| Habits of a Successful Middle School Musician - Oboe Hautbois GIA Publications
A Comprehensive Method Book for Years Two, Three, and Beyond. Edited by M...(+)
A Comprehensive Method
Book for Years Two,
Three, and Beyond.
Edited by Marguerite
Wilder. Habits of a
Successful Musician.
Music Education. Method
book. 72 pages. Published
by GIA Publications
(GI.G-9143).
$9.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| In the Bleak Midwinter (Hanson) Chorale SATB - Facile Concordia Publishing House
SATB chorus, Piano Piano (SATB) - early intermediate SKU: CR.984299 Compo...(+)
SATB chorus, Piano Piano
(SATB) - early
intermediate SKU:
CR.984299 Composed by
Brian Hanson. Choral.
With music. Concordia
Publishing House #984299.
Published by Concordia
Publishing House
(CR.984299). ISBN
9780758661807. 7 x 10.25
inches. This
familiar Christmas carol
is given an ethereal
setting by Brian L.
Hanson. Supported by a
gentle, lilting
accompaniment, the
strains of 'Still, Still,
Still' interweave in both
the accompaniment and
choral parts. Soaring
vocal lines, rich
harmonies, and
imaginative text painting
point to the wonder and
mystery of Christmas.
In the bleak
midwinter,
Frosty wind
made
moan, Earth
stood hard as
iron, Water
like a
stone; Snow
had fallen, snow on
snow, Snow
on snow, In
the bleak midwinter,
Long
ago.
Heaven cannot hold
Him, Nor
earth
sustain; Hea
v'n and earth shall flee
away When He
comes to
reign; In
the bleak midwinter,
A stable
place
sufficed The
Lord God
Almighty, Je
sus Christ.
Still, still,
still, One
can hear the falling
snow. For
all is hushed, the world
is
sleeping, Ho
ly star its vigil
keeping. Sti
ll, still,
still, One
can hear the falling
snow.
What can I give
Him, Poor as
I am? If I
were a
shepherd, I
would bring a
lamb; If I
were a Wise
Man, I would
do my
part; Yet
what I can I give
Him— W
hat can I give
Him? Give my
heart. $1.90 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Big Book Of Swing Piano, Voix et Guitare [Partition] - Intermédiaire Hal Leonard
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. Swing.
320 pages. 9x12 inches.
Published by Hal Leonard.
(2)$24.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Seven Arches Chorale SATB Stainer and Bell
SATB choir SKU: ST.CN16P Composed by Richard Bullen. ChoralNow. This PRIN...(+)
SATB choir SKU:
ST.CN16P Composed by
Richard Bullen.
ChoralNow. This PRINTED
version is available to
purchase as a regular
sheet music title for
delivery by post. Octavo.
Stainer & Bell Ltd.
#CN16P. Published by
Stainer & Bell Ltd.
(ST.CN16P). ISBN
9790220224737. As
well as traditional
genres, Richard Bullen's
music embraces several
contemporary ones
including video and
electronics, and shows a
keen interest in location
both in its formal
possibilities and in its
genius loci - its spirit
of place. A five-minute
stand-alone piece for
SATB chorus, The Seven
Arches was written for a
site-specific project at
the Dartington
International Summer
School: an invocation of
the rich cultural and
mythic past of the
celebrated gardens. In
poet Steve Willey's
multi-layered text the
remaining seven arches of
the medieval courtyard
become metaphors for this
continuing presence. Bold
arched melodies springing
from resilient,
purposeful chords
likewise animate the
music, a sonic tableau of
the sites / sights and
sounds of history. Click
video tab for the
premiere performance
conducted by David Lardi
with the Finchley Chamber
Choir, and view the full
text as presented in
Willey's intriguing
original visual
conception of his poem
about Dartington
Hall. $5.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Souvenirs Violoncelle, Piano - Intermédiaire Salabert
Cello and Piano - intermediate SKU: BT.SLB-00595900 Extrait de la musi...(+)
Cello and Piano -
intermediate SKU:
BT.SLB-00595900
Extrait de la musique
de scène pour « Le
Voyageur sans bagages
». Composed by
Francis Poulenc.
Classical. Book and
Part(s). Composed 2016. 5
pages. Editions Salabert
#SLB 00595900. Published
by Editions Salabert
(BT.SLB-00595900).
INSSTR inches.
French. A
previously unreleased
piece by Francis Poulenc,
published with permission
from the Bibliothèque
Historique de la Ville de
Paris and Benoît
Seringe, secretary of the
Association des amis
de Francis Poulenc
[Association of the
Friends ofFrancis
Poulenc]. Le Voyageur
sans bagage [The
Traveller Without
Luggage], which had been
premiered in 1937 with
music by Darius Milhaud,
was reprised on 1 April
1944 at the Thé tre de
la Michodière; Francis
Poulenc was asked to
compose new stage music.
Theentire unpublished
score lay undiscovered
until Bérengère de
l’Épine, a
librarian at the
Bibliothèque
Historique de la Ville de
Paris, announced the
existence of a manuscript
in the Association de la
Régie Thé trale
collection.Poulenc
finalised the score
between 19 and 21 March
1944. It contains nine
songs, all written for a
small instrumental
ensemble including oboe,
clarinet, cello and
piano. However, at the
end of the manuscript,
the composer echoes the
second song Lent
[Slow] and creates
another version for cello
and piano; curiously, the
original version of the
song has not been erased
in the manuscript.
Poulenc seems to suggest
that we consider the
piece for cello and
piano, that we have
publishedhere, as a
different piece of music.
It was premiered on
Wednesday 23 January 2013
by Marc Coppey,
accompanied by
Jean-François Heisser,
in the organ auditorium
of the Conservatoire
National Supérieur de
Musique et Danse de Paris
(CNSMDP), during
thesymposium for the
fiftieth anniversary of
Poulenc’s
death.Given in a dramatic
context, some elements
allow us to get an idea
of the character of the
piece, which Benoît
Seringe, Poulenc’s
beneficiary, judiciously
chose to name
Souvenirs.The main
character of
Anouilh’s play,
Gaston, is suffering from
amnesia at the end of
World War One. Several
families try to claim
him; they want him to be
their missing relative.
The Renaud family prove
to be particularly
stubborn, but Gaston
doesnot recognize himself
in the child and young
man they depict: a
ruthless and violent
person. In Act 1 Scene 3,
left alone for a moment,
overwhelmed by the story
of the “old
Gaston†that is
gradually coming to
light, and outraged by
the desire ofthose around
him to appropriate him
(to the detriment of the
person he would like to
be from now on), he
whispers these words:
“You all have
proof, photographs that
look like me, memories as
clear as day…
I’ve listened to
you all and it’s
slowlycausing a hybrid
person to rise up in me;
a person in which there
is a piece of each of
your sons and nothing of
me.†Poulenc chose
to place the second piece
from his stage music
score as these words are
spoken.He borrowed part
of the material, as he
often did, from an
earlier composition. In
this particular case, the
beginning is a recycled
version of the
“slow and
melancholicâ€
section from
L’Histoire de
Babar , composed
between 1940 and 1945,
andpremiered in 1946
(unless it is Babar
that reuses the
musical idea from
Voyageur ).The
eponymous elephant
decides to leave in
search of the great
forest. He embraces the
old lady, promises her he
will return and reassures
her that he will never
forget her. Left alone,
the old lady, feeling sad
and pensive, wonders when
she’ll seeher
friend Babar again. The
situation is similar to
that in Voyageur sans
bagage: solitude,
sadness, a distressing
and introspective time,
fear of oblivion, the
presence of
memories…
Pi
èce inédite de
Francis Poulenc,
publiée avec
l’autorisation de
la Bibliothèque
historique de la ville de
Paris et de Benoît
Seringe, secrétaire de
l’Association des
Amis de Francis
Poulenc.Le 1er avril
1944, Le Voyageur sans
bagage d’Anouilh,
qui avait été
créé en 1937 avec
de la musique de Darius
Milhaud, est repris au
Thé tre de la
Michodière. Francis
Poulenc a été
sollicité afin
d’écrire une
nouvelle musique de
scène. On ignoraittout
de cette partition
inédite,
jusqu’au jour
où Bérengère de
l’Épine,
conservateur la
Bibliothèque
historique de la ville de
Paris, nous signala
l’existence
d’un manuscrit
dans le fonds de
l’Association de
la Régie thé
trale.Poulenc mit au
point sa partition entre
le 19 et le 21 mars 1944.
Elle comprend neuf
numéros, tous
écrits pour un petit
effectif instrumental
réunissant un
hautbois, une clarinette,
un violoncelle et un
piano.Cependant, la fin
de son manuscrit, le
compositeur reprend le no
2 Lent et en donne une
seconde version, pour
violoncelle et piano.
Curieusement, la version
originale de ce numéro
n’est pas
biffée dans le
manuscrit.Poulenc semble
nous inviter
considérer comme un
morceau distinct cette
pièce pour violoncelle
et piano dont nous
proposons ici
l’édition. Elle
a été créée
par Marc Coppey,
accompagné de
Jean-François Heisser,
lors du concert donné
durant lecolloque
organisé pour le
cinquantenaire du
décès de Poulenc,
le mercredi 23 janvier
2013, salle
d’orgue du
Conservatoire National
Supérieur de Musique
et de Danse de Paris
(CNSMDP).Quelques
éléments sur le
contexte dramatique
permettront de se faire
une idée du
caractère du morceau,
que Benoît Seringe,
ayant droit Poulenc, a
judicieusement choisi
d’intituler
Souvenirs.Le personnage
principal de la pièce
d’Anouilh, Gaston,
a été retrouvé
amnésique la fin de la
Première Guerre
Mondiale. Plusieurs
familles le réclament.
On veut voir en lui un
parent disparu. Les
Renaud se montrent
particulièrement
tenaces ; maisGaston ne
parvient se
reconnaître dans
l’enfant et le
jeune homme dont on lui
trace le portrait : un
être violent et sans
scrupule. Au tableau 3 de
l’acte I, resté
seul un moment,
écrasé par
l’histoire de cet
autre lui-même
qu’il découvre
peu peu, indigné par
le désir des personnes
qui l’entourent de
le ramener elles au
détriment de celui
qu’il voudrait
être désormais, il
se murmure ces paroles :
« Vous avez tous des
preuves, des
photographies
ressemblantes, des
souvenirs précis
commedes crimes… je
vous écoute tous et je
sens surgir peu peu
derrière moi un
être hybride où il
y a un peu de chacun de
vos fils et rien de moi
»…C’est
sur ces mots que Poulenc
a choisi de placer le no
2 de sa partition de
musique de scène.Comme
il le fait souvent, il
emprunte une composition
antérieure une part de
son matériau. Dans ce
cas précis, il
réutilise pour le
début du morceau la
section « Lent et
mélancolique » de
l’Histoire de
Babar, composée entre
1940 et 1945, créée
en1946 ( moins que ce ne
soit Babar qui
réutilise
l’idée musicale
du Voyageur). Le
héros-éléphant
s’est décidé
partir pour retrouver la
grande forêt. Il a
embrassé la vieille
dame, lui a promis de
revenir, l’a
rassurée : jamais il
ne
l’oubliera.RestÃ
e seule, la vieille
dame, triste et pensive,
se demande quand elle
reverra son ami Babar. La
situation est similaire
celle du Voyageur sans
bagage : solitude,
tristesse, instantde
trouble et de retour sur
soi, crainte de
l’oubli,
présence des
souvenirs…. $11.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Christmas Ukulele Fake Book Ukulele [Fake Book] Hal Leonard
By Various. For Ukulele. Ukulele. Softcover. 416 pages. Published by Hal Leona...(+)
By Various. For Ukulele.
Ukulele. Softcover. 416
pages.
Published by Hal Leonard
$34.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Together Apart/Apart Together [Conducteur] Music Sales
Saxophone, Accordion, Double Bass SKU: HL.14033723 Composed by Karsten Fu...(+)
Saxophone, Accordion,
Double Bass SKU:
HL.14033723 Composed
by Karsten Fundal. Music
Sales America. Classical.
Score. 15 pages. Music
Sales #KP01526. Published
by Music Sales
(HL.14033723). ISBN
9788759891322.
Danish. Together
Apart/Apart Together for
Saxophone, Accordion and
Double Bass was composed
by Karsten Fundal in
2004. Written for and
commissioned by Poing.
Programme note: This
piece is the 3rd in a row
of pieces, which
concentrates on a
rhythmical relationship
that continues to puzzle
me. It is actually two
relationships embedded.
The 1st is a pattern that
is very inspired by the
composer Per Norgard, who
in the beginning of the
90's got very preoccupied
with the idea that you
can have rhythms that
never meet. This happens
if you start a rhythm,
like a quintuplet, on the
beat and one, like a
triplet, off beat. This
can, with different
rhythms, give very
intricate interwoven
patterns, that gives the
illusion that they are
not cyclic. In my case I
use the two ratio five to
seven, in the described
way. This rythms have the
strange property that if
you take each 5th note of
the seven and each 7 note
of the five you get a
ratio almost identical:
49:50. This is very
intriguing, as you can
use the possibility of
letting them be equal or
the possibility of
letting them interfere.
In the first case you get
an interlocking rhythm
which is smooth: an equal
rhythmic pattern. In the
second case you get a
similar situation, but
where one of them is one
short after 50 of the
other ones, which results
in a disturbing almost
equality, but not quite.
Therefore the title:
because when I use the
unequal rhythm I put the
two layers in a similar
tone register, or a
similar way of playing,
and when I use the equal
one I put them a part
tone wise speaking. This
is a very technical
description, but it is
very hard to put it in
more wide terms, but you
might compare it with
driving in a train and
looking at two fence rows
behind each other: if the
poles are placed exactly
halfway between each
other you will experience
an illusion of a fast
jump if there is enough
distance between them, as
a result of the
perspective. If they are
placed in a way that
there are almost the same
numbers of poles, like
49:50, you will
experience a very complex
pattern, which seems
unpredictable. But of
course when using it in
music the whole thing is
somewhat different, but
even then it gives an
idea of my preoccupation.
What also intrigues me is
that the relations are
very hard to use in a
musical way, and that is
also quire a challenge.'
Finally I have to say
that I enjoyed very much
writing for Poing, as
these crazy guys are
capable of doing almost
anything you want in an
nearly literal sense. -
Karsten Fundal summer
2004. $14.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Arion and the Dolphin (Vocal Score) Peters
Choir Secular Countertenor Solo - Children's Chorus - SATB choir- 2 piano - perc...(+)
Choir Secular
Countertenor Solo -
Children's Chorus - SATB
choir- 2 piano -
percussion SKU:
PE.EP72698A
Cantata for Solo
Countertenor, Children's
Chorus, Adult Mixed
Chorus, Two Pianos and
Percussion. Composed
by Jonathan Dove. Choral
Works (inc. Oratorios).
Edition Peters. Book. 92
pages. Duration 00:25:00.
Edition Peters
#98-EP72698A. Published
by Edition Peters
(PE.EP72698A). ISBN
9790577010519. 210 x
297mm inches.
English. Commiss
ioned by Making Music
with funds from the
Nicholas Berwin
Charitable
Foundation First
performance: 12th March
2016, Waltham Singers,
conducted by Andrew
Fardell, King Edward's
Grammar School,
Chelmsford. Mus
ic runs through the story
of Arion, which begins
with a singing
competition in Sicily.
Arion wins the prize, and
this puts his life in
danger: his newfound
wealth excites the Greed
of the sailors who are
supposed to be bringing
him back to Corinth, and
they threaten to kill
him. They allow
Arion to sing one last
song, and the power of
his singing attracts
dolphins to the ship.
At The End of his
song, he jumps overboard,
and one of the dolphins
carries him to safety.
So Arion’s
musical gift gets him
into trouble, but it is
also his
salvation. The idea of
being rescued by a
music-loving dolphin is
very appealing. In
Robert Graves’
account of the myth, the
dolphin could not bear to
be parted from Arion, and
accompanied him back to
court, where “it
soon succumbed to a life
of luxury.”
However, Herodotus
says that, after his
rescue and return to
Corinth, Arion failed to
return the dolphin to the
sea, and it died there.
Apollo placed the
dolphin among the stars,
and next to it,
Arion’s lyre, in
recognition of his
musical skill. This
is one of the mythical
explanations of the
origins of the
constellations Delphinus
and
Lyra. It
seems natural to sing a
story that has singing at
its heart. When I
was asked by the Nicholas
Berwin Charitable Trust
to write a choral work
for Making Music,
something that would be
within reach of many
choirs, and involve
children, this story
struck me as ideal: the
men of the chorus could
be the bloodthirsty
sailors, and the women
could create an
atmosphere of mystery for
the arrival of the
dolphins, represented by
children’s voices.
There would be one
solo voice: Arion, the
marvellous singer.
Andrew Fardell, the
conductor who was advisor
to this commission, had
suggested that I might
use the same
instrumentation as a
popular arrangement of
Orff’s Carmina
Burana, a work that, as
well as using
children’s chorus,
features a solo
countertenor. I
thought the magical,
otherworldly quality of
this voice would help to
convey the extraordinary
effect Arion’s
singing had on all who
heard
it. - Jonathan
Dove $18.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Church Soloist
Piano seul [Partition] Hope Publishing Company
| | |
| A Place at the Table GIA Publications
| | |
| A Place at the Table - Guitar Edition Guitare [Partie séparée] GIA Publications
By Lori True. For Guitar. Sacred. Guitar Part. 4 pages. Published by GIA Publica...(+)
By Lori True. For Guitar.
Sacred. Guitar Part. 4
pages. Published by GIA
Publications
$6.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Junior DrummerAEs Bible Batterie [Partition + CD] - Débutant Mel Bay
Composed by John Trotter. Featured Products, Wire bound. Method. Book/CD set...(+)
Composed by John Trotter.
Featured Products, Wire
bound. Method. Book/CD
set.
282 pages. Mel Bay
Publications, Inc
#610506E.
Published by Mel Bay
Publications, Inc
$26.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Rain Shadow Piano Quatuor: piano, violon, alto, violoncelle [Conducteur] Theodore Presser Co.
Chamber Music Violin, Viola, cello, Piano SKU: PR.14440587S Composed by S...(+)
Chamber Music Violin,
Viola, cello, Piano
SKU: PR.14440587S
Composed by Steven
Stucky. Premiered by Opus
One, Music from Angel
Fire, NM. Contemporary.
Score. With Standard
notation. Composed 2012.
44 pages. Duration 12
minutes. Theodore Presser
Company #144-40587S.
Published by Theodore
Presser Company
(PR.14440587S). UPC:
680160616497. 9x12
inches. As
composer-in-residence at
the Music from Angel Fire
festival in New Mexico,
Stucky was commissioned
for a new chamber work,
Rain Shadow, written for
Opus One. For
inspiration, Stucky
looked to the incredible
works of Scottish
sculptor Andy
Goldsworthy. Much of the
piece underscores
contrasts between the
piano and the violin,
viola, and cello, with
the strings working
largely as a unit,
frequently intoning their
unpredictable harmonies
in homophonic rhythms...
Rain Shadow is big on
clarity, easy to follow,
and attractive to the
ear, even letting loose
(near the end) a big ol'
Romantic theme that
wouldn't be out of place
in a cinematic epic set
in outer space. (James M.
Keller, Listen Up, Santa
Fe New Mexican). $32.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| How Should A King Come? Chorale SATB PraiseGathering
Choral (SATB) SKU: HL.2050312 Praise Gathering Choral. Christmas. Softcov...(+)
Choral (SATB) SKU:
HL.2050312 Praise
Gathering Choral.
Christmas. Softcover. 136
pages. Duration 2460
seconds. PraiseGathering
#A08464. Published by
PraiseGathering
(HL.2050312). UPC:
797242384196.
6.75x10.5x0.314
inches. The angel's
message was clear, a
Savior had been born! And
this, they said, is how
we will know Him. We will
find Him wrapped in
cloths, lying in a
manger. The Messiah
born--in a manger! The
coming King in a cattle
stall!Yes, the truth of
it resonated, tonight the
commonplace would rest
with the miraculous. A
dimly lit stable housed
an infant King, a
helpless Baby with the
lineage of a Lion.This
King was like no other
king to ever rule the
earth.But the great
mystery before us? What
kind of King and how
would this King come? $14.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Singer's Musical Theatre Anthology: Baritone/Bass - 16-bar Audition - Revised (Replaces 00230042) Voix Baryton, Piano Hal Leonard
Edited by Richard Walters. Vocal Collection. Softcover. 192 pages. Published by ...(+)
Edited by Richard
Walters. Vocal
Collection. Softcover.
192 pages. Published by
Hal Leonard (HL.260627).
$24.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
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