By Franz Joseph Haydn (1732-1809). For woodwind quartet (Fl-EbClar / Oboe-Bb Clar / Bb Clar-Eb Alto Clar-A.Sax / Bassoon-Bass Clar-T. Sax). Chamber Music. Grade 2-3. Set of parts. Published by Tierolff Muziekcentrale

Clarinet

SKU: BT.HITPCPTCLARAMA01

Composed by Emilien Véret, Adrien Boulanger. Book with CD. Composed 2017. Hit Diffusion #HITPCPTCLARAMA01. Published by Hit Diffusion (BT.HITPCPTCLARAMA01).

Le Petit Clarinettorama est un répertoire de morceaux pour clarinettistes débutants, permettant de jouer aussi bien du classique que des musiques de films ou de la variété et du traditionnel. Chaque morceau est le fruit d’un travail d’arrangement,prà ©cis, adapté l’instrument et au niveau de l’élève. Ce volume, progressif, présente un niveau de difficulté très faible et aisément accessible pour l’élève. La mise en page, en couleur et très aérée, assure une grande lisibilité.Le CD accompagnant l’ouvrage, de qualité supérieure, a été enregistré par Emilien Véret et Adrien Boulanger, clarinettistes de talent. Cet enregistrement donnera un exemple et un plaisir musical de choix tous les apprentis violoncellistes, ainsiqu’ tous les mélomanes.Avec CD, et parties piano sur cahier séparé (inclus).

40 Hits from the '90s to Now (Piano/Vocal). Composed by various composers and arrangers. This edition: Piano/Vocal/Guitar. Book; P/V/C Mixed Folio; Piano/Vocal/Chords. Best Top 40 Songs. Pop. 248 pages. Published by Alfred Music

(Performance Score). Composed by Various. Arranged by Peter Hoch. For Clarinet, Percussion (Score). Klarinetten-Bibliothek (Clarinet Library). Playing score. 40 pages. Schott Music #KLB20. Published by Schott Music

Choral TBB chorus

SKU: CF.CM9588

Composed by Tomas Luis de Victoria. Arranged by Jeb Mueller. Fold. Performance Score. 8 pages. Duration 1 minute, 59 seconds. Carl Fischer Music #CM9588. Published by Carl Fischer Music (CF.CM9588).

ISBN 9781491154106. UPC: 680160912605. 6.875 x 10.5 inches. Key: Eb major. Latin. Traditional Latin.

Tomas Luis de Victoria (15481611) is widely considered the greatest Spanish Renaissance composer and one of the most influential musicians of his time. Included in his oeuvre are two settings of the Pange lingua, both produced in 1581. This motet is excerpted from the first of those and incorporates the original Roman melody, or cantus firmus. (He composed his second Pange lingua based on a Spanish melody.) The baritones anchor the motet by singing the tune in augmentation. This line should be intoned with a flowing, legato articulation that incorporates subtle phrasing and text stresses. The more rhythmic tenor and bass lines complement the melody and illustrate the hopeful nature of its text. Singing this piece with two pulses per measure will encourage a steady and vital performance. Composers provided minimal performance details in their scores during this period in music history, so I added a time signature, bar lines, dynamics, and metronome markings in order to facilitate performances that musicologists believe mimic those of Victorias time. It should be noted that dynamics are largely subjective, so performers may make alternative choices. Each tenuto indicates word stress; the most musical performances will incorporate gentle crescendos and decrescendos before and after each of them. Lastly, using minimal vibrato, especially at cadences, will imbue this wonderful motet with style and clarity. PRONUNCIATION GUIDE Victoria received much of his training in Italy, therefore making Italianate Latin most appropriate. Pure vowels are critical to correct pronunciation, and those phonemes remain constant without exceptions. The most problematic of the vowels is o, which sounds similar to the English words bought and got. The letter t should be produced dentally: lift the tongue to the top of the mouth as in English, but aspirate less on the release. All occurrences of s should be soft and never hardened to [z], such as in praise. Verbum caro, panem verum, [v??bum k??? p?n?m v?rum] verbo carnem efficit: fitque sanguis Christi merum. [v??b? k??n?m ??fit?it fitkw? s??gwis k?isti m??um] Et si sensus deficit, ad firmandum cor sin cerum. [?t si s?nsus ?d?fit?it, ?d fi??m?ndum k?? sin t???um] Jeb Mueller.
TomA!s Luis de Victoria (1548a1611) is widely considered the greatest Spanish Renaissance composer and one of the most influential musicians of his time. Included in his oeuvre are two settings of the Pange lingua, both produced in 1581. This motet is excerpted from the first of those and incorporates the original Roman melody, or cantus firmus. (He composed his second Pange lingua based on a Spanish melody.) The baritones anchor the motet by singing the tune in augmentation. This line should be intoned with a flowing, legato articulation that incorporates subtle phrasing and text stresses. The more rhythmic tenor and bass lines complement the melody and illustrate the hopeful nature of its text. Singing this piece with two pulses per measure will encourage a steady and vital performance. Composers provided minimal performance details in their scores during this period in music history, so I added a time signature, bar lines, dynamics, and metronome markings in order to facilitate performances that musicologists believe mimic those of Victoriaas time. It should be noted that dynamics are largely subjective, so performers may make alternative choices. Each tenuto indicates word stress; the most musical performances will incorporate gentle crescendos and decrescendos before and after each of them. Lastly, using minimal vibrato, especially at cadences, will imbue this wonderful motet with style and clarity. PRONUNCIATION GUIDE Victoria received much of his training in Italy, therefore making Italianate Latin most appropriate. Pure vowels are critical to correct pronunciation, and those phonemes remain constant without exceptions. The most problematic of the vowels is ao,a which sounds similar to the English words bought and got. The letter ata should be produced dentally: lift the tongue to the top of the mouth as in English, but aspirate less on the release. All occurrences of asa should be soft and never hardened to [z], such as in praise. Verbum caro, panem verum, [vEE 3/4 bum kEE 3/4 E pEnEm vErum] verbo carnem efficit: fitque sanguis Christi merum. [vEE 3/4 bE kEE 3/4 nEm EEfitEit fitkwE sEAgwis kE 3/4 isti mEE 3/4 um] Et si sensus deficit, ad firmandum cor sin cerum. [Et si sEnsus EdEfitEit, Ed fiE 3/4 EmEndum kEE 3/4 sin tEEE 3/4 um] Jeb Mueller.
Tomas Luis de Victoria (1548-1611) is widely considered the greatest Spanish Renaissance composer and one of the most influential musicians of his time. Included in his oeuvre are two settings of the Pange lingua, both produced in 1581. This motet is excerpted from the first of those and incorporates the original Roman melody, or cantus firmus. (He composed his second Pange lingua based on a Spanish melody.) The baritones anchor the motet by singing the tune in augmentation. This line should be intoned with a flowing, legato articulation that incorporates subtle phrasing and text stresses. The more rhythmic tenor and bass lines complement the melody and illustrate the hopeful nature of its text. Singing this piece with two pulses per measure will encourage a steady and vital performance. Composers provided minimal performance details in their scores during this period in music history, so I added a time signature, bar lines, dynamics, and metronome markings in order to facilitate performances that musicologists believe mimic those of Victoria's time. It should be noted that dynamics are largely subjective, so performers may make alternative choices. Each tenuto indicates word stress; the most musical performances will incorporate gentle crescendos and decrescendos before and after each of them. Lastly, using minimal vibrato, especially at cadences, will imbue this wonderful motet with style and clarity. PRONUNCIATION GUIDE Victoria received much of his training in Italy, therefore making Italianate Latin most appropriate. Pure vowels are critical to correct pronunciation, and those phonemes remain constant without exceptions. The most problematic of the vowels is o, which sounds similar to the English words bought and got. The letter t should be produced dentally: lift the tongue to the top of the mouth as in English, but aspirate less on the release. All occurrences of s should be soft and never hardened to [z], such as in praise. Verbum caro, panem verum, [verbum karo panem verum] verbo carnem efficit: fitque sanguis Christi merum. [verbo karnem 'efitSit fitkwe saNGgwis kristi merum] Et si sensus deficit, ad firmandum cor sin cerum. [et si sensus 'defitSit, ad fir'mandum kor sin tSerum] Jeb Mueller.
Tomas Luis de Victoria (1548-1611) is widely considered the greatest Spanish Renaissance composer and one of the most influential musicians of his time. Included in his oeuvre are two settings of the Pange lingua, both produced in 1581. This motet is excerpted from the first of those and incorporates the original Roman melody, or cantus firmus. (He composed his second Pange lingua based on a Spanish melody.) The baritones anchor the motet by singing the tune in augmentation. This line should be intoned with a flowing, legato articulation that incorporates subtle phrasing and text stresses. The more rhythmic tenor and bass lines complement the melody and illustrate the hopeful nature of its text. Singing this piece with two pulses per measure will encourage a steady and vital performance. Composers provided minimal performance details in their scores during this period in music history, so I added a time signature, bar lines, dynamics, and metronome markings in order to facilitate performances that musicologists believe mimic those of Victoria's time. It should be noted that dynamics are largely subjective, so performers may make alternative choices. Each tenuto indicates word stress; the most musical performances will incorporate gentle crescendos and decrescendos before and after each of them. Lastly, using minimal vibrato, especially at cadences, will imbue this wonderful motet with style and clarity. PRONUNCIATION GUIDE Victoria received much of his training in Italy, therefore making Italianate Latin most appropriate. Pure vowels are critical to correct pronunciation, and those phonemes remain constant without exceptions. The most problematic of the vowels is o, which sounds similar to the English words bought and got. The letter t should be produced dentally: lift the tongue to the top of the mouth as in English, but aspirate less on the release. All occurrences of s should be soft and never hardened to [z], such as in praise. Verbum caro, panem verum, [verbum karo panem verum] verbo carnem efficit: fitque sanguis Christi merum. [verbo karnem 'efitSit fitkwe saNGgwis kristi merum] Et si sensus deficit, ad firmandum cor sin cerum. [et si sensus 'defitSit, ad fir'mandum kor sin tSerum] Jeb Mueller.
Tomas Luis de Victoria (1548-1611) is widely considered the greatest Spanish Renaissance composer and one of the most influential musicians of his time. Included in his oeuvre are two settings of the Pange lingua, both produced in 1581. This motet is excerpted from Pange lingua more hisapano. The baritones anchor the motet by singing the tune in augmentation. This line should be intoned with a flowing, legato articulation that incorporates subtle phrasing and text stresses. The more rhythmic tenor and bass lines complement the melody and illustrate the hopeful nature of its text. Singing this piece with two pulses per measure will encourage a steady and vital performance. Composers provided minimal performance details in their scores during this period in music history, so I added a time signature, bar lines, dynamics, and metronome markings in order to facilitate performances that musicologists believe mimic those of Victoria's time. It should be noted that dynamics are largely subjective, so performers may make alternative choices. Each tenuto indicates word stress; the most musical performances will incorporate gentle crescendos and decrescendos before and after each of them. Lastly, using minimal vibrato, especially at cadences, will imbue this wonderful motet with style and clarity. PRONUNCIATION GUIDE Victoria received much of his training in Italy, therefore making Italianate Latin most appropriate. Pure vowels are critical to correct pronunciation, and those phonemes remain constant without exceptions. The most problematic of the vowels is o, which sounds similar to the English words bought and got. The letter t should be produced dentally: lift the tongue to the top of the mouth as in English, but aspirate less on the release. All occurrences of s should be soft and never hardened to [z], such as in praise. Verbum caro, panem verum, [verbum karo panem verum] verbo carnem efficit: fitque sanguis Christi merum. [verbo karnem 'efitSit fitkwe saNGgwis kristi merum] Et si sensus deficit, ad firmandum cor sin cerum. [et si sensus 'defitSit, ad fir'mandum kor sin tSerum] Jeb Mueller.
Tomás Luis de Victoria (1548–1611) is widely considered the greatest Spanish Renaissance composer and one of the most influential musicians of his time. Included in his oeuvre are two settings of the Pange lingua, both produced in 1581. This motet is excerpted from Pange lingua more hisapano.The baritones anchor the motet by singing the tune in augmentation. This line should be intoned with a flowing, legato articulation that incorporates subtle phrasing and text stresses. The more rhythmic tenor and bass lines complement the melody and illustrate the hopeful nature of its text. Singing this piece with two pulses per measure will encourage a steady and vital performance.Composers provided minimal performance details in their scores during this period in music history, so I added a time signature, bar lines, dynamics, and metronome markings in order to facilitate performances that musicologists believe mimic those of Victoria’s time. It should be noted that dynamics are largely subjective, so performers may make alternative choices. Each tenuto indicates word stress; the most musical performances will incorporate gentle crescendos and decrescendos before and after each of them. Lastly, using minimal vibrato, especially at cadences, will imbue this wonderful motet with style and clarity.PRONUNCIATION GUIDEVictoria received much of his training in Italy, therefore making Italianate Latin most appropriate. Pure vowels are critical to correct pronunciation, and those phonemes remain constant without exceptions. The most problematic of the vowels is “o,” which sounds similar to the English words bought and got. The letter “t” should be produced dentally: lift the tongue to the top of the mouth as in English, but aspirate less on the release. All occurrences of “s” should be soft and never hardened to [z], such as in praise.Verbum caro, panem verum,[vɛɾbum kɑɾɔ pɑnɛm vɛrum]verbo carnem efficit: fitque sanguis Christi merum.[vɛɾbɔ kɑɾnɛm ˈɛfitʃit fitkwɛ sɑŋgwis kɾisti mɛɾum]Et si sensus deficit, ad firmandum cor sin cerum.[ɛt si sɛnsus ˈdɛfitʃit, ɑd fiɾˈmɑndum kɔɾ sin tʃɛɾum]Jeb Mueller.

(The Biggest Hits * The Greatest Artists (Piano/Vocal/Guitar)). For Guitar; Keyboard; Piano; Voice. This edition: Piano/Vocal/Guitar; Deluxe Annual. Book; P/V/C Mixed Folio; Piano/Vocal/Chords. Greatest Hits. Pop; Rock. 224 pages. Published by Hal Leonard

By Bob Chilcott. For Chorus, chamber choir, children's choir or large divisi chorus and orchestra and organ/brass ensemble and organ (Orchestra: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 3 trumpets, 2 trombones, tuba, timpani, 2 percussion, organ (optional), strings, Brass: 4 trumpets, 2 horns (in F or Eb), 2 trombones (bass clef in C or treble clef in Bb), bass trombones, t). Mixed Voices. Contemporary, Choral Works. Vocal score. 104 pages. Duration 50'. Published by Oxford University Press

Guitar - Grade 2

SKU: BT.MUSMS0358

Composed by Diego Portillo. Tuition. Book with CD. Composed 2017. Play Music Spain #MUSMS0358. Published by Play Music Spain (BT.MUSMS0358).

Spanish.

Apre nder las escalas, los arpegios, los clichés de los mejores músicos... es una cosa, pero crear un solo a la vez coherente, musical, interesante, vibrante y atractivo, respetando el contexto en el cual se toca,es otra cosa.

Y ésta es la meta que nuestro método quiere hacerle alcanzar. Aquí no se trata de aprender las herramientas melódicas de las que uno dispone (sobran los métodos sobre eltema), sino de la elaboración en sí de unos hermosos solos de guitarra.

La metodología que hemos adoptado es sencilla, lúdica y progresiva. El estudiante encontrará no menos de 14playbackscompletos (de 4, 8 y 12 medidas), con, para cada uno, 4 solos diferentes y de dificultad progresiva (o sea 56 solos en total). En realidad se trata siempre de la misma base que está desarrollada melódicamente,rítmicame nte y técnicamente a lo largo de la progresión.

Dicho de manera más clara, el primer solo es básico, al alcance de todos, mientras que el último es más complejo.Pero, que quede claro, el verdadero solo no es solamente el último: a cada etapa corresponde un verdadero solo digno de ese nombre.

En el disco de datos incluido en el método (audios mp3 y vídeos mp4)encontrará para los 56 solos presentados en el método, la demostración en vídeo, a velocidad normal y luego más lenta, y también los múltiples playbacks correspondientes, enversión ?larga duración?, para que le dé tiempo a expresarse en ellos.

The Group Singing Songbook. By Various. Vocal. Size 9.5x12 inches. 281 pages. Published by Hal Leonard.

Arranged by Peter Blood, Annie Patterson. Vocal. Size 7.5x10.5 inches. 283 pages. Published by Hal Leonard.

Bb Edition. Fake Book (Includes melody line and chords). Size 9x12 inches. 864 pages. Published by Hal Leonard.

Fakebook for Eb instrument. With vocal melody, lyrics and chord names. Series: Hal Leonard Fake Books. 864 pages. Published by Hal Leonard.

Over 400 Songs to Strum and Sing. Composed by Various. Ukulele. Folk, Standards. Softcover. 632 pages. Published by Hal Leonard

Over 400 Songs to Strum and Sing. By Various. Ukulele. Pop. Softcover. 632 pages. Published by Hal Leonard

Concert Band/Harmonie - Grade 4

SKU: BT.AMP-392-010

Composed by Philip Sparke. Anglo Music Midway Series. Set (Score & Parts). Composed 2014. Anglo Music Press #AMP 392-010. Published by Anglo Music Press (BT.AMP-392-010).

English-German-French- Dutch.

The work opens with a stern fanfare in bare fifths, which leads to a cantabile theme introduced by alto saxophone. This builds to a climax and reintroduces the fanfare, which slowly evolves into the subsequent vivo. A perky tune emerges on flute, saxophone and trumpet, which, after a short bridge passage, leads to a contrasting melody on low clarinets and saxophones. After some development a true ‘second subject’ appears for the whole band. A recapitulation leads briefly back to the opening fanfare before the vivo returns to close the work in celebratory mood.

Het werk begint met een sobere fanfare in open kwinten, gevolgd door een zangerig thema dat wordt ge ntroduceerd door de altsaxofoon. Dit thema groeit uit tot een climax en leidt opnieuw de fanfare in, die zich langzaam ontwikkelt tot het daaropvolgende vivo. Er verschijnt een opgewekte melodie in de fluit, saxofoon en trompet, die na een korte overgangspassage uitmondt in een contrasterende melodie in de lage klarinetten en saxofoons. Na een verdere uitwerking openbaart zich een tweede thema voor het complete orkest. Een herneming voert ons even weer mee naar de openingsfanfare, voordat het vivo terugkeert en het werk in feestelijke stemming afsluit.

Nach einer ernsten Fanfare in bloßen Quinten, die zu einem Thema in cantabile im Altsaxophon führt, taucht eine kecke Melodie in Flöte, Saxophon und Trompete auf, die nach einer kurzen Überleitung zu einer kontrastierenden Melodie in den tiefen Klarinetten und Saxophonen wird. Ein zweites Thema“ spielt das gesamte Blasorchester. Bevor ein Vivo aus dem Anfangsteil Southend Celebration beendet, werden längst alle Musiker und Zuhörer von der festlichen Stimmung, die es verbreitet, infiziert sein!

L’� ��uvre s’ouvre avec une fanfare de nature sérieuse en quintes qui mène un thème cantabile introduit par les saxophones alto. La musique s’amplifie pour atteindre un certain climax et réintroduire la fanfare, qui évolue progressivement vers un vivo. Fl tes, saxophones et trompettes introduisent un air guilleret qui, après un court passage de transition, aboutit une mélodie contrastée dans le registre grave des clarinettes et saxophones. Après un développement, un véritable second sujet apparaît pour l’orchestre entier. Une récapitulation mène une brève réapparition de la fanfare d’ouverture avant le retour du vivo, qui achève la pièce dans une ambiance de fête.

Il lavoro si apre con un’austera fanfara con quinte vuote, che porta a un tema cantabile introdotto da un saxofono contralto. Si arriva a un culmine e si introduce nuovamente la fanfara, che lentamente evolve nel ‘vivo’ successivo. Un tema vivace emerge dal flauto, dal sassofono e dalla tromba, e dopo un breve passaggio di transizione, porta a una melodia contrastante, dei clarinetti bassi e dei sassofoni. Dopo qualche sviluppo un vero ‘secondo soggetto’ sorge dall’intera banda. Una ripresa porta brevemente indietro alla fanfara, prima che il ‘vivo’ ritorni per chiudere il lavoro in modo celebrativo.

Concert Band/Harmonie - Grade 4

SKU: BT.AMP-392-140

Composed by Philip Sparke. Anglo Music Midway Series. Score Only. Composed 2014. Anglo Music Press #AMP 392-140. Published by Anglo Music Press (BT.AMP-392-140).

English-German-French- Dutch.

The work opens with a stern fanfare in bare fifths, which leads to a cantabile theme introduced by alto saxophone. This builds to a climax and reintroduces the fanfare, which slowly evolves into the subsequent vivo. A perky tune emerges on flute, saxophone and trumpet, which, after a short bridge passage, leads to a contrasting melody on low clarinets and saxophones. After some development a true ‘second subject’ appears for the whole band. A recapitulation leads briefly back to the opening fanfare before the vivo returns to close the work in celebratory mood.

Het werk begint met een sobere fanfare in open kwinten, gevolgd door een zangerig thema dat wordt ge ntroduceerd door de altsaxofoon. Dit thema groeit uit tot een climax en leidt opnieuw de fanfare in, die zich langzaam ontwikkelt tot het daaropvolgende vivo. Er verschijnt een opgewekte melodie in de fluit, saxofoon en trompet, die na een korte overgangspassage uitmondt in een contrasterende melodie in de lage klarinetten en saxofoons. Na een verdere uitwerking openbaart zich een tweede thema voor het complete orkest. Een herneming voert ons even weer mee naar de openingsfanfare, voordat het vivo terugkeert en het werk in feestelijke stemming afsluit.

Nach einer ernsten Fanfare in bloßen Quinten, die zu einem Thema in cantabile im Altsaxophon führt, taucht eine kecke Melodie in Flöte, Saxophon und Trompete auf, die nach einer kurzen Überleitung zu einer kontrastierenden Melodie in den tiefen Klarinetten und Saxophonen wird. Ein zweites Thema“ spielt das gesamte Blasorchester. Bevor ein Vivo aus dem Anfangsteil Southend Celebration beendet, werden längst alle Musiker und Zuhörer von der festlichen Stimmung, die es verbreitet, infiziert sein!

L’� ��uvre s’ouvre avec une fanfare de nature sérieuse en quintes qui mène un thème cantabile introduit par les saxophones alto. La musique s’amplifie pour atteindre un certain climax et réintroduire la fanfare, qui évolue progressivement vers un vivo. Fl tes, saxophones et trompettes introduisent un air guilleret qui, après un court passage de transition, aboutit une mélodie contrastée dans le registre grave des clarinettes et saxophones. Après un développement, un véritable second sujet apparaît pour l’orchestre entier. Une récapitulation mène une brève réapparition de la fanfare d’ouverture avant le retour du vivo, qui achève la pièce dans une ambiance de fête.

Il lavoro si apre con un’austera fanfara con quinte vuote, che porta a un tema cantabile introdotto da un saxofono contralto. Si arriva a un culmine e si introduce nuovamente la fanfara, che lentamente evolve nel ‘vivo’ successivo. Un tema vivace emerge dal flauto, dal sassofono e dalla tromba, e dopo un breve passaggio di transizione, porta a una melodia contrastante, dei clarinetti bassi e dei sassofoni. Dopo qualche sviluppo un vero ‘secondo soggetto’ sorge dall’intera banda. Una ripresa porta brevemente indietro alla fanfara, prima che il ‘vivo’ ritorni per chiudere il lavoro in modo celebrativo.

Written by Mark Levine. Instructional book (spiral bound). With instructional text, musical examples and black and white photos. 522 pages. Published by Sher Music Company.

By Mark Nelson. For Dulcimer (Mountain). Solos. Old Time. Level: Beginning. Book. Size 8.75x11.75. 232 pages. Published by Mel Bay Publications, Inc.