Urtext. Composed
by Felix Bartholdy
Mendelssohn. Edited by
Christian R. Riedel.
Stapled.
Orchester-Bibliothek
(Orchestral Library).
I had really become
especially fond of this
piece, although it is
hardly appropriate for
the so-called public; but
I liked it..., wrote
Mendelssohn about his
setting of Psalm
CXIV.
Psalm;
Romantic. Part. 8 pages.
Duration 14'. Breitkopf
and Haertel #OB 5188-19.
Published by Breitkopf
and Haertel
(BR.OB-5188-19).
ISBN
9790004330241. 9 x 12
inches.
Felix
Mendelssohn Bartholdy set
the 114th Psalm to music
during a summer holiday
in Horchheim near Koblenz
in 1839. After the world
premiere at the Leipzig
Gewandhaus, he subjected
the score to a thorough
revision, altered all the
tempo markings and, above
all, added a considerable
amount of new measures.
The result satisfied even
the notoriously
self-critical
Mendelssohn: I had really
become particularly fond
of this piece, even
though it is hardly
appropriate for the
so-called public; but I
liked it...The present
Urtext edition follows
the first prints which
were published
simultaneously in Leipzig
(by Breitkopf & Hartel)
and London.
Brass Quintet SKU: HL.14014459 Composed by Michael Hurd. Music Sales Amer...(+)
Brass Quintet
SKU:
HL.14014459
Composed
by Michael Hurd. Music
Sales America. Classical.
Book [Softcover]. Music
Sales #NOV12057501.
Published by Music Sales
(HL.14014459).
In its original
form the Suite was
written in answer to a
commission from the
Farnham Festival and was
first performed on 11 May
1971. I was, however, not
entirely satisfied with
it and did not pass it
for publication until
1982, when I revised it
in considerable detail.
In its revised form it
was first performed on 18
June, 1983, at Monash
University, Melbourne.
The music requires little
explanation. The titles
of each of the five
movements indicate their
character: 'Fanfare';
'Dance', which has
Elizabethan overtones;
'Popular Song', which
explores jazz rhythms and
harmonies; 'Ceremony' - a
solemn chorale; and
'Finale', a light-hearted
Rondo with fugal touches.
The overall intention is
simply to entertain both
the players and their
audiences.
Gospel Greats Piano Facile [Partition] - Facile Hal Leonard
E-Z Play Today (Easy big-note right-hand-only arrangements for piano, organ, and...(+)
E-Z Play Today (Easy
big-note right-hand-only
arrangements for piano,
organ, and electronic
keyboard). Size 9x12
inches. 64 pages.
Published by Hal Leonard.
By Traditional Spiritual. Arranged by Mary K. Coffman. Female barbershop choir. ...(+)
By Traditional Spiritual.
Arranged by Mary K.
Coffman. Female
barbershop choir. Women's
voices, a cappella.
Barbershop, Uptune,
Spiritual.
Medium/difficult.
Published by Sweet
Adelines International
Taught by Stefan Grossman. For Guitar (Fingerpicking). Methods. Grossman-Gtr Wor...(+)
Taught by Stefan
Grossman. For Guitar
(Fingerpicking). Methods.
Grossman-Gtr Workshop.
Blues. Level: Beginning.
DVD. Size 5.25x7.5.
Duration 85 minutes.
Published by Grossman's
Guitar Workshop.
Performed by Muddy Waters. For guitar and voice. Format: guitar tablature songbo...(+)
Performed by Muddy
Waters. For guitar and
voice. Format: guitar
tablature songbook. With
guitar tablature,
standard notation, vocal
melody, lyrics, chord
names, performance notes,
introductory text, guitar
notation legend and black
and white photos. Blues
and chicago blues.
Series: Hal Leonard
Guitar Recorded Versions.
184 pages. 9x12 inches.
Published by Hal Leonard.
Satisfied
* Burn * Helpless * The
Schuyler Sisters, from
the Broadway musical.
Composed by Lin-Manuel
Miranda. Arranged by Lisa
DeSpain. This edition:
SoundTrax CD. Choral
Octavo; Performance Music
Ensemble; Single Titles.
Alfred Pop Choral Series.
Form: Medley. Broadway;
Secular. CD. Alfred Music
#00-48487. Published by
Alfred Music (AP.48487).
UPC: 038081553108.
English.
This
fast-paced mini-medley
(only 4.5 minutes in
length) pays homage to
the strong female
characters in Lin-Maunuel
Miranda's Hamilton! The
powerful arrangement
includes a few
opportunities to showcase
outstanding soloists and
more than enough SSA
writing for all of your
singers to shine!
Composed by Gilbert Isbin. Guitar: Flatpicking,Guitar: Fingerpicking,Guitar:...(+)
Composed by Gilbert
Isbin.
Guitar:
Flatpicking,Guitar:
Fingerpicking,Guitar:
Jazz
and
Contemporary,Style,Contem
pora
ry,Featured
Products,Solos,Solos,Solo
s,.
Book and Online Audio. 88
pages. Published by Mel
Bay
Publications, Inc
Performed by Simon And Garfunkel. For voice, piano and guitar chords. Format: pi...(+)
Performed by Simon And
Garfunkel. For voice,
piano and guitar chords.
Format:
piano/vocal/chords
songbook. With vocal
melody, piano
accompaniment, lyrics,
chord names and guitar
chord diagrams. Folk rock
and pop rock. 47 pages.
9x12 inches. Published by
Paul Simon
Performed by Bob Seger and The Silver Bullet Band. Guitar Recorded Versions (Aut...(+)
Performed by Bob Seger
and The Silver Bullet
Band. Guitar Recorded
Versions (Authentic
note-for-note
transcriptions). With
notes and tablature. Size
9x12 inches. 144 pages.
Published by Hal Leonard.
Chamber Music trombone SKU: CF.WF231 20 Original Etudes in a Variety o...(+)
Chamber Music trombone
SKU: CF.WF231
20 Original Etudes in
a Variety of Styles.
Composed by Tom Brantley.
Collection - Performance.
With Standard notation.
48 pages. Carl Fischer
Music #WF231. Published
by Carl Fischer Music
(CF.WF231).
ISBN
9781491153314. UPC:
680160910816.
Styli
stic Etudes for Trombone
was written for
intermediateto advanced
level trombonists,
seeking to meet
thedemands of the modern
marketplace for
performers. AsI often
tell my students,
it’s simply not
enough to mastera single
style and fake the rest.
To make a living as
aperformer, trombonists
are expected to play
many, manydifferent
styles authentically.
Classical performers
studyhard and devote
themselves to mastering
the stylisticnuances of
various eras, various
composers, variousforms;
jazz musicians seek to
accurately reflect the
stylesof everything from
bar-room burlesque to
Coltrane; hornbands in
the funk, rock, ska and
hip-hop idioms
mustreflect attention to
the details of their
influences even asthey
create new paths through
popular music.This etude
collection is an attempt
to help studentsand their
teachers work on the
details associated
withmastering each of
these various styles.In
order to perform with the
correct feel,
articulationand sound,
trombonists must first
get these concepts
intheir head through
diligent listening and
then disciplinedpractice
playing in every single
style. The same
wayorchestral players
study the symphonic
literature andexcerpts,
or the way a professional
jazz musician mightwork
on chord changes in
excruciating detail, a
wellroundedtrombone
player must master styles
by listeningto and
playing with great
recordings. Most of the
etudesin this book are
based on styles from
specific
orchestralliterature,
jazz standards and other
styles such as
NewOrleans’ funk
music (Meters) or the
music of JamesBrown and
Tower of Power.One final
note: some of these are
hard. On purpose.
Theseare not warm-ups
that you can play through
mindlesslyto get your
face going. These are
“study
pieces†in the
oldfashionedsense. They
are designed to challenge
you asa player, to make
you a little
uncomfortable. Some
aretougher than others,
of course, but none of
them are easy.If you can
play through each of
these well, with
greatmusicianship and
impeccable technique, you
will be anincredibly
versatile instrumentalist
and be able to
secureperformance
opportunities that are
outside the comfortzone
of many
trombonists.Thanks for
buying this book. I hope
you enjoy workingthrough
these, whether
you’re a teacher,
student,performer, or
weekend warrior. I
learned a lot by
puttingthese together and
I hope you find them
useful and
helpful. Stylistic
Etudes for Trombone was
written for intermediate
to advanced level
trombonists, seeking to
meet the demands of the
modern marketplace for
performers. As I often
tell my students,
it’s simply not
enough to master a single
style and fake the rest.
To make a living as a
performer, trombonists
are expected to play
many, many different
styles authentically.
Classical performers
study hard and devote
themselves to mastering
the stylistic nuances of
various eras, various
composers, various forms;
jazz musicians seek to
accurately reflect the
styles of everything from
bar-room burlesque to
Coltrane; horn bands in
the funk, rock, ska and
hip-hop idioms must
reflect attention to the
details of their
influences even as they
create new paths through
popular music.This etude
collection is an attempt
to help students and
their teachers work on
the details associated
with mastering each of
these various styles.In
order to perform with the
correct feel,
articulation and sound,
trombonists must first
get these concepts in
their head through
diligent listening and
then disciplined practice
playing in every single
style. The same way
orchestral players study
the symphonic literature
and excerpts, or the way
a professional jazz
musician might work on
chord changes in
excruciating detail, a
well-rounded trombone
player must master styles
by listening to and
playing with great
recordings. Most of the
etudes in this book are
based on styles from
specific orchestral
literature, jazz
standards and other
styles such as New
Orleans’ funk
music (Meters) or the
music of James Brown and
Tower of Power.How these
etudes were conceived,
composed and transcribed:
The style or concept of
the etude was thought out
in my head and ear. I
then improvised in that
style and concept on my
trombone, recording my
efforts until I was
satisfied with the etude.
All along, my goal was to
play the range of the
instrument while
emphasizing certain
articulations, rhythms,
range and, fundamentally,
the intended style of the
etude. The resulting
etude was then
transcribed by a terrific
graduate student named
Zach Bornheimer, who also
works with many other
classical and jazz
composers as a
copyist/arranger.Tips for
working on the etudes:
Seek out professional
recordings that match the
style of each etude to
get a good idea of what
the etude should sound
like musically. My
recording of each of
these etudes is available
for download and can be
purchased online for a
modest fee. Search for
“Brantley
Etudes†at either
iTunes or CDBaby.
Practice each etude very
slowly and in segments as
needed, using a
metronome. Record
yourself and listen for
good technique,
musicianship and
authenticity of style
with your sound, feel and
articulations. Compare
your own efforts to the
sounds you’ve
heard on recordings.
Would you fit in that
ensemble or band? If
range is an issue, take
certain notes or passages
down or up an octave.
Work on your fundamentals
every day, including the
techniques and skills
needed for these etudes.
Be patient! Small
improvements every day
result in big success
over time. Always play
with a wide dynamic
range. Always play with
line and direction.
Always play with
impeccable time as well
as rhythm. Use a
metronome to help with
this. Always play in
tune. You can work on
this with a tuner as well
as with drones. Play
these for teachers,
friends, peers and
colleagues not only for
their feedback but also
for the experience of
informal performance. An
audience changes
everything. Make music,
listen to music, record
yourself, play in public
and have fun!One final
note: some of these are
hard. On purpose. These
are not warm-ups that you
can play through
mindlessly to get your
face going. These are
“study
pieces†in the
old-fashioned sense. They
are designed to challenge
you as a player, to make
you a little
uncomfortable. Some are
tougher than others, of
course, but none of them
are easy. If you can play
through each of these
well, with great
musicianship and
impeccable technique, you
will be an incredibly
versatile instrumentalist
and be able to secure
performance opportunities
that are outside the
comfort zone of many
trombonists.Thanks for
buying this book. I hope
you enjoy working through
these, whether
you’re a teacher,
student, performer, or
weekend warrior. I
learned a lot by putting
these together and I hope
you find them useful and
helpful.Best
wishes,—Tom
Brantley.
A Musician's Guide to Recognizing Pitches by Ear Book/Online Audio. Instructiona...(+)
A Musician's Guide to
Recognizing Pitches by
Ear Book/Online Audio.
Instructional. Method.
Softcover Audio Online.
88 pages. Published by
Hal Leonard (
Chorus (with soloists)
and orchestra (choir:
SSAATTBB - 2.2.2.2. -
4.2.3.0. - timp - str)
SKU: BR.PB-5188
Urtext. Composed
by Felix Bartholdy
Mendelssohn. Edited by
Christian R. Riedel.
Choir; Softbound.
Partitur-Bibliothek
(Score Library).
I had
really become especially
fond of this piece,
although it is hardly
appropriate for the
so-called public; but I
liked it..., wrote
Mendelssohn about his
setting of Psalm
CXIV.
Psalm;
Romantic. Full score. 84
pages. Duration 14'.
Breitkopf and Haertel #PB
5188. Published by
Breitkopf and Haertel
(BR.PB-5188).
ISBN
9790004209288. 9 x 12
inches.
Felix
Mendelssohn Bartholdy set
the 114th Psalm to music
during a summer holiday
in Horchheim near Koblenz
in 1839. After the world
premiere at the Leipzig
Gewandhaus, he subjected
the score to a thorough
revision, altered all the
tempo markings and, above
all, added a considerable
amount of new measures.
The result satisfied even
the notoriously
self-critical
Mendelssohn: I had really
become particularly fond
of this piece, even
though it is hardly
appropriate for the
so-called public; but I
liked it...The present
Urtext edition follows
the first prints which
were published
simultaneously in Leipzig
(by Breitkopf & Hartel)
and London.