(SATB AND ORGAN) SKU: HL.1122017 For Treble Semichorus, SATB Chorus, P...(+)
(SATB AND ORGAN)
SKU:
HL.1122017
For
Treble Semichorus, SATB
Chorus, Percussion and
Organ. Composed by
Nico Muhly. Choral.
Softcover. St. Rose Music
#SRO100013-01. Published
by St. Rose Music
(HL.1122017).
ISBN
9781705181744. UPC:
196288108986.
A
Good Understanding (2005)
was written for Tim Brown
and the choir of Clare
College, Cambridge with
the generous cooperation
of John Scott and the
Boys of Saint Thomas
Church Fifth Avenue. A
Good Understanding, with
texts culled from two
psalms, is designed to
share a program with
Rutter's expansive and
expressive Mass of the
Children. The piece
unfolds episodically
short choral phrases
alternating with longer
instrumental interludes.
The first half of the
text is typical psaltry
praise-making: outlining
agreements, explaining
the rules; the music is,
accordingly, severe but
practical. The second
half of the text begins,
The fear of the Lord is
the beginning of wisdom/a
good understanding have
all they that do his
commandments.?I find the
idea of a good
understanding?to be an
especially exciting
reward for following the
rules; the boys sing
pulsed syllables and long
descants to celebrate the
covenant while the choir
sings a lilting,
repetitive refrain.
(Psalm 111, 10). - Nico
Muhly.
Performance Kit/Audio
(Teacher w/SGR PDF
Access, Audio Access)
Choral (Perf Kit with
Audio Download)
SKU:
HL.35031227
A
Musical Revue for Young
Voices. Composed by
Jill Gallina. Musicals.
Elementary, Musicals.
Softcover Audio Online.
Published by Shawnee
Press (HL.35031227).
ISBN 9781495074080.
UPC: 888680642136.
8.5x11.0x0.217
inches.
New edition
of this popular musical
from Jill Gallina!
Feelin' Good is a
creative musical
experience that will
encourage children to
take good care of their
minds and bodies, and
help them develop a
positive self-image. This
revue includes ten
original rock-style songs
that incorporate
movement, creative
dramatization and a sing
a-long. The songs are
arranged in unison with
an optional second part
and a complete piano
accompaniment. The short
dialog that precedes each
song offers speaking
parts for 12 and requires
little memorization. If a
shorter performance is
desired, any song can be
eliminated without losing
continuity. Helpful
performance suggestions,
props, staging and
costume ideas are also
included. PDFs of singer
songsheets and dialog are
available via digital
access. To perform with
recordings, there are 2
options. A
Performance/Accompaniment
CD is available
separately. For
cost-saving value, the
Performance Kit/Audio
Access includes the
Teacher Book with student
PDFs and
performance/accompaniment
audio recordings via
digital access. Songs
include: Feelin- Good,
Exercisin' Is Energizin',
Shake a Leg, We're All
Special People, Use Your
Head, The Magic Machine,
You Are What You Eat,
Good Friends, Let's Wash,
Sweet Dreams My Friend.
About 35 minutes.
Suggested for grades
1-3.
Choral (Performance/Accompanimen t CD) SKU: HL.35031226 A Musical Revu...(+)
Choral
(Performance/Accompanimen
t CD)
SKU:
HL.35031226
A
Musical Revue for Young
Voices. Composed by
Jill Gallina. Musicals.
Elementary, Musicals. CD.
Published by Shawnee
Press (HL.35031226).
ISBN 9781495074073.
UPC: 888680642129.
5.0x5.0x0.2
inches.
New edition
of this popular musical
from Jill Gallina!
Feelin' Good is a
creative musical
experience that will
encourage children to
take good care of their
minds and bodies, and
help them develop a
positive self-image. This
revue includes ten
original rock-style songs
that incorporate
movement, creative
dramatization and a sing
a-long. The songs are
arranged in unison with
an optional second part
and a complete piano
accompaniment. The short
dialog that precedes each
song offers speaking
parts for 12 and requires
little memorization. If a
shorter performance is
desired, any song can be
eliminated without losing
continuity. Helpful
performance suggestions,
props, staging and
costume ideas are also
included. PDFs of singer
songsheets and dialog are
available via digital
access. To perform with
recordings, there are 2
options. A
Performance/Accompaniment
CD is available
separately. For
cost-saving value, the
Performance Kit/Audio
Access includes the
Teacher Book with student
PDFs and
performance/accompaniment
audio recordings via
digital access. Songs
include: Feelin- Good,
Exercisin' Is Energizin',
Shake a Leg, We're All
Special People, Use Your
Head, The Magic Machine,
You Are What You Eat,
Good Friends, Let's Wash,
Sweet Dreams My Friend.
About 35 minutes.
Suggested for grades
1-3.
Composed by Andrew D. Gordon and Frank Villafranca. Saddle stitch. Blues/Saxopho...(+)
Composed by Andrew D.
Gordon and Frank
Villafranca. Saddle
stitch. Blues/Saxophone
Instruction. Book and
Downloadable audio.
Duration 60 minutes.
Published by ADG
Productions
Volume 114 - Good Time Instruments Sib, Mib, Do et Bass clef [Livre + CD] Jamey Aebersold Jazz
Volume 114 - Good Time by Jamey Aebersold. For any C, Eb, Bb, bass instrument or...(+)
Volume 114 - Good Time by
Jamey Aebersold. For any
C, Eb, Bb, bass
instrument or voice.
Play-Along series with
accompaniment CD. Jamey
Aebersold Play-A-Long
series. Book and 4 CDs.
88 pages. Published by
Jamey Aebersold Jazz
Discovery Level 2.
Composed by Patti
Drennan. Discovery
Choral. Concert,
Festival. CD. Duration
127 seconds. Published by
Hal Leonard (HL.155224).
UPC: 888680104900.
5.0x5.0x0.16
inches.
A poem by
acclaimed African
American writer Paul
Laurence Dunbar is set in
the style of a lullaby,
reflective and lyrical.
With the flute obbligato
evoking the singing bird,
the text beckons the
listener to sleep, dream
and rest. An ideal
selection for treble
choirs transitioning from
SA to SSA.
SATB Chorus, & Piano SKU: SU.96010060 For SATB Chorus, & Piano. Co...(+)
SATB Chorus, & Piano
SKU: SU.96010060
For SATB Chorus, &
Piano. Composed by
Joseph Gianono.
Vocal/Choral, Secular
Choral. Accompanied by
piano. Choral Octavo.
Subito Music Corporation
#96010060. Published by
Subito Music Corporation
(SU.96010060).
Instrumentation
: SATB Chorus, &
Piano Duration:
3:30' Composed: 2012
Published by: Subito
Music Publishing Minimum
order quantity: 8 copies.
Perusal copies are
available by contacting
(include the organization
name with your request).
To order quantities fewer
than 8, please call
customer service at (973)
857-3440. About
T.N.TAs a matter of
practicality, when I was
first asked to write a
piece for the New York
Theatrical Community
Choir in 2005 by its
music director, David
Wolfson, I immediately
decided to write a Kyrie.
After all, I thought...,
the text is only about
four words and eliminated
the need for a lyricist.
Most appealing, however,
was the fact that it
would bring me one step
closer to finishing the
Mass that I was in the
process of writing. If
ever there was a case to
be made for divine
inspiration this appeared
to be it. David Wolfson
liked the idea and
casually mentioned that
there was another Kyrie
and a religious hymn on
the program. He also
mentioned that the choir
consisted predominantly
of actors that sing.Like
a bolt of lightning,
divine intervention
interceded whereupon I
instantly realized that
he needed a piece to wake
up the audience, not
another Kyrie. I took a
breath and spontaneously
began to talk through and
improvise the concept of
a piece that became the
basis for Taxi.At that
moment I was clueless as
to what kind of piece I
would write but it
appeared to be a good
idea at the time. David's
reaction to my
presentation was
something like Okay,...I
have no idea what you are
talking about but let's
try it. After a very
successful public
performance, he was
delighted that I decided
not to write a Kyrie and
remarked that writ-ing a
piece like Taxi for this
group was like feeding
raw meat to a pack of
hungry lions. At that
moment, the idea of doing
a trilogy of similar
pieces was born. For the
last two seasons of the
choir's existence I was
asked to write a new
piece and... as a matter
of practicality, I
happily agreed.-- Joe
GianonoNote: Taxi, Noise,
and Time may be performed
separately.
SATB Chorus, & Piano SKU: SU.96010061 For SATB Chorus, & Piano. Co...(+)
SATB Chorus, & Piano
SKU: SU.96010061
For SATB Chorus, &
Piano. Composed by
Joseph Gianono.
Vocal/Choral, Secular
Choral. Accompanied by
piano. Choral Octavo.
Subito Music Corporation
#96010061. Published by
Subito Music Corporation
(SU.96010061).
Instrumentation
: SATB Chorus, &
Piano Duration:
5' Composed: 2012
Published by: Subito
Music Publishing Minimum
order quantity: 8 copies.
Perusal copies are
available by contacting
(include the organization
name with your request).
To order quantities fewer
than 8, please call
customer service at (973)
857-3440. About
T.N.T
As a
matter of practicality,
when I was first asked to
write a piece for the New
York Theatrical Community
Choir in 2005 by its
music director, David
Wolfson, I immediately
decided to write a Kyrie.
After all, I thought...,
the text is only about
four words and eliminated
the need for a lyricist.
Most appealing, however,
was the fact that it
would bring me one step
closer to finishing the
Massthat I was in the
process of writing. If
ever there was a case to
be made for divine
inspiration this appeared
to be it. David Wolfson
liked the idea and
casually mentioned that
there was another Kyrie
and a religious hymn on
the program. He also
mentioned that the choir
consisted predominantly
of actors that sing.
Like a bolt of
lightning, divine
intervention interceded
whereupon I instantly
realized that he needed a
piece to wake up the
audience, not another
Kyrie. I took a breath
and spontaneously began
to talk through and
improvise the concept of
a piece that became the
basis for Taxi.
At that moment I was
clueless as to what kind
of piece I would write
but it appeared to be a
good idea at the time.
David's reaction to my
presentation was
something like Okay,...I
have no idea what you are
talking about but let's
try it. After a very
successful public
performance, he was
delighted that I decided
not to write a Kyrie and
remarked that writ-ing a
piece like Taxi for this
group was like feeding
raw meat to a pack of
hungry lions. At that
moment, the idea of doing
a trilogy of similar
pieces was born. For the
last two seasons of the
choir's existence I was
asked to write a new
piece and ... as a matter
of practicality, I
happily agreed.
-- Joe Gianono
Note: Taxi, Noise, and
Time may be performed
separately.
SATB Chorus, & Piano SKU: SU.96010062 For SATB Chorus, & Piano. Co...(+)
SATB Chorus, & Piano
SKU: SU.96010062
For SATB Chorus, &
Piano. Composed by
Joseph Gianono.
Vocal/Choral, Secular
Choral. Accompanied by
piano. Choral Octavo.
Subito Music Corporation
#96010062. Published by
Subito Music Corporation
(SU.96010062).
Instrumentation
: SATB Chorus, &
Piano Duration:
4' Composed: 2012
Published by: Subito
Music Publishing Minimum
order quantity: 8 copies.
Perusal copies are
available by contacting
(include the organization
name with your request).
To order quantities fewer
than 8, please call
customer service at (973)
857-3440. About
T.N.TAs a matter of
practicality, when I was
first asked to write a
piece for the New York
Theatrical Community
Choir in 2005 by its
music director, David
Wolfson, I immediately
decided to write a Kyrie.
After all, I thought...,
the text is only about
four words and eliminated
the need for a lyricist.
Most appealing, however,
was the fact that it
would bring me one step
closer to finishing the
Mass that I was in the
process of writing. If
ever there was a case to
be made for divine
inspiration this appeared
to be it. David Wolfson
liked the idea and
casually mentioned that
there was another Kyrie
and a religious hymn on
the program. He also
mentioned that the choir
consisted predominantly
of actors that sing.Like
a bolt of lightning,
divine intervention
interceded whereupon I
instantly realized that
he needed a piece to wake
up the audience, not
another Kyrie. I took a
breath and spontaneously
began to talk through and
improvise the concept of
a piece that became the
basis for Taxi.At that
moment I was clueless as
to what kind of piece I
would write but it
appeared to be a good
idea at the time. David's
reaction to my
presentation was
something like Okay,...I
have no idea what you are
talking about but let's
try it. After a very
successful public
performance, he was
delighted that I decided
not to write a Kyrie and
remarked that writ-ing a
piece like Taxi for this
group was like feeding
raw meat to a pack of
hungry lions. At that
moment, the idea of doing
a trilogy of similar
pieces was born. For the
last two seasons of the
choir's existence I was
asked to write a new
piece and... as a matter
of practicality, I
happily agreed.-- Joe
GianonoNote: Taxi, Noise,
and Time may be performed
separately.
Trombone Feature.
Composed by Mike
Hannickel. Young Band.
Score Only. Composed
2007. 20 pages. Curnow
Music #CMP 1108-07-140.
Published by Curnow Music
(BT.CMP-1108-07-140).
9x12 inches.
English.
Did you
ever find a baby
bumblebee and try to
bring it home? No
Place Like Home, The
Flight Of The Bumblebee
and The Arkansas
Traveler (the
bumblebee song melody)
combine to make this
Trombone feature unlike
any you’ve tried
before. It’s a
good idea to occasionally
give the Trombone section
a little time in the
limelight, and
it’s also a good
idea for your band to
have some fun. This one
works on both levels.
Pick one up today! (The
arrangement, Not the baby
bumblebee!)
Het
Engelse woord voor hommel
is
‘bumblebee’.
In het speelse,
fantasierijke Bumble
Bones, waarin de
trombonesectie de
hoofdrol speelt, wordt
het gezoem van de hommel
voornamelijk nagebootst
op de mondstukken. Dit
werk bevat No PlaceLike
Home, The Flight of the
Bumblebee en The Arkansas
Traveler (de melodie van
de ‘bumblebee
song’) en is een
aanrader voor wie een
werk wil uitvoeren dat
anders dan anders
is.
Ein beliebtes
amerikanisches Kinderlied
über eine Hummel wird
zur Melodie des
Volksliedes The
Arkansas Traveler
gesungen. Diese Melodie,
das Lied >No Place
Like Home und der
berühmte
Hummelflug sind
die drei Zutaten zu einem
heiteren Solostück
für das
Posaunenregister, wie es
die Welt noch nicht
gehört hat. Eine gute
Gelegenheit, Ihre
Posaunen ins Rampenlicht
zu rücken und zugleich
ein Riesenspaß für
alle Anwesenden!
Grade 2.5 - Score
Only. Composed by
Mike Hannickel. Curnow
Music Concert Band. 20
pages. Curnow Music
#110807140. Published by
Curnow Music
(HL.44006905).
UPC:
884088150860. 9x12
inches.
No Place
Like Home, The Flight of
the Bumblebee and
The Arkansas
Traveler (the
âbumblebee
songâ) combine to
make this trombone
feature unlike any you've
tried before. It's a good
idea to occasionally give
the trombone section a
little time in the
limelight, and it's also
a good idea for your band
to have some fun. This
one works on both
levels.
The Good-Morrow Chorale SSAA SSAA, Piano - Intermédiaire MorningStar Music Publishers
SSAA choir and piano - Intermediate SKU: MN.56-0117 Composed by Howard Go...(+)
SSAA choir and piano -
Intermediate
SKU:
MN.56-0117
Composed
by Howard Goodall.
MorningStar Music
Publishers #56-0117.
Published by MorningStar
Music Publishers
(MN.56-0117).
UPC:
688670221415.
English.
Composed
in 2000 for the highly
regarded Cantamus
Girls’ Choir and
their founder, Pamela
Cook, The Good-Morrow
is Howard
Goodall’s stunning
setting of the John Dunne
poem, for upper voices
and piano. The universal
themes of love,
compassion, and
togetherness are echoed
in the music, a
reflective and uplifting
choral work ideal for
concert performance.
Band Concert Band - Grade 2 SKU: CF.YPS105 Warm-Ups and Fundamentals(+)
Band Concert Band - Grade
2
SKU: CF.YPS105
Warm-Ups and
Fundamentals.
Composed by Larry Clark.
Collate - FS SWS - spine:
3/4 or .75. Young
Performance Series. Set
of Score and Parts. With
Standard notation.
16+4+8+8+4+10+4+4+8+8+8+1
2+4+6+2+2+4+2+20 pages.
Duration 2 minutes, 53
seconds. Carl Fischer
Music #YPS105. Published
by Carl Fischer Music
(CF.YPS105).
ISBN
9780825884870. UPC:
798408084875. 9 x 12
inches. Key: Bb
major.
Based on our
popular New Bennett Band
Book series, we have
compiled march-style
warm-ups in a separate
publication so they may
be used by all bands
wishing to learn from
them. These innovative
warm-ups and fundamental
drills are the ultimate
method of teaching and
reinforcing the March
style. How To Use the
March Warm-upsPlaying in
a march style can present
difficulties for young
students. The most
prevalent problem is that
students have a tendency
to play every note too
short. Conversely,
accented notes are
usually played
incorrectly with too much
tongue. Do marches
contain short notes?
Absolutely, but these
shortest of notes should
be reserved for notes
that precede an accent or
notes that are
specifically marked with
a staccato. Think of
unmarked notes as being
separated, but not short
and certainly not clipped
or stopped with the
tongue. Accented notes
should be played with
more weight using air and
more length, and not just
a harder tongue. Accents
are given to show
emphasis to a note and
should be thought of in
this manner.The warm-up
exercises provided in
this collection should
give you many
opportunities to stress
the above-mentioned
comments on march
performance style. The
following gives an
explanation on the
purpose and use of each
of these exercises.No. 1
– Basic Chords and
ModulationsOne of the
challenges of playing
marches with young
students is successfully
performing the key change
at the Trio. This
exercise presents the
three basic chords
(tonic, subdominant and
dominant) in each of the
three keys in this
collection of marches.
You can also use this
exercise to teach and
reinforce the style of
accented notes. You may
want to have your band
play major scales in
succession by fourths to
reinforce the concept of
modulation to the
subdominant that occurs
at the Trio (i.e. the
B≤-major scale,
then the E≤-major
scale, then the
A≤-major scale). I
might suggest getting the
students to try
continuing the pattern
all the way around the
circle of fourths.No. 2
– March Style in
B≤ MajorThis
exercise contains many
opportunities to teach
and reinforce the
difference between
staccato and accented
notes. The melody voices
move up and down the
B≤-major scale,
while other instruments
play chords commonly
found in the marches in
this collection. These
include diminished
chords, secondary
dominant chords (i.e. the
V of the V) and other
common chromatic chords
that Fillmore often
used.No. 3 –
Cakewalk Rhythm in
B≤ MajorThe simple
syncopated rhythm in this
exercise is common to
many marches. This drill
gives you the opportunity
to teach/ reinforce the
standard ar-ticulation
and natural accent of
this rhythmic pattern.
Again, this exercise uses
an ascending and
descending major-scale
pattern as the melodic
basis, accompanied by
chords commonly found in
American- style
marches.No. 4 –
The March Scale in
B≤ MajorI call this
exercise “The March
Scale,†because
often in marches (and
especially in these
marches) the descending
half-step is part of the
melodic material. These
chromatic figures give
the melodies of many
marches their charm and
flow. Thus, I devised
this exercise and others
like it in E≤ major
and A≤ major to
familiarize students with
these patterns. I would
suggest playing the
pattern in a variety of
ways different from what
is written. Here are some
other
possibilities:•
Tongue one, slur
three• Slur two,
tongue two• Tongue
two, slur two•
Tongue one, slur two,
tongue oneGradually
increase the tempo to the
march tempo and the
articulation style will
fall right into
place.Another important
consideration is the
performance of the bass
line and the bass-drum
part. Too often, the bass
drum and bass instruments
play their parts with
equal emphasis on both
beats in the measure.
This is incorrect, and
frequently makes the
marchNo. 5 – March
Style in E≤
MajorThis is a similar to
exercise No. 2, but with
a different rhythmic
pattern. Emphasize the
difference between
accented and unaccented
notes. Also, play the
exercise with line
direction moving the
musical line forward.
Experiment and play the
exercise with different
dynamic choices and with
hairpins up and down in
different ways.No. 6
– More March Style
in E≤ MajorExercise
No. 6 comprises more
rhythmic patterns and
harmonic materials in
E≤ major to teach
and reinforce the march
style. This exercise
em-phasizes the
sixteenth-note rhythm, as
notated in the third
measure of the exercise.
Young stu- dents have a
tendency to
“crush†the
sixteenths; consequently,
they lack clarity. It
would be a good idea to
work this rhythmic figure
on a scale pattern with
all of the instruments in
the band as an additional
warm-up exercise.No. 7
– The March Scale
in E≤ MajorSee the
information for No. 4 and
apply it to this
exercise. Use all of the
various articulations
described above as
well.No. 8 – March
Style in A≤
MajorSee the information
for No. 2 and apply it to
this exercise.No. 9
– Cakewalk Rhythm
in A≤ MajorSee the
information for No. 3 and
apply it to this
exercise.No. 10 –
The March Scale in
A≤ MajorSee the
information for No. 4 and
apply it to this
exercise.Other Ideas for
March PerformanceA
rehearsal practice that
has worked very well for
me is to start out by
having the band play the
march very slowly at
about Å’ = 60 in a
chorale/legato style. The
slow tempo is a fine
opportunity to work on
clarity of harmonic move-
ment and to work on the
balance and blend of the
tutti band sound. This
will pay great dividends
toward improving the
sound of your band.
Gradually increase the
tempo to the march tempo
and the articulation
style will fall right
into place.Another
important consideration
is the performance of the
bass line and the
bass-drum part. Too
often, the bass drum and
bass instruments play
their parts with equal
emphasis on both beats in
the measure. This is
incorrect, and frequently
makes the march.
On a Misty Night Big band [Conducteur et Parties séparées] Jazz Lines Publications
By Benny Goodman. Edited by Jeffrey Sultanof. Arranged by Tadd Dameron. For jazz...(+)
By Benny Goodman. Edited
by Jeffrey Sultanof.
Arranged by Tadd Dameron.
For jazz big band (2 alto
saxophones, 2 tenor
saxophones, baritone
saxophone, 4 trumpets, 3
trombones, guitar, piano,
bass, drums). Ranges:
Trumpet 1 to E6, Trombone
3 to Cb5. Swing.
Difficult. Score and
parts. Published by Jazz
Lines Publications
Time To Say Goodbye Orchestre d'harmonie - Intermédiaire/avancé De Haske Publications
Concert Band/Harmonie - Grade 4 SKU: BT.DHP-1104969-140 As performed b...(+)
Concert Band/Harmonie -
Grade 4
SKU:
BT.DHP-1104969-140
As performed by Andrea
Bocelli. Composed by
F. Peterson, Francesco
Sartori, and Lucio
Quarantotto. Arranged by
Toshio Mashima. New
Sounds for Concert Band.
Pop & Rock. Score Only.
Composed 2010. 20 pages.
De Haske Publications
#DHP 1104969-140.
Published by De Haske
Publications
(BT.DHP-1104969-140).
9x12 inches.
English-German-French-Dut
ch.
This beautiful
duet was an appropriate
way to mark the end of
Henry Maske’s
career and simultaneously
introduce Andrea Bocelli
to the international
music scene. His
collaboration with Sarah
Brightman resulted in an
unforgettable
performance. Perfect for
ending or providing an
intimate moment during
your concert, this
arrangement exhibits the
high standards the New
Sounds for Concert Band
series is known for.
Met dit
meeslepende duet brak
Andrea Bocelli in 1996
internationaal door als
tenor. Hij zong dit
onvergetelijke lied samen
met Sarah Brightman.
Time to say
Goodbye is het ideale
werk om als slot van uw
uitvoering, als
afscheidsliedof gewoon
als rustig moment in uw
concert te programmeren.
Kwaliteit zoals u dat
gewend bent in de serie
New Sounds for Concert
Band!
Dieses
mitreißende Duett
wurde 1996 zur Hymne zum
Abschluss der Karriere
von Henry Maske und
markierte gleichzeitig
den internationalen
Durchbruch des Startenors
Andrea Bocelli, dessen
Auftritt mit Sarah
Brightman unvergessen
ist. Zum Abschluss Ihres
Konzerts, zum Abschied
oder einfach nur als
gefühlvoller,
ruhiger Programmpunkt
eignet sich diese
Bearbeitung in gewohnter
Qualität der Reihe New
Sounds for Concert Band
ideal!
Questo
coinvolgente duo del 1966
cantato per onorare la
fine della carriera di
Herny Maske ha anche
segnato il debutto
internazionale di Andrea
Bocelli, la cui
interpretazione al fianco
di Sarah Brightman resta
indimenticabile. Un brano
ideale per concludere il
vostro concerto, ma anche
come brano di sicuro eff
etto del vostro
programma.
Time To Say Goodbye Orchestre d'harmonie - Intermédiaire/avancé De Haske Publications
Concert Band/Harmonie - Grade 4 SKU: BT.DHP-1104969-010 As performed b...(+)
Concert Band/Harmonie -
Grade 4
SKU:
BT.DHP-1104969-010
As performed by Andrea
Bocelli. Composed by
F. Peterson, Francesco
Sartori, and Lucio
Quarantotto. Arranged by
Toshio Mashima. New
Sounds for Concert Band.
Pop and Rock. Set (Score
and Parts). Composed
2010. De Haske
Publications #DHP
1104969-010. Published by
De Haske Publications
(BT.DHP-1104969-010).
9x12 inches.
English-German-French-Dut
ch.
This beautiful
duet was an appropriate
way to mark the end of
Henry Maskeâ??s career
and simultaneously
introduce Andrea Bocelli
to the international
music scene. His
collaboration with Sarah
Brightman resulted in an
unforgettable
performance. Perfect for
ending or providing an
intimate moment during
your concert, this
arrangement exhibits the
high standards the New
Sounds for Concert Band
series is known for.
Met dit
meeslepende duet brak
Andrea Bocelli in 1996
internationaal door als
tenor. Hij zong dit
onvergetelijke lied samen
met Sarah Brightman.
Time to say
Goodbye is het ideale
werk om als slot van uw
uitvoering, als
afscheidsliedof gewoon
als rustig moment in uw
concert te programmeren.
Kwaliteit zoals u dat
gewend bent in de serie
New Sounds for Concert
Band!
Dieses
mitreiÃ?ende Duett wurde
1996 zur Hymne zum
Abschluss der Karriere
von Henry Maske und
markierte gleichzeitig
den internationalen
Durchbruch des Startenors
Andrea Bocelli, dessen
Auftritt mit Sarah
Brightman unvergessen
ist. Zum Abschluss Ihres
Konzerts, zum Abschied
oder einfach nur als
gefu?hlvoller, ruhiger
Programmpunkt eignet sich
diese Bearbeitung in
gewohnter Qualität der
Reihe New Sounds for
Concert Band ideal!
Questo
coinvolgente duo del 1966
cantato per onorare la
fine della carriera di
Herny Maske ha anche
segnato il debutto
internazionale di Andrea
Bocelli, la cui
interpretazione al fianco
di Sarah Brightman resta
indimenticabile. Un brano
ideale per concludere il
vostro concerto, ma anche
come brano di sicuro eff
etto del vostro
programma.
Bb
Edition. By Various.
Fake Book. Bebop, Jazz.
Softcover. 248 pages.
Published by Hal Leonard
(HL.295068).
ISBN
9781540055200. UPC:
888680945091.
8.5x11.0x0.592
inches.
Your new
official bebop bible!
Over 200 classics
arranged for Bb
instruments in Real Book
style. Titles include:
Anthropology * Au Privave
* Be-Bop * Boneology *
Boplicity (Be Bop Lives)
* Byrd Like * Cherokee
(Indian Love Song) *
Confirmation * Donna Lee
* Doxy * Epistrophy *
52nd Street Theme * Four
* Goin' to Minton's *
Good Bait * Groovin' High
* Hi-Fly * Hot House * In
Walked Bud * Jay Bird *
Lady Bird * Lennie's
Pennies * Moose the
Mooche * Move * Oblivion
* Oleo * Parisian
Thoroughfare * Rosetta *
Salt Peanuts * Solar *
Teaneck * Tin Tin Deo *
Tour De Force *
Tricrotism * Wail *
Woodyn' You * Yardbird
Suite * and more! Comb
bound.
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.
Piano, Vocal and Guitar (Teacher) - Grade 2 SKU: HL.14013410 Composed by ...(+)
Piano, Vocal and Guitar
(Teacher) - Grade 2
SKU: HL.14013410
Composed by Caroline
Hoile. Music Sales
America. Musical
Education. Book
[Softcover]. Composed
2017. 32 pages. Music
Sales #GA11007. Published
by Music Sales
(HL.14013410).
ISBN
9780711955929. UPC:
884088429157.
9.0x12.0x0.102 inches.
English.
The
traditional Christmas
Nativity story centred
around a grumpy sheep who
is not only cross but
lazy as well, and has
totally the wrong idea of
what to expect about Baby
Jesus. The grumpy sheep
sees the error of her
ways when she actually
gets herself to the
stable to meet the little
Boy King - she even
learns to smile and never
grumps again! The Grumpy
Sheep makes a delightful
follow-up to Caroline
Hoile's ever-popular
Nativity plays The
Gigantic Star and The
Little Angel. Contains
six new songs with
narrative. Duration: 30
mins. Script available in
student book. If you need
to license a school/youth
theatre performance of
this product, please use
the online application
form.
Too Much Of A Good Thing Ensemble Jazz [Conducteur et Parties séparées] - Avancé Kendor Music Inc.
By Neu. For jazz ensemble. Jazz Summit Series. Shuffle. Advanced. Score and set ...(+)
By Neu. For jazz
ensemble. Jazz Summit
Series. Shuffle.
Advanced. Score and set
of parts. Duration 5
minutes, 50 seconds.
Published by Kendor Music
Inc
Jazz Ensemble - Grade 5 SKU: KN.62780S Composed by Andrew Neu. Jazz Summi...(+)
Jazz Ensemble - Grade 5
SKU: KN.62780S
Composed by Andrew Neu.
Jazz Summit. Kendor Music
Inc #62780S. Published by
Kendor Music Inc
(KN.62780S).
UPC:
822795627800.
Writt
en in the style of
classic big band shuffles
from Don Menza and Gordon
Goodwin, this chart for
proficient groups is
ideal for festival or
concert fare. Each
section gets to step into
the limelight during this
effective programming
choice. Groove is the
operative word when
rehearsing this shuffle
chart, but there are many
other features that make
it a great addition to
your library. Rhythm
section parts are
partially notated with
chords cued, and a guitar
chord chart by Jim
Greeson is included.
Duration 5:50. Available
in SmartMusic.
Urtext. Composed
by Ludwig van Beethoven.
Edited by Clive Brown.
Orchestra; stapled.
Orchester-Bibliothek
(Orchestral Library). In
the case of the First
Symphony, Clive Brown
again reaches an optimal
balance between source
criticism and
performance-practical
requirements. Symphony;
Classical. Part. 18
pages. Duration 30'.
Breitkopf and Haertel #OB
5231-15. Published by
Breitkopf and Haertel
(BR.OB-5231-15).
ISBN
9790004337059. 10 x 12.5
inches.
Whether for
first editions or not the
primary sources of
Beethoven's works always
have to be interpreted
with great expertise. The
editor's knowledgeability
is the decisive point
when it comes to the
level of quality of a new
edition. And both Clive
Brown and Peter Hauschild
are setting standards.On
the whole, it was a good
idea for Breitkopf to
give itself time with
these editions. The
difficult feat of doing
justice to the needs of
performers and to
philological scholarship
has been carried off at a
level that raises the
standards to an almost
frighteningly high level.
(Peter Gulke) In the case
of the First Symphony,
Clive Brown reaches an
optimal balance between
source criticism and
performance-practical
requirements.
Interpreters and scholars
appreciate the source
criticism for performance
practice that Breitkopf
cultivates not only in
its Beethoven
editions.
In the
case of the First
Symphony, Clive Brown
again reaches an optimal
balance between source
criticism and
performance-practical
requirements.
2 trumpets SKU: M7.AHW-1209 Composed by Aaron Harris and Bob Nelson. Shee...(+)
2 trumpets
SKU:
M7.AHW-1209
Composed
by Aaron Harris and Bob
Nelson. Sheet music. 67
pages. Charles Colin
Corp. #AHW 1209.
Published by Charles
Colin Corp.
(M7.AHW-1209).
English.
Bob
Nelson and Aaron Harris'
'32 Original Duets,' from
the Charles Colin
Complete Modern Method
includes Sixty-Six pages
of classically oriented
duets written for the
intermediate-level player
to develop independence
and confidence in
ensemble playing. If you
are familiar with Bob
Nelson's great collection
of Advanced Duets and the
great etude books of
Aaron Harris you will
have a very good idea of
what to expect here. Very
idiomatically written,
very accessible and easy
to read, and a great
compliment to the
contemporary duet
literature for the
trumpet.
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.