line and
chords). Book only. Size
9x12 inches. 560 pages.
Published by Hal Leonard.
(1)$49.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Singer's Musical Theatre Anthology - 16-Bar Audition Voix Mezzo-Soprano Hal Leonard
(Mezzo-Soprano/Belter Edition). By Various. Edited by Richard Walters. Vocal Co...(+)
(Mezzo-Soprano/Belter
Edition). By Various.
Edited by Richard
Walters. Vocal
Collection. 184 pages.
Published by Hal Leonard
$24.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Definitive Jazz Collection (Piano/Vocal/Guitar)
Piano, Voix et Guitare [Partition] - Intermédiaire Hal Leonard
The Definitive Jazz Collection (Piano/Vocal/Guitar) by Various. For Piano/Vocal/...(+)
The Definitive Jazz
Collection
(Piano/Vocal/Guitar) by
Various. For
Piano/Vocal/Guitar.
Piano/Vocal/Guitar
Songbook. Standards.
Difficulty: medium to
medium-difficult.
Songbook. Vocal melody,
piano accompaniment,
lyrics and chord names.
288 pages. Published by
Hal Leonard
(1)$34.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Best Of 1000 No.1 Hits: Chord Songbook Music Sales
| | |
| Gilbert and Sullivan Piano, Voix [Vocal Score] Hal Leonard
The World's Great Classical Music. By Gilbert and Sullivan. World's Greatest Cla...(+)
The World's Great
Classical Music. By
Gilbert and Sullivan.
World's Greatest
Classical Music. Size
9x12 inches. 336 pages.
Published by Hal Leonard.
(2)$22.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Songs of the 1960s Piano Facile Hal Leonard
Easy Piano Piano/Keyboard SKU: HL.282478 The New Decade Series. Co...(+)
Easy Piano Piano/Keyboard
SKU: HL.282478
The New Decade
Series. Composed by
Various. Easy Piano
Songbook. Motown, Pop.
Softcover. 400 pages.
Published by Hal Leonard
(HL.282478). ISBN
9781540034359. UPC:
888680789220.
9.0x12.0x0.979
inches. Music was
changing and evolving
during the 1960s, and
these 100 songs show the
musical diversity of the
decade. This collection
is arranged for easy
piano with lyrics. Songs
include: Aquarius •
Blowin' in the Wind
• Breaking up Is
Hard to Do • Do Wah
Diddy Diddy •
Downtown • For Once
in My Life • Gentle
on My Mind • God
Only Knows • Good
Vibrations • Happy
Together • A Hard
Day's Night • I Saw
Her Standing There
• I'm a Believer
• King of the Road
• Leaving on a Jet
Plane • The Letter
• The Loco-Motion
• Louie, Louie
• Mr. Tambourine
Man • Monday,
Monday • Oh, Pretty
Woman • Proud Mary
• (Sittin' On) the
Dock of the Bay •
The Sound of Silence
• Spanish Flea
• Spinning Wheel
• The Twist •
Up, up and Away •
Wichita Lineman •
Wild Thing • and
more. $29.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Huit Chansons de Fleurs Voix haute, Piano [Conducteur] Theodore Presser Co.
Chamber Music High voice, Piano SKU: PR.111402890 Composed by Ricky Ian G...(+)
Chamber Music High voice,
Piano SKU:
PR.111402890 Composed
by Ricky Ian Gordon. Full
score. 44 pages. Duration
20 minutes. Theodore
Presser Company
#111-40289. Published by
Theodore Presser Company
(PR.111402890). ISBN
9781491134672. UPC:
680160685264. What
??s in a name? While the
title is French for
â??Eight Flower
Songs,â? the texts are
all in English. The
poemsâ?? flowers
metaphorically evoke
fragrance, love and loss,
life and death, rebirth
and regrowth. Perhaps the
texture and beauty of
Gordonâ??s music are
themselves French. The
20-minute song cycle
draws on poems from
Wordsworth to Dorothy
Parker, as well as from
contemporary poets
including the composer
himself. When So-Chung
Shinn came to me with the
idea of commissioning a
song cycle with her
spectacular husband Tony
Lee, she had in mind
something having to do
with flowers. Tony had
asked her what she wanted
for her birthday, and she
said she wanted to be
behind the creating of a
new work. Lucky me, I was
the recipient of the
commission. So-Chung sent
me a little description
of all the flowers she
loves, but I had to take
the idea and create a
narrative in my head.It
is always a matter of
pleasing the
commissioner, yet coming
up with something you can
get behind and hear music
for as well. I already
knew I wanted to use my
â??Tulipsâ? poem
which is really about the
arc of a relationship as
represented through the
life span of the Tulips,
and, in many ways,
disappointment; and
Dorothy Parkerâ??s
â??One Perfect
Rose,â? which is wry,
bitter, cynical, and
funny, in a way only
Dorothy Parker can so
pithily express.I thought
of Jane Kenyonâ??s
exquisite â??Peonies at
Dusk,â? because
knowing she died so young
(46) of leukemia, the
poem has such a
particular resonance,
almost humanizing the
Peonies, casting the moon
as a sentient being,
illustrating so
beautifully how connected
everything is, alive
here, and revolving
around these exquisite
blossoms. Then, I
remembered her husband
Donald Hallâ??s poem
â??Her Garden,â?
which he wrote after Jane
died, his grief
intermingled with his
inability to care for
what she had created, to
keep alive what so
represented her
aliveness, broken as he
was, and I felt I already
had a story.I found the
Wordsworth, because it
felt like pure joy to me,
but also, if each of the
songs has a color in my
head, â??The
Daffodilsâ? is pure
yellow and a good place
to start. My partner
Kevin and I live on a
lake, and every year, the
first Daffodils, the
shock of yellows, the
oranges, the blinding
whites, after the long
snowy winters, sing of
the newness that is about
to enfold us in its green
miraculousness.At first,
the cycle ended with the
Langston Hughes poem
â??Cycle,â? or
â??New Flowers,â?
because it was lovely,
and about rebirth, which
is obviously optimistic,
and apt, but then, my
friend Telmo Dos Santos,
a wonderful Canadian poet
whom I met at Banff, sent
me his poem â??Afterlife
With Lilacs,â? having
no idea what I was
working on. I felt I had
to add it because it is
so dazzling, and it
immediately felt like the
missing link. Finally,
there were unfortunately
rights issues, namely, we
could not, no how, get in
touch with the Langston
Hughes Estate, after so
many happy
collaborations.After
almost a yearâ??s
frustration, I wrote my
own text, â??Play,
Orpheus,â? which ended
up being fortuitous,
because the first time I
met So-Chung, she entered
the room and the most
exquisite scent of
Lillies of the Valley,
Muguet de Bois, filled
the room. I went right
over to her and rudely
put my nose to her neck,
for the intoxication of
the scent. So â??Play,
Orpheusâ? is for
So-Chung, to remind us of
the precious treasures of
this world flowers remind
us of. Everything and
everyone lives and dies,
lives and dies. Death and
resurrection.And of
course, this is music,
this is song, so the
inclusion of the God of
music, Orpheus, seems
apt. Huit Chansons de
Fleurs is really about
what flowers represent,
their radiance, their
flickering impermanence,
the way they are used to
celebrate, as well as to
mourn...... and of
course, their fragrance.
Their fragrance.Ricky Ian
GordonJuly 28, 2021. $21.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Enterainment Songbook The 100 Great Songs From Hollywood, Broadway And Television Piano, Voix et Guitare [Partition] - Intermédiaire Alfred Publishing
Edited by Carol Cuellar. Piano/Vocal songbook (Piano/Vocal/Chords. Arrangements ...(+)
Edited by Carol Cuellar.
Piano/Vocal songbook
(Piano/Vocal/Chords.
Arrangements for piano
and voice with guitar
chords). 404 pages.
Published by Alfred
Publishing
(1)$24.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Singer's Musical Theatre Anthology - Volume 2
Voix Soprano [Partition + Accès audio] Hal Leonard
Soprano Book with Online Audio. Edited by Richard Walters. Vocal Collection. Pie...(+)
Soprano Book with Online
Audio. Edited by Richard
Walters. Vocal
Collection. Piece for the
NFMC Vocal event with the
National Federation of
Music Clubs (NFMC)
Festivals Bulletin
2008-2009-2010.
Instruction, Classical.
Softcover Audio Online.
224 pages. Published by
Hal Leonard
$44.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Best Of 1000 Uk No.1 Hits: Slipcase Edition Hal Leonard
| | |
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