| Classical Fake Book - 2nd Edition
Fake Book [Fake Book] - Facile 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.
(8)$49.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Josh Groban: You Raise Me Up - String Orchestra Orchestre à Cordes [Conducteur et Parties séparées] - Facile Hal Leonard
Performed by Josh Groban, arranged by Larry Moore. For string orchestra. Format:...(+)
Performed by Josh Groban,
arranged by Larry Moore.
For string orchestra.
Format: set of
performance parts
(includes: (1) Conductor
Score, (8) Violin 1, (8)
Violin 2, (4) Violin 3
(Viola T.C.), (4) Viola,
(4) Cello, (4) String
Bass, (1) Piano, (2)
Percussion). With
standard notation. Adult
contemporary. Series: Hal
Leonard Easy Pops
Specials For Strings.
9x12 inches. Published by
Hal Leonard.
$40.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| You Raise Me Up (as recorded by Josh Groban) Orchestre à Cordes [Conducteur] Alfred Publishing
By Rolf Lovland and Brendan Graham. Arranged by Bob Cerulli. Words and music by ...(+)
By Rolf Lovland and
Brendan Graham. Arranged
by Bob Cerulli. Words and
music by Rolf Lovland and
Brendan Graham / arr. Bob
Cerulli. For String
Orchestra. String
Orchestra. Pop Beginning
String Orchestra. Level:
grade I. Conductor Score.
12 pages. Published by
Alfred Publishing.
$7.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| You Raise Me Up (as recorded by Josh Groban) Orchestre à Cordes [Conducteur et Parties séparées] - Débutant Alfred Publishing
By Rolf Lovland And Brendan Graham. Arranged by Bob Cerulli. Words and music by ...(+)
By Rolf Lovland And
Brendan Graham. Arranged
by Bob Cerulli. Words and
music by Rolf Lovland and
Brendan Graham / arr. Bob
Cerulli. For String
Orchestra. String
Orchestra. Pop Beginning
String Orchestra.
Conductor Score and
Parts. 52 pages. Duration
3:27. Published by Alfred
Publishing. Level: 1
(grade 1).
$51.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Concerto For Oboe And Orchestra [Conducteur] Theodore Presser Co.
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. $80.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Concerto For Oboe And Orchestra Theodore Presser Co.
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. $175.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Adirondack Sleighride - Score Orchestre à Cordes [Conducteur] - Facile Kjos Music Company
By Rudolf Stephan. For String Orchestra. Orchestra. Level: Grade 2. Music Book. ...(+)
By Rudolf Stephan. For
String Orchestra.
Orchestra. Level: Grade
2. Music Book. Published
by Neil A. Kjos Music
Company.
$5.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Sonatina Orchestre à Cordes [Conducteur] - Facile Carl Fischer
Orchestra String Orchestra - Grade 2-2.5 SKU: CF.YAS13F Composed by Muzio...(+)
Orchestra String
Orchestra - Grade 2-2.5
SKU: CF.YAS13F
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 $8.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Top 50 Wedding Classics (Easy Piano) Piano seul [Partition] - Facile Alfred Publishing
(Easy Piano). Arranged by Dan Coates. For Piano. Book; Piano - Easy Piano Collec...(+)
(Easy Piano). Arranged by
Dan Coates. For Piano.
Book; Piano - Easy Piano
Collection; Piano
Supplemental. Top 50.
Wedding. Easy Piano. 184
pages. Published by
Alfred Music Publishing
$24.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Spider Dance Orchestre à Cordes - Intermédiaire Belwin
By Michael Hopkins. Orchestra. For string w/ vln3. Part(s); Score; String Orches...(+)
By Michael Hopkins.
Orchestra. For string w/
vln3. Part(s); Score;
String Orchestra. Belwin
Intermediate String
Orchestra. Form: Dance.
Fall; Halloween; Novelty.
Grade 3. 144 pages.
Published by Belwin
Publishing
$55.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Snowflake Orchestre à Cordes [Conducteur et Parties séparées] - Facile Carl Fischer
By Yukiko Nishimura. For Full Score, Violin I, Violin II, Violin III, Viola, Cel...(+)
By Yukiko Nishimura. For
Full Score, Violin I,
Violin II, Violin III,
Viola, Cello, Bass,
Piano. Carl Fischer Young
String Orchestra Series.
Grade 2-2.5. Score and
parts. Published by Carl
Fischer
$55.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Concerto In E Minor Theodore Presser Co.
Chamber Music Flute, Piano, Piccolo SKU: PR.114418820 For Piccolo, Flu...(+)
Chamber Music Flute,
Piano, Piccolo SKU:
PR.114418820 For
Piccolo, Flute, and
Chamber Orchestra (or
Piano), TWV 52:e1.
Composed by Georg Philipp
Telemann. Arranged by
Valerie Shields Zart
Dombourian-Eby. Set of
Score and Parts. With
Standard notation.
32+12+12 pages. Duration
14 minutes. Theodore
Presser Company
#114-41882. Published by
Theodore Presser Company
(PR.114418820). ISBN
9781491113998. UPC:
680160667697. Compo
sed by Telemann as a
double concerto for
recorder and transverse
flute, Zart
Dombourian-Eby’s
new edition is prepared
for piccolo, flute, and
piano — remaining
compatible with available
orchestral editions, and
respectfully faithful to
Telemann’s
detailed nuances. Cast in
the slow-fast, slow-fast
four-movement mold
typical of Baroque
concert works, the
CONCERTO IN E MINOR is at
once among the most
beautiful and
exhilarating works of
Telemann’s
formidable
output.__________________
____________________Text
from the scanned back
cover:ZART DOMBOURIAN-EBY
is the Principal
Piccoloist of the
SeattleSymphony and is
regularly featured as
both a soloist and
clinician in Seattle and
across the world. Her
performances consistently
receive highest praise
from both critics and
audiences. A native of
New Orleans, she received
B.A. and M.M. degrees
from Louisiana State
University. After a year
of study with Albert
Tipton she attended
Northwestern University
earning a Doctor of Music
degree under the tutelage
of Walfrid Kujala. She
has been a member of the
New Orleans Pops, Baton
Rouge Symphony, Colorado
Philharmonic, and the
Civic Orchestra of
Chicago. She has
performed with the
Chicago Symphony and
served on the faculties
of the University of
Washington and Pacific
Lutheran University. She
was the founding editor
of Flute Talk and ison
the Editorial Board for
The Flutist Quarterly.
Zart is the immediate
past president of the
National Flute
Association, and been a
featured soloist and
presenter at numerous NFA
conventions. Zart has
commissioned numerous
works, including two for
piccolo and piano by
Martin Amlin, sonatas by
Gary Schocker and Levente
Gyongyosi, and a chamber
work by Ken Benshoof. She
can be heard in over 100
recordings by the Seattle
Symphony, and her solo
CD, in shadow, light, is
available on Crystal
Records. Her
award-winning edition of
the three Vivaldi piccolo
concertos is published by
Theodore Presser.A native
of Seattle, VALERIE
SHIELDS received her B.M.
summa cum laude in organ
and violin from St. Olaf
College. While completing
her M.M. from
Northwestern University,
she became increasingly
interested and skilled in
the art of improvisation.
She served as Director of
Music at St.
Luke’s Lutheran
Church in Park Ridge,
Illinois, where she
developed a music program
involving over 150
participants in choirs
and chamber music
groups.Upon her return to
Seattle, she served for
12 years as director of
adivision of the
Northwest Girlchoir. She
became organist and
developed a vibrant Youth
Choir at Phinney Ridge
Lutheran Church, where
she served for over 30
years, as well as
enjoying a 20-year tenure
as Music Director and
Composer-in-Residence of
Temple De Hirsch Sinai.
Valerie’s work
with children’s
choirs,churches, and
synagogues has inspired
over 100 published
compositions. When I
was invited to perform a
Vivaldi piccolo concerto
in Italy a few years ago,
my host, Luisa Sello,
wrote that Carol Wincenc
was going to be on the
same concert, and was
there any piece that we
could play together? I
looked and asked around,
and my colleague Joanna
Bassett recommended the
Telemann Concerto in E
Minor for Traverso and
Recorder. I didn’t
know the piece, but as I
listened to a recording
of it, I immediately
loved it and could easily
envision how beautifully
it could work, with a few
“adjustments,â€
for flute and piccolo.
I got to work, and the
current publication is
the result. I have
performed it many times,
and enjoy it even more
every time. It fits a
unique place in our
repertoire, and works
equally well with piano
as with the string
orchestra
setting.According to
Steven D. Zohn,
pre-eminent Telemann
scholar, and author of
Music for a Mixed Taste:
Style, Genre, and Meaning
in Telemann’s
Instrumental Works, much
is unknown about the
concerto itself; it
likely dates from the
1720s, soon after
Telemann moved to
Hamburg. Only an
eighteenth-century
copyist’s set of
parts is extant, that of
Johann Samuel Endler, who
was engaged at the
Darmstadt court as a
singer and violinist,
later becoming
Vice-Kapellmeister and
Kapellmeister, and who
had a large collection of
Telemann’s
works.As in my Vivaldi
concertos edition
(Presser 414-41190), I
have added virtually all
of the articulations and
dynamics that appear
here, and have inserted
quite a bit of
ornamentation. Unlike the
Vivaldi edition, I have
not included any
indication of the
original Telemann in
those passages, nor have
I included any
pedagogical markings,
such as
fingerings.Finally, I
would like to
acknowledge, with
gratitude, Joanna
Bassett, Daniel Dorff,
Benton Gordon, Evan
Pengra-Sult, Sandra
Saathoff, Valerie
Shields, Carol Wincenc,
and Steven Zohn, for the
various roles they played
in the making of this
publication.— Zart
Dombourian-EbyJune
2018. $34.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Pacem Noel Orchestre à Cordes [Conducteur et Parties séparées] - Facile Carl Fischer
By Larry Clark. Arranged by Larry Clark. For Full Score, Violin I, Violin II, Vi...(+)
By Larry Clark. Arranged
by Larry Clark. For Full
Score, Violin I, Violin
II, Violin III, Viola,
Cello, Bass, Piano. Carl
Fischer Young String
Orchestra Series. Grade
2-2.5. Score and parts.
Published by Carl Fischer
$55.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Flexible Praise Orchestre d'harmonie Curnow Music
Keyboard (Piano/Synthesizer/Organ - Guitar Chords included). Arranged by James C...(+)
Keyboard
(Piano/Synthesizer/Organ
- Guitar Chords
included). Arranged by
James Curnow. This
edition: CMP125208.
Curnow Concert Band Full
Set. 28 pages. Published
by Curnow Music.
$4.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Flexible Praise Orchestre d'harmonie Curnow Music
Part 3 in Eb (Alto Clarinet, Alto Saxophone, Alto Horn). Arranged by James Curno...(+)
Part 3 in Eb (Alto
Clarinet, Alto Saxophone,
Alto Horn). Arranged by
James Curnow. This
edition: CMP124708.
Curnow Concert Band Full
Set. 16 pages. Published
by Curnow Music.
$5.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Flexible Praise Orchestre d'harmonie Curnow Music
Electric Bass/Double Bass. Arranged by James Curnow. This edition: CMP125408. Cu...(+)
Electric Bass/Double
Bass. Arranged by James
Curnow. This edition:
CMP125408. Curnow Concert
Band Full Set. 16 pages.
Published by Curnow
Music.
$4.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Flexible Praise Orchestre d'harmonie [Partition] Curnow Music
Full Score. Arranged by James Curnow. This edition: CMP123408. Curnow Concert Ba...(+)
Full Score. Arranged by
James Curnow. This
edition: CMP123408.
Curnow Concert Band Full
Set. Softcover. 76 pages.
Published by Curnow
Music.
$14.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Flexible Praise Orchestre d'harmonie Curnow Music
Part 1 in Eb (Alto Saxophone, Eb Trumpet/Cornet, Eb Clarinet). Arranged by James...(+)
Part 1 in Eb (Alto
Saxophone, Eb
Trumpet/Cornet, Eb
Clarinet). Arranged by
James Curnow. This
edition: CMP123908.
Curnow Concert Band Full
Set. 16 pages. Published
by Curnow Music.
$4.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Bach: Three Chorales Orchestre [Conducteur et Parties séparées] Queenwood Publications
Composed by Anne McGinty (1945-). For orchestra. Orchestra method/study. Queenwo...(+)
Composed by Anne McGinty
(1945-). For orchestra.
Orchestra method/study.
Queenwood Developing
String Orchestra. Score
and parts. Published by
Queenwood Publications
$38.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Danse Orchestre - Facile Belwin
Orchestra - Grade 3 SKU: AP.49898 From African Suite. Composed by ...(+)
Orchestra - Grade 3
SKU: AP.49898
From African
Suite. Composed by
Samuel Coleridge-Taylor.
Arranged by Kirk Moss.
MakeMusic Cloud;
Performance Music
Ensemble; Single Titles;
String Orchestra. Belwin
Concert String Orchestra.
Form: Dance. Masterwork
Arrangement. Score and
Part(s). Duration 3:00.
Belwin Music #00-49898.
Published by Belwin Music
(AP.49898). ISBN
9781470657314. UPC:
038081575469.
English. Originally
composed for piano as the
final movement of African
Suite, Danse begins with
two introductory chords
followed by energetic
swinging rhythms and
repeated angular
melodies. Students will
love the moods in this
festive overture,
evocative of later
Broadway musicals. The
artistic turning point of
Samuel Coleridge-Taylor's
career happened in his
twenties when he met the
African-American poet
Paul Laurence Dunbar.
Dunbar influenced the
young composer to
concentrate on his
African heritage. Born in
suburban London to Alice
Martin, an Englishwoman
and the daughter of a
blacksmith, his father,
Dr. Daniel Peter Hughes
Taylor, was a Creole of
Sierra Leone who
qualified as a Member of
the Royal College of
Surgeons (MRCS) and
returned to Africa before
his son's birth. Called
Coleridge by his family,
he was raised in Croydon,
Surrey, by his mother and
her father, Benjamin
Holmans, who taught him
the violin. (3:00). $65.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
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