SATB choir SKU: WD.080689655173 Composed by Daniel Semsen. Choral, cantat...(+)
SATB choir
SKU:
WD.080689655173
Composed by Daniel
Semsen. Choral, cantatas.
Christmas. Book. Word
Music #080689655173.
Published by Word Music
(WD.080689655173).
UPC:
080689655173.
Dove
Award winning songwriters
Joel Lindsey and Jeff
Bumgardner, with Dove
Award winning arranger/
orchestrator Daniel
Semsen, have, once again,
brought to life an
astoundingly appealing
new musical for
Christmas, Love Was
Born a King. With a
slew of critically
acclaimed dramatic
musicals for Christmas
under their belt, this
highly awarded creative
team has done it again,
this time with a twist!
Their newest offering,
Love Was Born a
King, is actually 2
musicals in one! Fully
developed as a dramatic
musical in the vein of
their previous successes
(How to Have the Best
Christmas Ever, An
Unexpected Christmas,
Welcome to Bethlehem,
Under a Starry Sky),
Love Was Born a
King certainly
doesn’t disappoint
those in search of their
next, new, dramatic
musical. For others, who
love the music heard in
those previously released
musicals but
aren’t looking for
a dramatic musical, Joel
and Jeff have delivered
an amazing choir with
narrator musical option
that fully utilizes all
the songs found in the
drama version…
literally, 2 musicals in
1! The option with drama
deals poignantly and
sensitively with the
plight of the homeless,
drawing on the
responsibility of
God’s people to
minister and care for
those in need. And in the
course of helping others,
finding that we just
might find ourselves
being ministered to in
the process! If instead
you’re looking for
a choir with narrator
option, you’ll
discover the same
brilliantly written songs
wrapped in a beautifully
expressed narrative
highlighting the
traditional Christmas
story focusing on the
power and beauty of
God’s Love come
down to earth, manifested
in the birth of the
Christ Child.
Composed by
Sean O'Loughlin. SWS.
Premiere Performance
Series. Full score. With
Standard notation. 16
pages. Duration 2
minutes, 22 seconds. Carl
Fischer Music #PPS10F.
Published by Carl Fischer
Music (CF.PPS10F).
ISBN 9780825887505.
UPC: 798408087500. 9x12
inches.
Harkening
back to the past, this
modal-sounding piece from
Sean O'Loughlin will make
your students feel like
they are playing some
serious music! In fact
they are, but it just
happens to be dapted well
for the youngest of
students with limited
rhythms and notes, as
well as carefully crafted
aggressive minor sounds,
making your band sound
marvelous. This is the
piece your students will
want to play again and
again, and is certain to
be a winner!
The Nutty Nutcracker Orchestre d'harmonie [Conducteur et Parties séparées] - Facile Curnow Music
Concert Band/Harmonie - Grade 3 SKU: BT.CMP-1008-06-010 Composed by Peter...(+)
Concert Band/Harmonie -
Grade 3
SKU:
BT.CMP-1008-06-010
Composed by Peter Ilyich
Tchaikovsky. Arranged by
Mike Hannickel. Concert
Band. Classical. Set
(Score & Parts). Composed
2006. Curnow Music #CMP
1008-06-010. Published by
Curnow Music
(BT.CMP-1008-06-010).
9x12 inches.
English.
Imagine
Tchaikovsky on a vacation
trip that was arranged by
a really, really bad
travel agent. That, in a
“nutshellâ€,
describesThe Nutty
Nutcracker. This
humorous style parody of
what may arguably be some
of the best-known
melodies on the planetis
a certain crowd pleaser.
Everybody knows the
tunes, but not like THIS!
The Arabian Tango; The
Chinese Hoedown; TheWaltz
of the Mariachi Flowers;
The Dance of the Klezmer
Clarinets and MORE.
You get the idea! Great
fun for
everyone.You’llwan
t to use Mike
Hannickel’s A
Nutty Nutcracker
again and
again.Whoops! Where
are we?
Een
onderhoudende bewerking
van Tsjaikovski's
wereldberoemde
Notenkraker, Waarin
de arrangeur op de
humoristische wijze een
en ander doorelkaar heeft
gehusseld. De meeste van
de zeven delen zijn
gebaseerd op dansstijlen
en-ritmes, bijvoorbeeld
de samba, de tango, de
trepak, de wals en zelfs
reggae. Deze stilistische
aspecten kunnen worden
overdreven voor een
maximaal effect. Veel
plezier met deze doldwaze
notenkraker!
Was
wäre, wenn
Tschaikowski, von einer
schlecht organisierten
Reise zurückgekehrt,
alle Noten seiner
Nussknacker-Suite
vollkommen durcheinander
vorgefunden hätte und
das kurz vor der
Premiere? Seltsame
Vorstellung - aber genau
das ist die Fantasie, die
Mike Hannickel seinem
amüsanten Stück
The Nutty
Nutcracker zugrunde
legte, in dem die
einzelnen Sätze, von
Tschaikowskis Reise
inspiriert, als Samba
oder Klezmer, im
chinesischen oder
arabischen Stil, als
Reggae oder
Mariachi-Musik
erscheinen.
Orchestra Piano SKU: PR.11641861SP Composed by William Kraft. Part. 35 pa...(+)
Orchestra Piano
SKU:
PR.11641861SP
Composed by William
Kraft. Part. 35 pages.
Duration 21 minutes.
Theodore Presser Company
#116-41861SP. Published
by Theodore Presser
Company (PR.11641861SP).
UPC:
680160685202.
What?
! - my composer
colleagues said - A
concerto for the piano?
It's a 19th century
instrument! Admittedly we
are in an age when
originally created
timbres and/or
musico-technological
formulations are often
the modus operandi of a
piece. Actually, this
Concerto began about two
years ago when, during
one of my creative jogs,
the sound of the
uppermost register of the
piano mingled with wind
chimes penetrated my
inner ear. The challenge
and fascination of
exploring and developing
this idea into an
orchestral situation
determined that some day
soon I would be writing a
work for piano and
orchestra. So it was a
very happy coincidence
when Mona Golabek phoned
to tell me she would like
discuss the Ford
Foundation commission.
After covering areas of
aesthetics and
compositional styles, we
found that we had a good
working rapport, and she
asked if I would accept
the commission. The
answer was obvious. Then
began the intensive
thought process on the
stylistic essence and
organization of the work.
Along with this went a
renewed study of
idiomatic writing for the
piano, of the kind
Stravinsky undertook with
the violin when he began
his Violin Concerto. By a
stroke of great fortune,
the day in February 1972
that I received official
notice from the Ford
Foundation of the
commission, I also
received a letter from
the Guggenheim Foundation
informing me I had been
awarded my second
fellowship. With the good
graces of Zubin Mehta and
Ernest Fleischmann,
masters of my destiny as
a member of the Los
Angeles Philharmonic, I
was relieved of my
orchestral duties during
the Hollywood Bowl
season. Thus I was able
to go to Europe to work
and to view the latest
trends in music
concentrating in London
(the current musical
melting pot and showcase
par excellence), Oslo,
Norway, for the Festival
of Scandinavian Music
called Nordic Days, and
Warsaw, Poland, for its
prestigious Autumn
Festival. Over half the
Concerto was completed in
that summer and most of
the rest during the 72-73
season with the final
touches put on during a
month as Resident Scholar
at the Rockefeller
Foundation's Villa
Serbelloni in Bellagio,
Italy. So much for the
external and
environmental influences,
except perhaps to mention
the birds of Sussex in
the first movement, the
bells of Arhus (Denmark)
in the second movement
and the bells of Bellagio
at the end of the
Concerto. Primary in the
conception was the
personality of Miss
Golabek: she is a
wonderfully vital and
dynamic person and a real
virtuoso. Therefore, the
soloist in the Concerto
is truly the protagonist;
it is she (for once we
can do away with the
generic he) who unfolds
the character and intent
of the piece. The first
section is constructed in
the manner of a
recitative - completely
unmeasured - with letters
and numbers by which the
conductor signals the
orchestra for its
participation. This
allows the soloist the
freedom to interpret the
patterns and control the
flow and development of
the music. The Concerto
is actually in one
continuous movement but
with three large
divisions of sufficiently
contrasting character to
be called movements in
themselves. The first
'movement' is based on a
few timbral elements: 1)
a cluster of very low
pitches which at the
beginning are practically
inaudibly depressed, and
sustained silently by the
sostenuto pedal, which
causes sympathetic
vibrating pitches to ring
when strong notes are
struck; 2) a single
powerful note indicated
by a black note-head with
a line through it
indicating the strongest
possible sforzando; 3)
short figures of various
colors sometimes ominous,
sometimes as splashes of
light or as elements of
transition; 4) trills and
tremolos which are the
actual controlling
organic thread starting
as single axial tremolos
and gradually expanding
to trills of increasingly
larger and more powerful
scope. The 'movement'
begins in quiescent
repose but unceasingly
grows in energy and
tension as the stretching
of a string or rubber
band. When it can no
longer be restrained, it
bursts into the next
section. The second
'movement,' propelled by
the released tension, is
a brilliant virtuosic
display, which begins
with a long solo of wispy
percussion, later joined
in duet with the piano.
Not to be ignored, the
orchestra takes over
shooting the material
throughout all its
sections like a small
agile bird deftly
maneuvering through
nothing but air, while
the piano counterposes
moments of lyricism. The
orchestra reaches a
climax, thrusting us into
the third 'movement'
which begins with a
cadenza-like section for
the piano. This moves
gently into an expressive
section (expressive is
not a negative term to
me) in which duets are
formed with various
instruments. There are
fleeting glimpses of
remembrances past, as a
fragmented
recapitulation. One
glimpse is hazily
expressed by strings and
percussion in a moment of
simultaneous contrasting
levels of activity, a
technique of which I have
been fond and have
utilized in various
fixed-free relationships,
particularly in my
Percussion Concerto,
Contextures and Games:
Collage No. 1. The second
half of the third
'movement; is a large
coda - akin to those in
Beethoven - which brings
about another display of
virtuosity, this time
gutsy and driving,
raising the Concerto to a
final climax, the soloist
completing the fragmented
recapitulation concept as
well as the work with the
single-note sforzando and
low cluster from the very
opening of the first
movement.
Performed by Chris Smither. Homespun Tapes (Instructional). DVD (Digital Video D...(+)
Performed by Chris
Smither. Homespun Tapes
(Instructional). DVD
(Digital Video Disk).
With notes and tablature.
Size 5.3x7.5 inches.
Published by Homespun.
Choral (VoiceTrax CD) SKU: HL.282931 Discovery Level 1. By The Bea...(+)
Choral (VoiceTrax CD)
SKU: HL.282931
Discovery Level 1.
By The Beatles. By John
Lennon and Paul
McCartney. Arranged by
Cristi Cary Miller.
Discovery Choral. Pop.
CD. Duration 150 seconds.
Published by Hal Leonard
(HL.282931).
UPC:
888680790905.
5.0x5.0x0.148
inches.
Written for
Britain's Our World, the
first live television
link featuring global
artists, this Beatles'
song was viewed by over
400 million people in 25
different countries. The
refrain speaks of
inclusivity in its purest
form.
Discovery Level 1.
By The Beatles. By John
Lennon and Paul
McCartney. Arranged by
Cristi Cary Miller.
Discovery Choral. Pop.
Octavo. 16 pages.
Published by Hal Leonard
(HL.282929).
UPC:
888680790882. 6.75x10.5
inches.
Written for
Britain's “Our
World,” the first
live television link
featuring global artists,
this Beatles' song was
viewed by over 400
million people in 25
different countries. The
refrain speaks of
inclusivity in its purest
form.
SKU: LO.99-2315L Composed by Lloyd Larson. Choral. Sacred Anthem, General...(+)
SKU: LO.99-2315L
Composed by Lloyd Larson.
Choral. Sacred Anthem,
General, Memorial
Services.
Performance/accompaniment
CD. Lorenz Publishing
Company #99/2315L.
Published by Lorenz
Publishing Company
(LO.99-2315L).
UPC:
000308117745.
Start
ing with a soulful gospel
arrangement of
“Amazing
Grace!†(NEW
BRITAIN), this dynamic
medley segues into
joyous, toe-tapping
renditions of two more
“heavenâ€
favorites before
returning to the broad
and resounding refrain:
“When we’ve
been there ten thousand
years . . .â€
Guaranteed to bring
smiles to young and old
alike, it is a resounding
proclamation of eternal
hope and joy! (From the
cantata “The
Church’s One
Foundation†SATB
– 45/1142L; SAB
– 45/1143L.).
Chamber Ensemble (Study Score) SKU: HL.51487261 E-flat Major Study Sco...(+)
Chamber Ensemble (Study
Score)
SKU:
HL.51487261
E-flat
Major Study Score.
Composed by Richard
Strauss. Edited by
Norbert Gertsch. Henle
Study Scores. Classical.
Softcover. 38 pages. G.
Henle #HN7261. Published
by G. Henle
(HL.51487261).
UPC:
840126932874.
6.75x9.5x0.168
inches.
When he was
a mere 18 years old,
Richard Strauss composed
the highly Romantic,
one-movement Serenade for
Wind Instruments, op. 7.
Extremely popular among
wind players to this day,
this work recalls in
instrumentation and
structure Mozart's
“Gran
Partita,†which
certainly served as a
model for Strauss. The
serenade was not
premiered in its Bavarian
homeland as might have
been expected, but rather
in Dresden, in 1882,
under the direction of
the then much-esteemed
conductor Franz
Wüllner, who had also
given the inaugural
performances of Richard
Wagner's Rheingold and
Die Walküre and later
premiered Strauss' tone
poems Till Eulenspiegel
and Don Quixote. So it
was a great honour for
the young Bavarian!
Editor Norbert Gertsch
presents this little
masterwork here for the
first time in Urtext
quality - in full score
and instrumental parts -
for which not just the
first edition but also
the autograph manuscript
was scrutinised
fastidiously.
About Henle
Urtext
What I can expect from
Henle Urtext
editions:
error-free, reliable
musical texts based on
meticulous musicological
research - fingerings and
bowings by famous artists
and pedagogues
preface in 3
languages with
information on the
genesis and history of
the work
Critical Commentary
in 1 – 3 languages
with a description and
evaluation of the sources
and explaining all source
discrepancies and
editorial
decisions
most beautiful music
engraving
page-turns, fold-out
pages, and cues where you
need them
excellent print
quality and
binding
largest Urtext
catalogue
world-wide
longest Urtext
experience (founded 1948
exclusively for Urtext
editions)
Piano (Piano solo) - Henle Level 7 SKU: HL.51481323 Edition with Finge...(+)
Piano (Piano solo) -
Henle Level 7
SKU:
HL.51481323
Edition with
Fingering. Composed
by Frederic Chopin.
Edited by Ewald
Zimmermann. Arranged by
Hermann Keller. Sheet
Music. Paperbound. Henle
Music Folios. Classical.
Softcover. 8 pages. G.
Henle #HN1323. Published
by G. Henle
(HL.51481323).
ISBN
9790201813233. UPC:
888680683030.
9.25x12.25x0.055
inches.
This
virtuoso etude has been
given the nickname
“Black Key
Study†by pianists,
since, apart from one
single F in m. 66, the
right hand does not touch
a single white key. This
gives the harmony a
pentatonic, almost
Debussy-an character, and
has most certainly
contributed to its great
popularity. Those who are
not ready to tackle the
complete volume of Chopin
Etudes (HN 124) will be
well served by this
separate Urtext
edition.
About Henle
Urtext
What I can expect from
Henle Urtext
editions:
error-free, reliable
musical texts based on
meticulous musicological
research - fingerings and
bowings by famous artists
and pedagogues
preface in 3
languages with
information on the
genesis and history of
the work
Critical Commentary
in 1 – 3 languages
with a description and
evaluation of the sources
and explaining all source
discrepancies and
editorial
decisions
most beautiful music
engraving
page-turns, fold-out
pages, and cues where you
need them
excellent print
quality and
binding
largest Urtext
catalogue
world-wide
longest Urtext
experience (founded 1948
exclusively for Urtext
editions)
Chorus (with soloists) and piano (solos: SMezMez(A)ATTBarBBB - choir: SSAATTBB -...(+)
Chorus (with soloists)
and piano (solos:
SMezMez(A)ATTBarBBB -
choir: SSAATTBB -
picc.2.2.2.2. - 4.2.3.0.
- timp - hp - str)
SKU: BR.DV-6081
Lyrical Opera in 3
Acts. Composed by
Pjotr Iljitsch
Tschaikowsky. Edited by
Manfred Koerth / Wo
Ebermann. Arranged by M.
Koerth and W. Ebermann.
Choir; Softbound.
Deutscher Verlag. Opera;
Music theatre; Romantic.
Piano/Vocal Score. 300
pages. Deutscher Verlag
fur Musik #DV 6081.
Published by Deutscher
Verlag fur Musik
(BR.DV-6081).
ISBN
9790200460032. 9.5 x 12
inches.
Duration:
full evening Translation
: German (W. Ebermann/M.
Koerth), Engl. (D.
Llyod-Jones), French (M.
Delines) Place and
time: Partly on the
estate, partly in
Petersburg, in 20ies of
the 19th
Century
Characters
: Larina, Owner of the
Estate (mezzo-soprano) -
Tatiana (soprano) and
Olga (alto), her
Daughters - Filipjewna,
Wet Nurse
(mezzo-soprano/alto) -
Eugen Onegin (baritone) -
Lenskij (tenor) - Prince
Gremin (bass) - A
Commander (bass) -
Saretzkij (bass) -
Triquet, a French Man
(tenor) - Guillot, a
Valet (silent part) -
Country Folk, Ball
Guests, Squire, Officers
(chorus) - Waltz,
mazurka, polonaise and
Russian dance (Ballet
)
There is an
interesting parallel
between the subject of
the opera and
Tchaikovsky's life during
the year he wrote the
work (1877): in each
case, a letter provokes
fateful developments in
the lives of the
protagonists. In the
opera, Tatyana's love
letter to Eugene sets off
the tragedy, whereas in
real life, the love
letter of a pupil led the
composer into a marriage,
which lasted all of ...
three months. Tchaikovsky
took this doomed decision
without love, solely
because the circumstances
want it and because I
cannot act differently.
Certain allusions made,
for example, in a letter
of January 1878 to
Taneyev suggest that the
composer's personal
situation also flowed
into the work: I did not
want anything to do with
the so-called 'grand
opera.' I am looking for
an intimate but powerful
drama which is built on
the conflict of
circumstances which I
myself have seen and
experienced, a conflict
which truly moves me.
Partly for this reason
the composer decided to
call the work not an
opera but lyrical
scenes.Eugene Onegin,
conceived by Tchaikovsky
for limited resources and
a small stage, is the
most frequently performed
Russian opera today along
with Mussorgsky's Boris
Godunov, which represents
a completely contrary
aesthetic stance.
Tschaikowskys
letzte Oper - auf ein
Libretto seines Bruders
Modest nach der
Dramenvorlage des
danischen Schriftstellers
Henrik Hertz - lebt von
den poetischen Momenten
und den symbolbeladenen
Charakterportrats der
Hauptfiguren: Die junge
blinde Jolanthe wird von
ihrem Vater aus Sorge um
ihren Makel und zum
Schutz ihrer
Jungfraulichkeit und vor
den Widrigkeiten der Welt
in einen paradiesischen
Garten gesperrt. Er
befielt zu ihrem Schutz
sie um ihre Blindheit
unwissend zu lassen. Ein
Arzt warnt sehen werde
sie nur konnen wenn sie
es selbst wolle gleich
welche Angste aus der
vollstandigen Erkenntnis
der Welt erwachsen. Als
der junge Vaudemont in
ihre Abgeschiedenheit
einbricht und sich beide
ineinander verlieben
befreit er sie von ihrer
Unwissenheit erklart was
Farbe und Licht bedeuten.
Erst die Liebe zu ihm
macht sie sehend.
Die dunkle Welt
der Jolanthe zeichnet
Tschaikowsky zu Beginn
musikalisch durch eine
Introduktion
ausschliesslich fur
Blaser. Erst mit dem
Eintritt in die
unbekannte Welt der Liebe
und des Sehens verwendet
Tschaikowsky einen warmen
Streicherklang. Gerade
dadurch stiess die Oper
wohl bei Zeitgenossen auf
Verstorung. Tschaikowskys
,,Jolanthe nimmt in
seinem Opernschaffen eine
Sonderstellung ein: neben
dem glucklichen Ende
einer Apotheose des
Lichts und der Liebe mit
einem religios gepragten
Schlusschoral ist es
eines der wenigen
Buhnenwerke Tschaikowskys
ohne Bezug zur russischen
Geschichte. Der
ausgepragte Lyrismus des
Werks verweist
stattdessen auf
Tschaikowskys Nahe zur
franzosischen Kultur die
im 19. Jahrhundert einen
starken Einfluss auf
Russland hatte. Die Oper
wurde 1892 am
Mariinsky-Theater in
Sankt Petersburg als
Auftragswerk zusammen mit
seinem Ballett ,,Der
Nussknacker
uraufgefuhrt.
Nebe
n der Produktion des
Munchner
Rundfunkorchesters wurde
,,Jolanthe szenisch
erfolgreich bei den
Festspielen Baden-Baden
mit Anna Netrebko und
Piotr Beczala als
Liebespaar rehabilitiert.
Ausserhalb Deutschlands
lief die Opernraritat in
Toulouse Tokyo San
Sebastian und Monte
Carlo. Zuletzt erneut die
,,Suddeutsche Zeitung:
,,Jolanthe ist eine
Opernausgrabung die
,,wirklich zu Unrecht
vergessen ist.
Tchaikovsky's last opera
- on a libretto by the
composer's brother Modest
based on the drama by the
Danish author Henrik
Hertz - derives its
life-blood from its
poetic moments and the
symbol-laden portraits of
the leading characters:
the blind young Yolanta
is kept prisoner in a
paradisiacal garden by
her father who fears for
her purity and her
virginity and seeks to
protect her from the
adversities of the world.
To do so he orders
everyone to keep her
ignorant of the fact that
she is blind. A doctor
warns that she will only
be able to see when she
is ready to do so herself
no matter what fears
might result from a
complete experience of
the world. When the young
Vaudemont breaks into her
secluded world and the
two fall in love he frees
her from her ignorance
and explains the
significance of color and
light. It is through her
love for him that she is
finally able to see. At
the beginning of the work
Tchaikovsky depicts
Yolanta's dark world with
an introduction scored
exclusively for winds. It
is not until her
discovery of the unknown
world of love and sight
that Tchaikovsky uses a
warm string sound. This
is what many of the
composer's contemporaries
found disturbing about
the
opera.
Tchaikovsky
's Yolanta occupies a
special place in the
composer's operatic
oeuvre: for one it has a
happy ending an
apotheosis of light and
love with a religiously
stamped closing chorale;
for another it is one of
Tchaikovsky's few stage
works without any
reference to Russian
history. Instead the
work's pronounced
lyricism points to the
composer's closeness to
French culture. which
exerted a strong
influence on Russia in
the 19th
century.
The opera
was given its world
premiere at the Mariinsky
Theater in St. Petersburg
in 1892. It had been
commissioned along with
the ballet The
Nutcracker. Next to the
production by the
Munchner
Rundfunkorchester Yolanta
was also successfully
rehabilitated in a recent
staged production at the
Baden-Baden Festival with
Anna Netrebko and Piotr
Beczala as the lovers.
Outside of Germany the
operatic rarity was
performed in Toulouse
Tokyo San Sebastian and
Monte Carlo.
In
closing another quote
from the Suddeutsche
Zeitung: 'Yolanta' is an
operatic rediscovery of a
work that was truly
'wrongly forgotten'.
(Descant Teacher 2A). By Brian Bonsor. For Recorder. Schott. Teacher's edition. ...(+)
(Descant Teacher 2A). By
Brian Bonsor. For
Recorder. Schott.
Teacher's edition. 175
pages. Schott Music
#ED11467. Published by
Schott Music . teacher's
edition.
Guitar (flatpicking) - Not Applicable SKU: MB.95422 Composed by George M....(+)
Guitar (flatpicking) -
Not Applicable
SKU:
MB.95422
Composed by
George M. Smith.
Saddle-stitched,
Technique, Theory and
Reference, Theory and
Reference. Modern Guitar
Method. Technique,
Theory, Reference and
Rhythm. Book. 64 pages.
Mel Bay Publications, Inc
#95422. Published by Mel
Bay Publications, Inc
(MB.95422).
ISBN
9780786603435. 8.75 x
11.75 inches.
A
landmark book written
by one of the
greatest guitarists of
the 20th Century,
this text contains
George M. Smith's
own systematic study
of chord
technique, harmony and
progressions. A
large number of unique
chord charts along
with accompanying
exercises makes this
book unlike any other.
The guitarist
who works
systematically through
this book will develop
the chord
technique necessary
for modern rhythm playing
and will gain harmonic
knowledge essential to
the art of chord
improvising.
An excellent chord
substitution chart
is provided as a
supplement to this
text. Written in
standard notation only
with chord symbols and
diagrams.
Piano, Voix et Guitare [Partition] - Intermédiaire Alfred Publishing
For voice, piano and guitar chords. Format: piano/vocal/chords songbook. With vo...(+)
For voice, piano and
guitar chords. Format:
piano/vocal/chords
songbook. With vocal
melody, piano
accompaniment, lyrics,
chord names and guitar
chord diagrams. Christmas
and holiday. 192 pages.
9x12 inches.
Opera
in three acts.
Composed by George
Frideric Handel. Edited
by Dorothea Schröder.
This edition: complete
edition, urtext edition.
Linen. Halle Handel
Edition (HHA) Series II,
Volume 1. Oper, Barock
(Opera, Baroque).
Complete edition, Score.
HWV 1. Duration 3 hours,
30 minutes. Baerenreiter
Verlag #BA04050_00.
Published by Baerenreiter
Verlag (BA.BA04050).
ISBN 9790006443598. 33
x 26 cm inches. Language:
German. Text: Feustking,
Friedrich
Christian.
“A
lmiraâ€,
Handel’s first
opera, was well received
when premiered in 1705 at
the Theater am
Gänsemarkt in Hamburg.
The director was Reinhard
Keiser, who, remarkably,
had himself already set
Friedrich Christian
Feustking’s text
to music. The role of
Fernando was sung by
Johann Mattheson. The
translation used by
Handel leaves several
Italian arias in their
original language,
resulting in a delightful
mixture of German and
Italian.
The opera
which, after sundry
entangled romances, ends
in the wedding of three
couples, is characterised
by exuberant scenes: the
procession at
Almira’s crowning
ceremony, a duel, a
prison scene and a
masked-ball involving the
three continents Europe,
Africa and Asia.
The vocal score
to “Almiraâ€
by George Frideric Handel
brings about a small
sensation: Whilst
conducting a reenactment
of this work in 1732,
Georg Philipp Telemann
removed the Aria no. 28
“Ingrato,
spietato†from his
conducting score. Since
then this aria has been
deemed lost. Due to
necessity only the edited
vocal text devoid of any
music was presented in
the 1994 volume of the
“Halle Handel
Editionâ€.
Thanks to a recently
discovered contemporary
manuscript copy from the
beginning of the 18th
century which was found
in the music library of
the Mariengymnasium in
Jever, this aria has now
been made available to
performers for the first
time in this new vocal
score edition. Previous
to this the corresponding
pages could only be seen
as a facsimile in an
article of the
“Göttinger
Händel-Beiträgeâ
. Now the aria can
be performed again.
Furthermore, with the
help of this new source,
missing measures in the
basso continuo which had
initially been completed
by the editor of the
“Halle Handel
Edition†volume,
could be reconstructed
from the basso continuo
part of the Bellante aria
“Ich brenne
zwar†(no. 71).
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
One Foot Orchestre à Cordes [Conducteur et Parties séparées] - Facile Alfred Publishing
As Performed by Walk the Moon. By Ben Berger, Ryan McMahon, Ryan Rabin, Eli M...(+)
As Performed by Walk the
Moon. By Ben Berger, Ryan
McMahon, Ryan Rabin, Eli
Maiman, Nicholas
Petricca,
Kevin Ray, and Sean
Waugman
[Walk the Moon]. By Ben
Berger, Ryan McMahon,
Ryan
Rabin, Eli Maiman,
Nicholas
Petricca, Kevin Ray, and
Sean
Waugman. Arranged by
Victor
Lopez. Performance Music
Ensemble; Single Titles;
String Orchestra. Pop
Intermediate String
Orchestra. Light Concert;
Pop; Rock. Part(s);
Score. 78
pages. Alfred Music #00-
46696. Published by
Alfred
Music
Crystal City March Orchestre à Cordes [Conducteur et Parties séparées] - Débutant Alfred Publishing
Composed by Mark Williams. Orchestra. SmartMusic; String Orchestra. Strictly Str...(+)
Composed by Mark
Williams. Orchestra.
SmartMusic; String
Orchestra. Strictly
Strings Series. Form:
March. Grade 1. Conductor
Score and Parts. 128
pages. Published by
Alfred Music
One Foot Orchestre [Conducteur] - Facile Alfred Publishing
Orchestra - Grade 2.5 SKU: AP.46696S As Performed by Walk the Moon...(+)
Orchestra - Grade 2.5
SKU: AP.46696S
As Performed by Walk
the Moon. Composed by
Ben Berger, Eli Maiman,
Kevin Ray, Nicholas
Petricca, Ryan McMahon,
Ryan Rabin, and Sean
Waugman. Arranged by
Victor Lopez. Performance
Music Ensemble; Single
Titles; String Orchestra.
Pop Intermediate String
Orchestra. Light Concert;
Pop; Rock. Score. 12
pages. Alfred Music
#00-46696S. Published by
Alfred Music (AP.46696S).
UPC: 038081541525.
English.
Shout
along, stomp along, or
just plain enjoy! This
infectious, rhythmic song
will keep the students
engaged and be fun to
play. The groove is easy
to learn, even by ear.
One Foot, arranged by
veteran writer Victor
López, is the lead
single for Walk the
Moon's fourth studio LP
What if Nothing. This
dynamic American rock and
roll band has once again
delivered a high-energy
pop song, which hit No. 1
on Billboard's
Alternative Songs. One
Foot follows the band's
breakout hit Shut Up and
Dance, which also hit No.
1 at Alternative Radio.
Enjoy the disco-like
groove with a tribal
chant chorus custom-made
for shouting along, which
has become the group's
signature foot-stomping
sound.
Måndalen Landscapes Orchestre d'harmonie [Conducteur et Parties séparées] - Facile Anglo Music
Concert Band/Harmonie - Grade 2.5 SKU: BT.AMP-069-010 Composed by Philip ...(+)
Concert Band/Harmonie -
Grade 2.5
SKU:
BT.AMP-069-010
Composed by Philip
Sparke. Debut Series.
Festive and Solemn Music.
Set (Score & Parts).
Composed 2004. Anglo
Music Press #AMP 069-010.
Published by Anglo Music
Press (BT.AMP-069-010).
English-German-French-
Dutch.
The
picturesque town of
Mandalen lies amid
snow-covered mountains
and scenic fjords on the
west coast of Norway.
MANDALEN LANDSCAPES was
commissioned by and
written for MÃ¥ndalen
Skule og Ungdomskorps
(Mandalen School and
Youth Band) for a major
concert in November 2003
at the instigation of its
conductor, John Hudson, a
long-time friend of
composer Philip
Sparke.Sparke set out to
capture the beauty of the
area in music and the
piece opens with an
evocation of the crisp,
clear air of a Norwegian
morning. After this
introduction, the main
theme is stated on
clarinets and saxophones.
A central bridge section
takes the listener
through several moods
until the brass
reintroducethe main theme
under a woodwind descant.
Material from the
introduction brings the
work to a peaceful
close.
Guitar solo SKU: GH.GE-11464 Composed by Benjamin Staern. Duration 15 min...(+)
Guitar solo
SKU:
GH.GE-11464
Composed
by Benjamin Staern.
Duration 15 minutes.
Gehrmans Musikforlag #GE
11464. Published by
Gehrmans Musikforlag
(GH.GE-11464).
ISBN
979-0-070-11464-6. A4
inches.
Work note
by the composer:
When I received the news
of this commission, I had
no idea what it would
lead to. Writing for
guitar solo is not the
same as composing for
orchestra where you have
forty voices where you
can easily mask an entire
section. Here you are
very naked to the
bone. The starting
point for this work was
from J.S. Bach's Chaconne
in D-minor that Johannes
had performed in concert,
originally written for
violin but there is a
version transcribed for
guitar and piano made by
Ferruccio Busoni. When I
went to Cortona (in
Tuscany, Italy) completed
the southern mentality of
this work. Arpalineais
actually a merged word in
Italian language.
Arpa means
harp, however in a
musical context it's more
or less resembled with
the word arpeggio,
which means broken
chords. Lineameans
line.
The
work is divided in three
parts. I. Arpeggio:
It starts with an opening
chaconne-like sequence
and is marked with a
certain depth in which
the chords starts to
separate from the organum
note in the bass and it
culminates into a section
called with rhythmical
focus. These sections
alternates, variates
which each other. The
middle section has a
playful and childish
atmosphere where the
guitarist knocks on the
body of the guitar
resembling a Spanish folk
instrument cajon. This is
leading to a section
which tends more to a
very aggressive
fusion-like riff that
loses control and reaches
its climax at the
end.
II. Linea:
The static rhytmical
pulse is now
disintegrated and it
forms more or less sort
of a free,
improvisational state in
a rubatolike tempo. The
character is described as
a very hot day with
temperatures rising above
37! C (or 100! F) where
you can hardly do
anything just sitting
dozed off and pespiring
because of the extreme
heat watching a huge fog
coming up in the evening
that spreads around the
Tuscan atmosphere.
III. Finale: It
starts off with fast
one-note ostinati then
more and more notes pop
up like a gradual rain
storm with thunder
strikes! And eventually
it leads to that is a
large flood through the
streets of an medieval
Southern town. The work
ends with a short circuit
slapped strings along
with extremely fast
tremolos that reaches
higher and louder as
possible!
Orchestra SKU: LO.30-2814L Incorporating And the Glory of the Lord fro...(+)
Orchestra
SKU:
LO.30-2814L
Incorporating And the
Glory of the Lord from
Handel's Messiah.
Composed by George
Frideric Handel. Arranged
by Mark Hayes. Choral.
Sacred Anthem, Christmas,
Epiphany, General,
Transfiguration.
Orchestral score and
parts. Lorenz Publishing
Company #30/2814L.
Published by Lorenz
Publishing Company
(LO.30-2814L).
UPC:
000308131161.
Like
the golden rays of
sunlight at dawn, we
reflect God's glory...
Inspired by the beloved
text from 2 Corinthians,
this glorious Mark Hayes
arrangement features a
flowing accompaniment
with a rainbow of
harmonic colors that
paints the marvelous
picture. Syncopation
enlivens the rhythms as
Mark's treatment of
Handel's counterpoint
sounds as if all of God's
people are rising up to
sing. Instrumentation: 2
Fl, Ob, Cl, Bsn, 2 Hn, 3
Tpt, 2 Tbn, Tuba, Elec
Bass, Timp, 2 Perc, Harp,
Pno, 2 Vln, Vla, Cello,
Bass.