C Instruments. By Various. Fake Book (Includes melody line and chords). Published by Hal Leonard.

(Bass Clef Instruments, Mini Edition). Composed by Various. For Bass Clef Instruments. Fake Book. Softcover. 464 pages. Published by Hal Leonard

(E-Flat Instruments, Mini Edition). Composed by Various. For E-flat Instruments. Fake Book. Softcover. 464 pages. Published by Hal Leonard

C Instruments Play-Along Edition. Composed by Various. Real Book Play- Along. Softcover Audio Online. 464 pages. Published by Hal Leonard

Arranged by Jack Grassel. Composed by Various. Arranged by Jack Grassel. Fake Book. Jazz. Softcover. 456 pages. Published by Hal Leonard

Fake Book (Includes melody line and chords). Size 8.5x11 inches. 462 pages. Published by Hal Leonard.

Eb Instruments - Difficulty: easy-medium to medium Sixth Edition. Composed by Various. Hal Leonard Instrumental Fake Books. Jazz. Fakebook (spiral bound). With melody, standard notation and chord names. 428 pages. Published by Hal Leonar

(Sixth Edition) For C instrument. Format: fakebook (spiral bound). With melody, standard notation and chord names. Jazz. Series: Hal Leonard Instrumental Fake Books. 512 pages. 8.5x11 inches. Published by Hal Leonard.

(Sixth Edition) Fakebook (spiral bound) for bass clef instrument. With melody, standard notation and chord names. Series: Hal Leonard Instrumental Fake Books. 462 pages. Published by Hal Leonard.

(Mezzo-Soprano/Belter Edition). By Various. Edited by Richard Walters. Vocal Collection. 184 pages. Published by Hal Leonard

Concert Band/Harmonie - Grade 2.5

SKU: BT.CMP-0189-98-010

Composed by Wolfgang Amadeus Mozart. Arranged by Douglas Court. Passport Plus Series. Set (Score & Parts). Composed 1998. Curnow Music #CMP 0189-98-010. Published by Curnow Music (BT.CMP-0189-98-010).

It has been said that the magic of Mozart’s music lies in its ability to truly and purely express the inner self. This delightful Grade 21/2 adaptation of a well-known theme from The Magic Flute will help your young musicians gain a deeper understanding of Mozart and the amazing gift that made him the incomparable master of flawless composition. In addition, your musicians will discover that Mozart is FUN! Douglas Court uses creative variations to skillfully bring this delightful music to your concert band stage with remarkable authenticity. A great one to program for “the Mozart year!”

< I>The Magical Mozart van Douglas Court is een verzameling van eenvoudige variaties op een alom bekend thema uit de prachtige opera Die Zauberflöte van Wolfgang Amadeus Mozart. Breng met The Magical Mozart een vleugjemagie van een van de grootste componisten aller tijden in uw volgende concert.

In The Magical Mozart verarbeitete der amerikanische Komponist Douglas Court ein bekanntes Thema aus der Oper Die Zauberflöte. Diese Melodie wurde über die Jahre hinweg schon mit verschiedenen Texten in sakralen Hymnen verwendet. Douglas Courts einfache, aber ansprechende Bearbeitung für Blasorchester ist ein wunderbarer Einstieg für Musiker und Publikum in die zauberhafte Musik des großen Meisters.

Concert Band - Grade 2.5

SKU: BT.CMP-0189-98-040

Composed by Wolfgang Amadeus Mozart. Arranged by Douglas Court. Passport Plus Series. Set (Score & Parts). Composed 1998. Curnow Music #CMP 0189-98-040. Published by Curnow Music (BT.CMP-0189-98-040).

It has been said that the magic of Mozart’s music lies in its ability to truly and purely express the inner self. This delightful Grade 21/2 adaptation of a well-known theme from The Magic Flute will help your young musicians gain a deeper understanding of Mozart and the amazing gift that made him the incomparable master of flawless composition. In addition, your musicians will discover that Mozart is FUN! Douglas Court uses creative variations to skillfully bring this delightful music to your concert band stage with remarkable authenticity. A great one to program for “the Mozart year!”

< I>The Magical Mozart van Douglas Court is een verzameling van eenvoudige variaties op een alom bekend thema uit de prachtige opera Die Zauberflöte van Wolfgang Amadeus Mozart. Breng met The Magical Mozart een vleugjemagie van een van de grootste componisten aller tijden in uw volgende concert.

In The Magical Mozart verarbeitete der amerikanische Komponist Douglas Court ein bekanntes Thema aus der Oper Die Zauberflöte. Diese Melodie wurde über die Jahre hinweg schon mit verschiedenen Texten in sakralen Hymnen verwendet. Douglas Courts einfache, aber ansprechende Bearbeitung für Blasorchester ist ein wunderbarer Einstieg für Musiker und Publikum in die zauberhafte Musik des großen Meisters.

300 Songs. Composed by Various. Mandolin. Softcover. 456 pages. Published by Hal Leonard

Volume 108 - Joe Henderson "Inner Urge" by Joe Henderson. Edited by Jamey Aebersold. For any C, Eb, Bb, bass instrument or voice. Play-Along series with accompaniment CD. Jamey Aebersold Play-A-Long series. Intermediate, advanced. Book and CD. 68 pages. Published by Jamey Aebersold Jazz

By John Fullam, clarinet; Buffalo Philharmonic Orchestra; The Amberg Chamber Ensemble. By Persis Parshall Vehar (1937-). For clarinet & ensemble. Mark Masters. Audio CD. Duration 73:26. Published by Mark Custom Music

SSATB chorus, piano - Grade 3

SKU: CA.928200

Composed by Henri Duparc. Arranged by Denis Rouger. Carus digital: Notenausgabe als PDF. Full Score. Composed 1880. Duration 5 minutes. Carus Verlag #928200. Published by Carus Verlag (CA.928200).

ISBN 9790007300869. Key: C minor / c major. French. Text: Baudelaire, Charles.

Sounds, colors and scents can conjure up places of longing. During the Romantic period, the desire to travel and see other places was seen as an expression of some inner state of mind. In L'invitation au voyage, the boundaries between what is real and imaginary seem to dissolve in the lyrical perception of a journey to the inner self: There we find nothing but order and beauty, splendor, peace, and delight”. This is unattainable perfection as a place of longing, where we are freed from all earthly cares. A never-ending sixteenth-note figure in the piano accompaniment flickers like a shimmering veil over these words, which in their poetry seem to remove us far from our earthly existence. “The world falls asleep in a warm light!

This art song was originally composed not for chamber choir, but for solo voice and piano. Denis Rouger has carefully adapted it to suit the requirements and expressive possibilities offered by a larger ensemble, without losing any of the qualities of the original. Each part in the choir has a melodic line drawn from the harmonic and rhythmic framework. In the process, the variety and refinement of the choral language combines with an enormous flexibility in form and expression, as French melodies or German art songs demand from a soloist and pianist.

The songs have been recorded by the figure humaine chamber choir on the CD ... wo die Zitronen blühn (Carus 83.514).

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.

Fake Book (Includes melody line and chords). Size 9x12 inches. 248 pages. Published by Hal Leonard.