Arranged by Pamela Conn Beall And Susan Hagen Nipp. For Children's Voices. Gener...(+)
Arranged by Pamela Conn
Beall And Susan Hagen
Nipp. For Children's
Voices. General Music and
Classroom Publications.
Wee Sing. 45 silly songs
and fingerplays.
Children's. Book and CD.
64 pages. Duration Over
one hour. Published by
Alfred Publishing.
Clarinet and Piano. By Carl-Maria Von Weber. Arranged by Pamela Weston. Fentone ...(+)
Clarinet and Piano. By
Carl-Maria Von Weber.
Arranged by Pamela
Weston. Fentone Play
Along Books. Play Along.
Size 8.25x11.75 inches.
Published by Fentone
Music.
Select Piano Solos for Study, Festival and Performance with Performance CD. By C...(+)
Select Piano Solos for
Study, Festival and
Performance with
Performance CD. By Carl
Czerny; Cornelius
Gurlitt; Dmitri
Kabalevsky; Dmitri
Shostakovich; Franz
Joseph Haydn; George
Frideric Handel; Heinz
Walter; Jean Philippe
Rameau; Johann Kuhnau;
Miriam Hyde; Pamela
Wedgwood; Robert
Schumann; Theodore
Kullak; Wolfgang Amadeus
Mozart. Edited by Marvin
Blickenstaff. Arranged by
Marvin Blickenstaff. Solo
piano. For Piano Solo.
This edition: Late
Elementary 2. Classical.
Level: Late Elementary.
Score and Audio CD. 16
pages. Published by Carl
Fischer.
By Traditional. Arranged by Pamela; Piano Arr.: Farrell Warrick-Smith. For Voice...(+)
By Traditional. Arranged
by Pamela; Piano Arr.:
Farrell Warrick-Smith.
For Voices: SA (SSAA),
solo. Piano. Celebration
Series Sacred. Level:
easy. Published by GIA
Publications.
Arranged by Pamela Conn Beall And Susan Hagen Nipp. For Children's Voices. This ...(+)
Arranged by Pamela Conn
Beall And Susan Hagen
Nipp. For Children's
Voices. This edition:
Paperback. General Music
and Classroom
Publications. Wee Sing.
42 sing-along songs, 27
backseat games, 18 silly
tongue twisters.
Children's. Book and CD.
64 pages. Duration Over
one hour. Published by
Alfred Publishing.
Arranged by Pamela Warrick-Smith. Text: Traditional Spiritual. For SATB Chorus, ...(+)
Arranged by Pamela
Warrick-Smith. Text:
Traditional Spiritual.
For SATB Chorus, Solo and
Piano accompaniment.
Celebration Series.
Includes guitar chord
names. Sacred. Level:
easy. 16 pages. Published
by GIA Publications.
Orchestra Orchestra SKU: PR.11641373S Composed by Peter Schickele. Full s...(+)
Orchestra Orchestra
SKU: PR.11641373S
Composed by Peter
Schickele. Full score.
Duration 24 minutes.
Theodore Presser Company
#116-41373S. Published by
Theodore Presser Company
(PR.11641373S).
UPC:
680160680344.
The
concerto has always
seemed an especially
attractive medium to me,
not necessarily because
of its expectations of
virtuosity (although
flaunting it when you've
got it certainly has its
place), and emphatically
not because of the
perception of a concerto
as a contest, but because
so much of what I write
feels song-like; I'm very
much at home with the
age-old texture of melody
and accompaniment. I
hope, before I move on,
to have the opportunity
to write concertos for
all the major
instruments, and perhaps
some of the rarer ones as
well. The oboe is not
only one of the major
instruments, it is one of
my favorite instruments.
I've always loved its
sound, but since moving
to New York I have gotten
to hear and, in some
cases, know some
extremely fine oboists
who broadened my
appreciation of the
instrument's
possibilities. I
especially remember a
concert, probably in the
late 1960's, in which
Humbert Lucarelli played
a Handel concerto,
filling out large melodic
leaps with cascading
scale passages in a way
that raised the hair on
the back of your neck,
somewhat in the way that
John Coltrane's sheets of
sound did. The sweeping
scales in the second
movement of my concerto
were definitely inspired
by Bert Lucarelli's
performance. The first,
third and fifth movements
of the Concerto for Oboe
and Orchestra are
song-like, whereas the
second and fourth have
strong scherzo and dance
qualities, including a
couple of sections that
sound like out-and-out
pirate dances to me. The
hymn-like tune at the
beginning of the middle
movement was originally
begun as a vocal piece to
be sung by my wife, son
and daughter at my
brother's wedding, but I
couldn't come up with
good works for it, so it
ended up as an
instrumental chant. The
opening and closing of
the concerto make use of
the oboe's uniquely
soulful singing. I had
not heard Pamela Woods
Pecha's solo playing in
person when she
approached me about
writing a concerto, but I
had heard her fine
recording of chamber
music for oboe and
strings by the three B's
(English, that is: Bliss,
Bax and Britten) with the
Audubon Quartet. I
actually already had some
oboe concerto ideas in my
sketchbooks; although I
didn't end up using any
of those earlier ideas,
it's interesting that
most of them tended to
share the general feeling
and tonality of the
eventual opening of the
concerto. The work was
completed on October 13,
1994. I hate the
compromises involved in
making piano reductions
-- perhaps I would feel
differently if I were a
more accomplished pianist
-- so I often decide to
make piano reductions for
four hands rather than
two. My good friend Jon
Kimura Parker is a
terrific sight-reader,
and I roped him into
coming over to my place
on February 17, 1995, to
help me accompany Pamela
on the first read-through
of the piece. The first
performance of the work
took place on July 21,
1995, at the American
Music Festival in Duncan,
Oklahoma, with Mark
Parker conducting the
Festival Orchestra.
Orchestra Orchestra SKU: PR.11641373L Composed by Peter Schickele. Large ...(+)
Orchestra Orchestra
SKU: PR.11641373L
Composed by Peter
Schickele. Large Score.
Duration 24 minutes.
Theodore Presser Company
#116-41373L. Published by
Theodore Presser Company
(PR.11641373L).
UPC:
680160680337.
The
concerto has always
seemed an especially
attractive medium to me,
not necessarily because
of its expectations of
virtuosity (although
flaunting it when you've
got it certainly has its
place), and emphatically
not because of the
perception of a concerto
as a contest, but because
so much of what I write
feels song-like; I'm very
much at home with the
age-old texture of melody
and accompaniment. I
hope, before I move on,
to have the opportunity
to write concertos for
all the major
instruments, and perhaps
some of the rarer ones as
well. The oboe is not
only one of the major
instruments, it is one of
my favorite instruments.
I've always loved its
sound, but since moving
to New York I have gotten
to hear and, in some
cases, know some
extremely fine oboists
who broadened my
appreciation of the
instrument's
possibilities. I
especially remember a
concert, probably in the
late 1960's, in which
Humbert Lucarelli played
a Handel concerto,
filling out large melodic
leaps with cascading
scale passages in a way
that raised the hair on
the back of your neck,
somewhat in the way that
John Coltrane's sheets of
sound did. The sweeping
scales in the second
movement of my concerto
were definitely inspired
by Bert Lucarelli's
performance. The first,
third and fifth movements
of the Concerto for Oboe
and Orchestra are
song-like, whereas the
second and fourth have
strong scherzo and dance
qualities, including a
couple of sections that
sound like out-and-out
pirate dances to me. The
hymn-like tune at the
beginning of the middle
movement was originally
begun as a vocal piece to
be sung by my wife, son
and daughter at my
brother's wedding, but I
couldn't come up with
good works for it, so it
ended up as an
instrumental chant. The
opening and closing of
the concerto make use of
the oboe's uniquely
soulful singing. I had
not heard Pamela Woods
Pecha's solo playing in
person when she
approached me about
writing a concerto, but I
had heard her fine
recording of chamber
music for oboe and
strings by the three B's
(English, that is: Bliss,
Bax and Britten) with the
Audubon Quartet. I
actually already had some
oboe concerto ideas in my
sketchbooks; although I
didn't end up using any
of those earlier ideas,
it's interesting that
most of them tended to
share the general feeling
and tonality of the
eventual opening of the
concerto. The work was
completed on October 13,
1994. I hate the
compromises involved in
making piano reductions
-- perhaps I would feel
differently if I were a
more accomplished pianist
-- so I often decide to
make piano reductions for
four hands rather than
two. My good friend Jon
Kimura Parker is a
terrific sight-reader,
and I roped him into
coming over to my place
on February 17, 1995, to
help me accompany Pamela
on the first read-through
of the piece. The first
performance of the work
took place on July 21,
1995, at the American
Music Festival in Duncan,
Oklahoma, with Mark
Parker conducting the
Festival Orchestra.
Unison/2-part children's choir - Easy SKU: LP.765762129726 An Easy Kid...(+)
Unison/2-part children's
choir - Easy
SKU:
LP.765762129726
An
Easy Kids Musical about
Worshiping God.
Composed by Pamela
Vandewalker & Cherry
Garasi. Musical.
Multicultural and Sacred.
Split-Channel & Stereo
Accompaniment CD.
Published by Lillenas
Publishing Company
(LP.765762129726).
UPC:
765762129726.
Pamel
a Vandewalker and Cherry
Garasi invite you to join
the Praise Parade in King
David & the National
Treasure their newest
release in our
Easy-to-sing
Easy-to-stage series.
King David is bringing
the Ark of the Covenant
to Jerusalem and
excitement is in the air!
Don't miss the live
coverage along the parade
route by our team of
anchors including special
interest stories by our
on-the-spot reporters and
exclusive coverage of
important meetings
between King David and
Nathan the prophet.
Unison/2-part children's choir - Easy SKU: LP.765762129825 An Easy Kid...(+)
Unison/2-part children's
choir - Easy
SKU:
LP.765762129825
An
Easy Kids Musical about
Worshiping God.
Composed by Pamela
Vandewalker & Cherry
Garasi. This edition:
Paperback. Musical.
Multicultural and Sacred.
Kids practice CDs (10
pack). Published by
Lillenas Publishing
Company
(LP.765762129825).
UPC:
765762129825.
Pamel
a Vandewalker and Cherry
Garasi invite you to join
the Praise Parade in King
David & the National
Treasure their newest
release in our
Easy-to-sing
Easy-to-stage series.
King David is bringing
the Ark of the Covenant
to Jerusalem and
excitement is in the air!
Don't miss the live
coverage along the parade
route by our team of
anchors including special
interest stories by our
on-the-spot reporters and
exclusive coverage of
important meetings
between King David and
Nathan the prophet.
Choral (Listening CD) SKU: HL.35020195 A Proclamation of Hope. Com...(+)
Choral (Listening CD)
SKU: HL.35020195
A Proclamation of
Hope. Composed by
Pamela Martin. Arranged
by Brant Adams. Shawnee
Press. Collection. CD.
Shawnee Press #PD0055.
Published by Shawnee
Press (HL.35020195).
UPC: 752478118021.
5.5x5.0x0.397
inches.
Featuring
music from an all-star
cast of composers:
Michael Cox, Patti
Drennan, David Friedman,
Jill Gallina, Alice
Gomez, W.T. Greer,
Stefania de Kenessey,
Rosephanye Powell, Joseph
M. Martin, Robert Seeley
Sing for the Cure is a
60-minute, 11-song,
choral collection with
full orchestration or
piano accompaniment.
Based on true stories of
breast cancer survivors,
the individual pieces are
powerful enough to be
used alone or grouped for
a mini-program. October
is Breast Cancer
Awareness Month; plan now
to honor the members of
your community whose
lives have been touched
by this struggle. The
work includes promotional
ideas to support this
life-changing work. Don't
miss the opportunity to
Sing for the Cure, and
celebrate the lives of
courageous women in your
community! Benefitting
Komen for the Cure.
Guitar (flatpick/plectrum) - Intermediate SKU: MB.95696 Composed by David...(+)
Guitar
(flatpick/plectrum) -
Intermediate
SKU:
MB.95696
Composed by
David Grisman. Squareback
saddle stitch. Acoustic
Disc Records. Bluegrass
and Country. Book. 88
pages. Mel Bay
Publications, Inc #95696.
Published by Mel Bay
Publications, Inc
(MB.95696).
ISBN
9780786616572. UPC:
796279028691. 8.75 x
11.75 inches. By David
Grisman and Tony Rice,
transcribed by John
Carlini.
In 1994,
Acoustic Disc issued a
landmark CD by David
Grisman and Tony Rice.
The central idea behind
the album called for the
artists to play a
different vintage
mandolin or guitar on
each cut. On this
remarkable recording,
David and Tony perform 17
original compositions on
a wide range of vintage
instruments. Mel Bay
Publications, Inc., is
proud to present this
guitar edition and a
separate mandolin edition
of Tone Poems, both
transcribed by noted
guitarist/arranger John
Carlini. All 17 solos in
each book are written in
notation and
tablature.
by David Grisman and Tony Rice. For mandolin. transcribed solos. Acoustic Disc R...(+)
by David Grisman and Tony
Rice. For mandolin.
transcribed solos.
Acoustic Disc Records.
Acoustic Music. Level:
Intermediate-Advanced.
Book. Size 8.75x11.75. 64
pages. Published by Mel
Bay Publications, Inc.