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.
(Over 850 Classical Themes and Melodies in the Original Keys) For C instrument. ...(+)
(Over 850 Classical
Themes and Melodies in
the Original Keys) For C
instrument. Format:
fakebook (spiral bound).
With vocal melody
(excerpts) and chord
names. Lassical. Series:
Hal Leonard Fake Books.
646 pages. 9x12 inches.
Published by Hal Leonard.
Composed by Various. For Piano/Keyboard. Hal Leonard Fake Books. Classical. Diff...(+)
Composed by Various. For
Piano/Keyboard. Hal
Leonard Fake Books.
Classical. Difficulty:
medium to
medium-difficult.
Fakebook. Melody line,
chord names and lyrics
(on some songs). 413
pages. Published by Hal
Leonard
Harbor Music Quatuor à cordes: 2 violons, alto, violoncelle [Conducteur] Theodore Presser Co.
String Quartet SKU: PR.16400222S Composed by Dan Welcher. Full score (stu...(+)
String Quartet
SKU:
PR.16400222S
Composed
by Dan Welcher. Full
score (study). With
Standard notation.
Duration 11 minutes.
Theodore Presser Company
#164-00222S. Published by
Theodore Presser Company
(PR.16400222S).
UPC:
680160037841.
This
work follows my Quartet
No. 1 by five years. In
terms of style and
aesthetic aim, however,
it seems light years
away. Where the first
work, a 28-minute,
four-movement piece, took
aim at cosmic conflicts
and heroic resolutions,
the present work is
intended as a kind of
divertissment. Harbor
Music lasts a mere eleven
minutes, is cast in a
single movement with six
sections, and should
leave both performers and
listeners with a feeling
of good humor and
affection. The
title comes from my
experience as a guest in
the magnificent city of
Sydney, Australia. One of
its most attractive
features is its unique
system of ferry boats:
the city is laid out
around a large,
multi-channeled harbor,
with destinations more
easily approached by
water than by land.
Consequently, inhabitants
of Sydney get around on
small, people-friendly
boats that come and go
from the central docks at
Circular Quay. During a
week's visit in 1991, I
must have boarded these
boats at least a dozen
times, always bound for a
new location - the resort
town of Manley, or the
Zoo at Taronga Park, or
the shopping district at
Darling Harbour.
In casting about for a
form for my second string
quartet, a kind of loose
rondo came to mind. Each
new destination would be
approached from the same
starting-out point
(although there are
subtle variations in the
repeating theme; it's
always in a new key, and
the texture is never the
same). The result, I
hope, is a sense of
constant new information
presented with
introductory frames of a
more familiar nature.
The embarkation
theme, which begins the
piece, is a sort of
bi-tonal fanfare in which
the violins are in G
major and the viola and
cello are in B-flat
major. It is bold, eager,
and forward-looking. The
first voyage maintains
this bi-tonality,
beginning as a 9/8 due
for second violin and
viola in a kind of
rocking motion -much as a
boat produces when
reaching the deeper water
in the harbor. A sweet,
nostalgic theme emerges
over this rocking
accompaniment. This music
is developed somewhat,
then transforms quickly
into a much faster and
lighter episode, filled
with rising and falling
scales (again, in
differing keys). A
scherzando interlude in
short notes and changing
meters provides contrast,
and the episode ends with
a reprise of the scales.
The second
embarkation follows, this
time in A major/C major.
It leads quickly into a
very warm and slow theme,
in wide-leaping intervals
for the viola. This
section is interrupted
twice by solo cadenzas
for the cello, suggesting
distant boat-horns in
major thirds. The end of
the episode becomes a
transition, with
boat-horns leading into
the final appearance of
the embarkation music,
this time in trills and
tremolos instead of
sharply accented chords.
The nostalgic theme of
the first episode makes a
final appearance, serving
now as a coda. The
rocking motion continues,
in a lullaby fashion,
leaving us drowsy and
satisfied on our homeward
journey. Harbor
Music was written for the
Cavani Quartet, and is
dedicated to Richard J.
Bogomolny. Commissioned
by his employees at First
National Supermarkets as
a gift, it represents a
thank you from many of
the people (including
this composer) who have
benefitted from his
vision and generosity. An
ardent advocate of
chamber music (and a
cellist himself), Mr.
Bogomolny has for many
years been Chairman of
the Board of Chamber
Music America. -- Dan
Welcher.
The Piano Bench of Easy Classical Music arranged by Amy Appleby. For Piano Solo....(+)
The Piano Bench of Easy
Classical Music arranged
by Amy Appleby. For Piano
Solo. Music Sales
America. Classical.
Softcover. 400 pages.
Music Sales #AM967549.
Published by Music Sales
Edited by Amy Appleby. Collection and examples CD for easy solo piano. Over 200 ...(+)
Edited by Amy Appleby.
Collection and examples
CD for easy solo piano.
Over 200 great
masterpieces from the
baroque, classical,
romantic and modern eras.
Series: Piano Treasury
Series. 399 pages.
Published by Music Sales.
Carillons and other percussion instruments (Bfl, Pk, Hob-Tr, Be, Tri, Cymb, Reco...(+)
Carillons and other
percussion instruments
(Bfl, Pk, Hob-Tr, Be,
Tri, Cymb, Reco-Reco, Xyl
(SAB), Glsp (SAB), Kl-Tr,
B-Tr, Met (SAB)) - easy
SKU: HL.49015447
Ein Musizier- und
Ubebuch. Composed by
Hermann Urabl. This
edition: Saddle
stitching. Sheet music.
Edition Schott.
Classical. Playing score.
82 pages. Schott Music
#ED 8201. Published by
Schott Music
(HL.49015447).
ISBN
9790001111904. German.
Joachim
Schuster.
Das
Musizier- und Ubebuch Von
Raubern, Riesen und
Getier gehort zum
Unterrichtswerk Musik und
Tanz fur Kinder -
Musikalische
Grundausbildung. Es soll
die Arbeit in all jenen
Kindergruppen bereichern,
in denen die/der LehrerIn
einen Schwerpunkt im
instrumentalen Bereich
setzen mochte. Daruber
hinaus wendet es sich an
instrumentale
Neigungsgruppen und
Spielkreise.
Kontinuierlich werden die
Kinder mit traditionellen
und freien
Stabspieltechniken
bekannt gemacht. Der
Umgang mit der
Notenschrift wird durch
die standige praktische
Anwendung beim
Instrumentalspiel bald
eine vertraute
Angelegenheit. Bilder und
Geschichten, Texte und
grafische Zeichen regen
zum Spielen und Erfinden
an. Eine Vielzahl neuer
Spiellieder und
Spielstucke sowie
Kompositionen aus dem
Orff-Schulwerk bieten
Gelegenheit zum
miteinander Musizieren.
Zudem sind sie fur
Anlasse gedacht, bei
denen die Kinder ihr
Konnen einem Publikum
zeigen mochten.
Composed by Muzio
Clementi. Arranged by
Douglas Townsend. Carl
Fischer Young String
Orchestra Series.
Classical. Full score.
With Standard notation.
12 pages. Carl Fischer
Music #YAS13F. Published
by Carl Fischer Music
(CF.YAS13F).
ISBN
9780825848339. UPC:
798408048334. 8.5 X 11
inches. Key: G
major.
IApart from
some of his Sonatinas,
Opus 36, Clementi's life
and music are hardly
known to the piano
teachers and students of
today. For example, in
addition to the above
mentioned Sonatinas,
Clementi wrote sixty
sonatas for the piano,
many of them unjustly
neglected, although his
friend Beethoven regarded
some of them very highly.
Clementi also wrote
symphonies (some of which
he arranged as piano
sonatas), a substantial
number of waltzes and
other dances for the
piano as well as sonatas
and sonatinas for piano
four-hands.In addition to
composing, Clementi was a
much sought after piano
teacher, and included
among his students John
Field (Father of the
'Nocturne'), and
Meyerbeer.In his later
years, Clementi became a
very successful music
publisher, publishing
among other works the
first English edition of
Beethoven's Violin
Concerto, in the great
composer's own
arrangement for the
piano, as well as some of
his string quartets.
Clementi was also one of
the first English piano
manufacturers to make
pianos with a metal frame
and string them with
wire.The Sonatina in C,
Opus 36, No. 1 was one of
six such works Clementi
wrote in 1797. He must
have been partial to
these little pieces (for
which he also provided
the fingerings), since
they were reissued
(without the fingering)
by the composer shortly
after 1801. About 1820,
he issued ''the sixth
edition, with
considerable improvements
by the author;· with
fingerings added and
several minor changes,
among which were that
many of them were written
an octave higher.IIIt has
often been said,
generally by those
unhampered by the facts,
that composers of the
past (and, dare we add,
the present?), usually
handled their financial
affairs with their public
and publishers with a
poor sense of business
acumen or common sense.
As a result they
frequently found
themselves in financial
straits.Contrary to
popular opinion, this was
the exception rather than
the rule. With the
exception of Mozart and
perhaps a few other
composers, the majority
of composers then, as
now, were quite
successful in their
dealings with the public
and their publishers, as
the following examples
will show.It was not
unusual for 18th- and
19th-century composers to
arrange some of their
more popular compositions
for different
combinations of
instruments in order to
increase their
availability to a larger
music-playing public.
Telemann, in the
introduction to his
seventy-two cantatas for
solo voice and one melody
instrument (flute, oboe
or violin, with the usual
continua) Der Harmonische
Gottesdienst, tor
example, suggests that if
a singer is not available
to perform a cantata the
voice part could be
played by another
instrument. And in the
introduction to his Six
Concertos and Six Suites
for flute, violin and
continua, he named four
different instrumental
combinations that could
perform these pieces, and
actually wrote out the
notes for the different
possibilities. Bach
arranged his violin
concertos for keyboard,
and Beethoven not only
arranged his Piano Sonata
in E Major, Opus 14, No.
1 for string quartet, he
also transposed it to the
key of F. Brahm's
well-known Quintet in F
Minor for piano and
strings was his own
arrangement of his
earlier sonata for two
pianos, also in F
Minor.IIIWe come now to
Clementi. It is well
known that some of his
sixty piano sonatas were
his own arrangements of
some of his lost
symphonies, and that some
of his rondos for piano
four-hands were
originally the last
movements of his solo
sonatas or piano trios.In
order to make the first
movement of his
delightful Sonatina in C,
Opus 36, No. 1 accessible
to young string players,
I have followed the
example established by
the composer himself by
arranging and transposing
one of his piano
compositions from one
medium (the piano) to
another. (string
instruments). In order to
simplify the work for
young string players, in
the process of adapting
it to the new medium it
was necessary to
transpose it from the
original key of C to G,
thereby doing away with
some of the difficulties
they would have
encountered in the
original key. The first
violin and cello parts
are similar to the right-
and left-hand parts of
the original piano
version. The few changes
I have made in these
parts have been for the
convenience of the string
players, but in no way do
they change the nature of
the music.Since the
original implied a
harmonic framework in
many places, I have added
a second violin and viola
part in such a way that
they not only have
interesting music to
play, but also fill in
some of the implied
harmony without in any
way detracting from the
composition's musical
value. Occasionally, it
has been necessary to
raise or lower a few
passages an octave or to
modify others slightly to
make them more accessible
for young players.It is
hoped that the musical
value of the composition
has not been too
compromised, and that
students and teachers
will come to enjoy this
little piece in its new
setting as much as
pianists have in the
original one. This
arrangement may also be
performed by a solo
string quartet. When
performed by a string
orchestra, the double
bass part may be
omitted.- Douglas
TownsendString editing by
Amy Rosen.
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
Schirmer's Library of Musical Classics, Vol. 2139. Composed by Various. Piano....(+)
Schirmer's Library of
Musical
Classics, Vol. 2139.
Composed
by Various. Piano.
Classical.
Softcover. 386 pages. G.
Schirmer #LIB 2139.
Published
by G. Schirmer
Piano SKU: M7.ART-42206 20 leicht spielbare Klavierstücke für An...(+)
Piano
SKU:
M7.ART-42206
20
leicht spielbare
Klavierstücke für
Anfänger ab dem 1.
Unterrichtsjahr.
Composed by Burkhard
Dersch. Score with online
audio files. 36 pages.
MDS (Music Distribution
Services) #ART 42206.
Published by MDS (Music
Distribution Services)
(M7.ART-42206).
ISBN
9783866422063.
Der
Band 'Das
Klavierbüchlein für
den 5-Finger-Tonraum' ist
eine Sammlung von 20
schönen, sehr leichten
bis mittelschweren
Klavierstücken, die
sich bestens in
Kombination mit
gängigen
Klavierschulen nutzen
lassen. Die
Beschränkung auf eine
feste Lage im 5-Ton-Raum
gibt von Beginn an die
nötige Sicherheit und
Lernenden somit die
Möglichkeit, sich
nicht nur auf eine gute
Haltung konzentrieren zu
können, sondern auch
auf weitere wichtige
Bereiche der
musikalischen Gestaltung
wie Rhythmus, Dynamik und
Melodiebildung.
Während die
einfachsten Stücke
bereits nach wenigen
Monaten Klavierunterricht
zu bewältigen sind,
erfordern die
schwierigsten eine
gewisse Erfahrung. Mit
ausgesprochen schönen
und eingängigen
Melodien, einer großen
stilistischen Bandbreite
von Neoklassik bis Pop
sowie hilfreichen
Fingersätzen zielen
die Stücke darauf ab,
mit wenig
Ãœbungsaufwand schnell
Spielfreude und Spaß
an der Musik zu wecken.
'Das Klavierbüchlein
für den
5-Finger-Tonraum' ist
somit nicht nur ideal
geeignet für Kinder,
sondern auch für
Jugendliche, Erwachsene
und Wiedereinsteiger.
For Piano. Contains a newly engraved, complete music score, printed on high-qual...(+)
For Piano. Contains a
newly engraved, complete
music score, printed on
high-quality ivory paper;
and a digital stereo
compact disc containing a
complete reference
version of the quartet,
then a recording of the
accompaniments minus you,
the soloist!. Published
by Music Minus One.
Edited by Amy Appleby. For piano. Format: piano solo book (spiral bound). With f...(+)
Edited by Amy Appleby.
For piano. Format: piano
solo book (spiral bound).
With fingerings.
Renaissance, baroque,
classical period,
romantic period,
impressionistic and 20th
century. 400 pages. 9x12
inches. Published by
Amsco.
Chamber Music Piano SKU: PR.110418480 Composed by Chen Yi. Performance Sc...(+)
Chamber Music Piano
SKU: PR.110418480
Composed by Chen Yi.
Performance Score.
Duration 6 minutes.
Theodore Presser Company
#110-41848. Published by
Theodore Presser Company
(PR.110418480).
ISBN
9781491136294. UPC:
680160688784.
Chen
Yi’s beautiful and
highly-textured tone poem
was inspired by ancient
Chinese poetry; its
melodic ideas were
developed from musical
phrases characteristic of
Chinese opera. Wang
Ya’s original verse as
translated by Chen Yi
reads:“SONG OF SPRING
OUTING”Ten thousand
apricot trees by the
riverside,Spring flowers
bloom after the wind at
night.Covered over the
garden, colors dark and
light,Mirrored in the
green water
ripples. SONG OF
SPRING OUTING was
commissioned by the
Center for East Asian
Studies and the Asian
Classical Music
Initiative at the
University of Kansas in
2022 for Dr. Yi-Yang Chen
to premiere in 2023.The
work was inspired by an
ancient Chinese poem with
the same title:Song of
Spring Outingby Wang Ya
(Tang Dynasty)English
translation by Chen YiTen
thousand apricot trees by
the riverside,Spring
flowers bloom after the
wind at night.Covered
over the garden, colors
dark and light,Mirrored
in the green water
ripples.This inspiring
image is like taking a
walk through a beautiful
garden with layers of
colorful trees and
flowers, mirrored in the
green water.The opening
phrase of the music
introduces the signature
intervals, the leap of a
seventh found in Beijing
Opera fiddle’s
language, followed by
melodic material with a
major 2nd and perfect 4th
in pentatonic style as
the thematic materials.
[C-Bb-G in bars 1-2,
followed by the top
pitches A-B and Ab-E( in
bars 2-3]. This statement
is brought back
(Rehearsal F) in a
retrograded form of the
introduction at the
climatic end of the
piece.The musical form is
a combination of
variations on thematic
materials, and a rondo.
After the introductory
section, Rehearsal A
introduces an
improvisation-like
mountain song melody
(developed from the
pentatonic material in
the
introduction).Rehearsal B
brings in a lively
texture in short
groupings with staccato
in both hands (using the
seventh leap interval
introduced in the opening
of the piece).Rehearsals
C and D develop the
introduction’s
pentatonic melody and the
mountain tune (introduced
in Rehearsal A) with more
layers in the
texture.Rehearsal E
develops the material
presented in Rehearsal B,
with an extended range in
both ends of the
keyboard, increasing the
freshness and
excitement.
Music for Millions Series. Edited by Denes Agay. Music for Millions Series - Vol...(+)
Music for Millions
Series. Edited by Denes
Agay. Music for Millions
Series - Volume 17.
Classical. Collection
(softcover). With
standard notation,
introductory text and
fingerings (does not
include words to the
songs). 160 pages. Music
Sales #AM41484. Published
by Music Sales
106 Graded Pieces from Baroque to the 20th C. Compiled and Edited by P. Low, ...(+)
106 Graded Pieces from
Baroque to the 20th C.
Compiled and Edited by P.
Low,
S. Schumann, C. Siagian.
Composed by Various.
Edited
by Charmaine Siagian.
Willis.
Classical, Recital,
Solos.
Softcover. Published by
Willis Music
Formation musicale - Solfège [Partition + CD] Alfred Publishing
Alfred's Essentials of Music Theory - Complete (Book/CDs). (Complete). Reference...(+)
Alfred's Essentials of
Music Theory - Complete
(Book/CDs). (Complete).
Reference Textbooks;
Textbook - General;
Theory. Essentials of
Music Theory. General
Theory. Instructional
book (spiral bound) and 2
example CDs. Introductory
text, instructional text,
musical examples and
glossary. 120 pages.
Published by Alfred Music
Publishing
For Piano. Composed by Ludwig van Beethoven (1770- 1827). Edited by Joanna Co...(+)
For Piano. Composed by
Ludwig van Beethoven
(1770-
1827). Edited by Joanna
Cobb
Biermann. Henle Music
Folios. Softcover. G.
Henle
#HN1457. Published by G.
Henle
arranged by Simon Lasky. For Saxophone (All). solos. Kevin Mayhew Ltd. Classic. ...(+)
arranged by Simon Lasky.
For Saxophone (All).
solos. Kevin Mayhew Ltd.
Classic. Level:
Intermediate. Book. Size
9x12. 40 pages. Published
by Kevin Mayhew Ltd.
Edited by Amy Appleby. Music Sales America. Baroque, Classical Period and World....(+)
Edited by Amy Appleby.
Music Sales America.
Baroque, Classical Period
and World. Softcover
collection (spiral
bound). With fingerings
(does not include words
to the songs). 240 pages.
Music Sales #AM967440.
Published by Music Sales
Edited by Amy Appleby. Collection and examples CD for solo piano. Over 125 great...(+)
Edited by Amy Appleby.
Collection and examples
CD for solo piano. Over
125 great masterpieces
from the Baroque,
Classical, Romantic, and
Modern eras. Series:
Piano Treasury Series.
399 pages. Published by
Music Sales.