(Audio Sampler (includes actor script and listening CD)). Composed by Chad Begue...(+)
(Audio Sampler (includes
actor script and
listening CD)). Composed
by Chad Beguelin and
Matthew Sklar. For Choral
(AUDSAMPLER). Recorded
Promo - Stockable.
Published by MTI (Music
Theatre International)
Performed by The Steve Miller Band. Piano/Vocal/Chords Songbook (Arrangements fo...(+)
Performed by The Steve
Miller Band.
Piano/Vocal/Chords
Songbook (Arrangements
for piano and voice with
guitar chords). Size 9x12
inches. 106 pages.
Published by Hal Leonard.
Performed by The Steve Miller Band. Guitar Recorded Versions (Authentic note-for...(+)
Performed by The Steve
Miller Band. Guitar
Recorded Versions
(Authentic note-for-note
transcriptions). With
notes and tablature. Size
9x12 inches. 168 pages.
Published by Hal Leonard.
Performed by The Steve Miller Band. Easy Guitar (Simplified arrangements for gui...(+)
Performed by The Steve
Miller Band. Easy Guitar
(Simplified arrangements
for guitar). With notes
and tablature. Size 9x12
inches. 80 pages.
Published by Hal Leonard.
The Great Land Run Orchestre d'harmonie - Intermédiaire Opus III Wind Orchestra Publications
Concert band - Grade 3 SKU: CL.012-4185-75 Composed by Anderson. Concert ...(+)
Concert band - Grade 3
SKU:
CL.012-4185-75
Composed by Anderson.
Concert Band. Concert
Band Series. Audio
recording available
separately (item
CL.WFR378). Oversized,
spiral-bound score.
Composed 2013. Duration 4
minutes, 38 seconds. Opus
III Wind Orchestra
Publications
#012-4185-75. Published
by Opus III Wind
Orchestra Publications
(CL.012-4185-75).
An exciting
journey through the old
west, The Great Land Run
paints an exhilarating
picture of 1889 Oklahoma.
A fanfare-like main theme
at the beginning is
followed by the night
around the campfire. As
the settlers rest, a
gentle storm washes over
them bringing forth the
questions of what
tomorrow may bring. As
morning rises, they head
back on their way to
stake their plot of land
and new life. A powerful
recap of the main theme
drives this piece to an
exciting end. With
multiple opportunities
for solos in the flute,
clarinet, oboe, and
trumpet, this piece will
offer a fun, yet
challenging experience
for any concert band!
Concert band - Grade 3 SKU: CL.012-4185-01 Composed by Anderson. Concert ...(+)
Concert band - Grade 3
SKU:
CL.012-4185-01
Composed by Anderson.
Concert Band. Concert
Band Series. Audio
recording available
separately (item
CL.WFR378). Extra full
score. Composed 2013.
Duration 4 minutes, 38
seconds. Opus III Wind
Orchestra Publications
#012-4185-01. Published
by Opus III Wind
Orchestra Publications
(CL.012-4185-01).
An exciting
journey through the old
west, The Great Land Run
paints an exhilarating
picture of 1889 Oklahoma.
A fanfare-like main theme
at the beginning is
followed by the night
around the campfire. As
the settlers rest, a
gentle storm washes over
them bringing forth the
questions of what
tomorrow may bring. As
morning rises, they head
back on their way to
stake their plot of land
and new life. A powerful
recap of the main theme
drives this piece to an
exciting end. With
multiple opportunities
for solos in the flute,
clarinet, oboe, and
trumpet, this piece will
offer a fun, yet
challenging experience
for any concert band!
Highly recommended!
Composed by Traditional Spiritual. Arranged by Dan Davison. Sws. Octavo. 16 ...(+)
Composed by Traditional
Spiritual. Arranged by
Dan
Davison. Sws. Octavo. 16
pages. Duration 2
minutes, 50
seconds. BriLee Music
#BL1155. Published by
BriLee
Music
Cantata for the 1st Sunday in Advent. Composed by Johann Sebastian Bach (...(+)
Cantata for the 1st
Sunday in Advent.
Composed by Johann
Sebastian Bach
(1685-1750). Edited by
Klaus Hofmann. This
edition: urtext,
paperback. Stuttgart
Urtext Edition: Bach
vocal. Sacred vocal
music, Cantatas,
Advent, Christmas. Full
score. Composed 1731. BWV
36. 52 pages. Duration 31
minutes. Carus Verlag #CV
31.036/00. Published by
Carus Verlag
(CA.3103600).
Alto, Mixed choir (SATB), Piano SKU: BA.BA11309 Composed by Camille Saint...(+)
Alto, Mixed choir (SATB),
Piano
SKU:
BA.BA11309
Composed
by Camille Saint-Saens.
Edited by Christina M.
Stahl. This edition:
urtext edition.
Paperback. Score.
Baerenreiter Verlag
#BA11309. Published by
Baerenreiter Verlag
(BA.BA11309).
ISBN
9790006577705. 27 x 19 cm
inches. Text Language:
English.
It is a
small music history
sensation: Thanks to Yves
Grard an unknown and
unpublished manuscript
penned by Camille
Saint-Saëns has been
unearthed in the
Mdiathèque Jean Renoir
in Dieppe in
France.
It is the
top four instrumental
parts which make this
manuscript something of a
sensation. Placed under
each other are
â??Saxophone Soprano en
Si bâ?, â??Saxophone
Alto en Mi bâ?,
â??Saxophone Tnor en Si
bâ? and â??Saxophone
Baryton en Mi bâ?,
strings, soprano solo
with chorus and organ.
Musical history has
hitherto credited
Jean-Baptiste Singele
(1812â??1875) with
having written the first
saxophone quartet, his
opus 53, which he
completed in 1857. Now
this historiography
clearly has to be
revised. The date 1854
has been found under the
first page of the
treasure from Dieppe,
which is pasted over and
also sewn, meaning that
Saint-Saënsâ?? work
was written three years
earlier than that of
Singele.
In
contrast to Singele,
Saint-Saëns does not
have the wind instruments
taking solo parts but
rather uses their tonal
colour to depict textual
moods and nuances. On the
one hand the saxophones
accompany the choral
parts (certainly singable
by amateurs) and support
the human voices in fugal
passages. On the other
hand, they take the
melody in the purely
orchestral
passages.
Saint-Sa
ëns wrote the motet in
the period when he had
taken up his first
permanent appointment as
organist at the Church of
Saint-Merri in Paris. He
revised the work several
times over the decades,
changing the motifs at
the beginning, correcting
obvious mistakes,
reworking the ending,
eventually changing the
instrumentation several
times and even â??
probably in the final
stage â?? replacing the
Latin text with an
English one. Today,
three-and-a-half versions
have been handed down,
one of them stopping
after just a few pages.
The compositional steps
have been successfully
reconstructed by means of
detailed detective work.
Furthermore, the first
saxophone version (BA
11305) and the last
English piano version (BA
11309) have been edited
to produce a
scholarly-critical
edition.
The
present edition of the
English version for
soprano solo, choir and
piano (BA 11309) serves
both as a full score and
as a vocal score due to
the
instrumentation.
About
Barenreiter
Urtext
What can I
expect from a Barenreiter
Urtext
edition?<
/p>
MUSICOLOGICA
LLY SOUND - A
reliable musical text
based on all available
sources - A
description of the
sources -
Information on the
genesis and history of
the work - Valuable
notes on performance
practice - Includes
an introduction with
critical commentary
explaining source
discrepancies and
editorial decisions
... AND
PRACTICAL -
Page-turns, fold-out
pages, and cues where you
need them - A
well-presented layout and
a user-friendly
format - Excellent
print quality -
Superior paper and
binding
In All Major and Minor Keys. Composed by J. B. Albert. Edited by Julie DeRoche...(+)
In All Major and Minor
Keys.
Composed by J. B. Albert.
Edited by Julie DeRoche.
Book.
With Standard notation.
32
pages. Carl Fischer Music
#O99X. Published by Carl
Fischer Music
Composed by Camille
Saint-Saens. Edited by
Michael Stegemann. This
edition: Edition of
selected works, Urtext
edition. Linen.
Saint-Saens, Camille.
Oevres instrumentales
completes I/3. Edition of
selected works, Score.
Opus 78. Duration 39
minutes. Baerenreiter
Verlag #BA10303_01.
Published by Baerenreiter
Verlag (BA.BA10303-01).
ISBN 9790006559503. 33
x 26 cm inches. Key: C
minor. Preface: Michael
Stegemann.
The
third symphony by Camille
Saint-Saens, known as the
Organ Symphony, is the
first publication in a
complete
historical-critical
edition of the French
composer's instrumental
works.
I gave
everything I was able to
give in this work. [...]
What I have done here I
will never be able to do
again.Camille Saint-Saens
was rightly proud of his
third Symphony in C minor
Op.78, dedicated to the
memory of Franz Liszt.
Called theOrgan
Symphonybecause of its
novel scoring, the work
was a commission from the
Philharmonic Society in
London, as was
Beethoven's Ninth, and
was premiered there on 19
May 1886. The first
performance in Paris
followed on 9 January
1887 and confirmed the
composer's reputation
asprobably the most
significant, and
certainly the most
independent French
symphonistof his time, as
Ludwig Finscher wrote in
MGG. In fact the work
remains the only one in
the history of that genre
in France to the present
day, composed a good half
century after the
Symphonie fantastique by
Hector Berlioz and a good
half century before
Olivier Messiaen's
Turangalila
Symphonie.
You
would think that such a
famous, much-performed
and much recorded opus
could not hold any more
secrets, but far from it:
in the first
historical-critical
edition of the Symphony,
numerous inconsistencies
and mistakes in the
Durand edition in general
use until now, have been
uncovered and corrected.
An examination and
evaluation of the sources
ranged from two early
sketches, now preserved
in Paris and Washington
(in which the Symphony
was still in B minor!)
via the autograph
manuscript and a set of
proofs corrected by
Saint-Saens himself, to
the first and subsequent
editions of the full
score and parts. The
versions for piano duet
(by Leon Roques) and for
two pianos (by the
composer himself) were
also consulted. Further
crucial information was
finally found in his
extensive correspondence,
encompassing thousands of
previously unpublished
letters. The discoveries
made in producing this
edition include the fact
that at its London
premiere, the Symphony
probably looked quite
different from its
present appearance
...
No less
exciting than the work
itself is the history of
its composition and
reception, which are
described in an extensive
foreword. With his
Symphony, Saint-Saens
entered right into the
dispute which divided
French musical life into
pro and contra Wagner in
the 1880s and 1890s. At
the same time, the work
succeeded in preserving
the balance between
tradition and modernism
in masterly fashion, as a
contemporary critic
stated:The C minor
Symphony by Saint-Saens
creates a bridge from the
past into the future,
from immortal richness to
progress, from ideas to
their
implementation.
On
19 March 1886 Saint-Saens
wrote to the London
Philharmonic Society,
which commissioned the
work:
Work on the
symphony is in full
swing. But I warn you, it
will be terrible. Here is
the precise
instrumentation: 3 flutes
/ 2 oboes / 1 cor anglais
/ 2 clarinets / 1 bass
clarinet / 2 bassoons / 1
contrabassoon / 2 natural
horns / [3 trumpets /
Saint-Saens had forgotten
these in his listing.] 2
chromatic horns / 3
trombones / 1 tuba / 3
timpani / organ / 1 piano
duet and the strings, of
course. Fortunately,
there are no harps.
Unfortunately it will be
difficult. I am doing
what I can to mitigate
the
difficulties.
As
in my 4th Concerto [for
piano] and my [1st]
Violin Sonata [in D minor
Op.75] at first glance
there appear to be just
two parts: the first
Allegro and the Adagio,
the Scherzo and the
Finale, each attacca.
This fiendish symphony
has crept up by a
semitone; it did not want
to stay in B minor, and
is now in C
minor.
It would be
a pleasure for me to
conduct this symphony.
Whether it would be a
pleasure for others to
hear it? That is the
question. It is you who
wanted it, I wash my
hands of it. I will bring
the orchestral parts
carefully corrected with
me, and if anyone wants
to give me a nice
rehearsal for the
symphony after the full
rehearsal, everything
will be fine.
When
Saint-Saens hit upon the
idea of adding an organ
and a piano to the usual
orchestral scoring is not
known. The idea of adding
an organ part to a
secular orchestral work
intended for the concert
hall was thoroughly novel
- and not without
controversy. On the other
hand, Franz Liszt, whose
music Saint-Saens'
Symphony is so close to,
had already demonstrated
that the organ could
easily be an orchestral
instrument in his
symphonic poem
Hunnenschlacht (1856/57).
There was also a model
for the piano duet part
which Saint-Saens knew
and may possibly have
used quite consciously as
an exemplar: theFantaisie
sur la Tempetefrom the
lyrical monodrama Lelio,
ou le retour a la Vie op.
14bis (1831) by Berlioz.
The name of the organist
at the premiere ist
unknown, as,
incidentally, was also
the case with many of the
later performances; the
organ part is indeed not
soloistic, but should be
understood as part of the
orchestral
texture.
In fact
the subsequent success of
the symphony seems to
have represented a kind
of breakthrough for the
composer, who was then
over 50 years of age.My
dear composer of a famous
symphony, wrote
Saint-Saens' friend and
pupil Gabriel Faure:You
will never be able to
imagine what a pleasure I
had last Sunday [at the
second performance on 16
January 1887]! And I had
the score and did not
miss a single note of
this Symphony, which will
endure much longer than
we two, even if we were
to join together our two
lifespans!
About
Barenreiter
Urtext
What can I
expect from a Barenreiter
Urtext
edition?<
/p>
MUSICOLOGICA
LLY SOUND - A
reliable musical text
based on all available
sources - A
description of the
sources -
Information on the
genesis and history of
the work - Valuable
notes on performance
practice - Includes
an introduction with
critical commentary
explaining source
discrepancies and
editorial decisions
... AND
PRACTICAL -
Page-turns, fold-out
pages, and cues where you
need them - A
well-presented layout and
a user-friendly
format - Excellent
print quality -
Superior paper and
binding
(BUCH) SKU: HL.49030375 A Student's Guide to Aural Perception at Advan...(+)
(BUCH)
SKU:
HL.49030375
A
Student's Guide to Aural
Perception at Advanced
Level. Composed by
Bowman. This edition:
Paperback/Soft Cover.
Sheet music. Edition
Schott. Student book. 176
pages. Schott Music #ED
12430-01. Published by
Schott Music
(HL.49030375).
ISBN
9781847610454.
English.
Aural
Matters provides useful
resource material for
aural training at
Advanced level in a
single volume with two
accompanying compact
discs. the first part is
packed with examples of
dictation and
discrimination exercises,
carefully graded in
difficulty. The
recordings on disc allow
these practice-materials
to be used by the student
at home, as well as by
teachers in the
classroom. The text
provides a systematic
approach to aural
training - melody and
two-part dictation,
harmonic recognition,
identifying errors in
performance - with
frequent hints and tips
that will enable the
student to develop
increasing skill and
confidence in the tests.
Part Two provides an
recorded anthology of the
compositional techniques
with wich students are
expected to be familiar
at Advanced level. A huge
variety of extracts has
been specially selected
from British folk-songs,
world music, jazz, pop
and the main periods of
art music from the late
Renaissance to modern
times. A detailed
commentary shows how to
recognize periods,
styles, structures,
instruments and
techniques in this music,
with all of these
features copiously
illustrated in the
examples on disc. The
complete work provides an
invaluable resource not
only for the Advanced
level aural syllabus, but
also for any study of
style and analysis in the
wide variety of music
that is encountered
today.
Performed by Seether. For guitar and voice. Format: guitar tablature songbook. ...(+)
Performed by Seether.
For guitar and voice.
Format: guitar tablature
songbook. With vocal
melody, standard guitar
notation, guitar
tablature, lyrics, chord
names, guitar chord
diagrams, color photos
and guitar tab glossary.
Grunge, Alternative Rock
and Rock. Series:
Authentic Guitar-Tab
Editions. 112 pages. 9x12
inches. Published by
Alfred Publishing.
(The Great American Gold Rush). By David Shaffer. Concert band. Concert Band Ser...(+)
(The Great American Gold
Rush). By David Shaffer.
Concert band. Concert
Band Series. Audio
recording available
separately (item
CL.WFR364). Grade 3.
Score and set of parts.
Composed 2009. Duration 4
minutes, 58 seconds.
Published by C.L.
Barnhouse