Star Wars (Main Title) Orchestre à Cordes [Conducteur et Parties séparées] - Débutant Hal Leonard
Score and Parts String Orchestra (Score and Parts) - Grade 1 SKU: HL.4493043<...(+)
Score and Parts String
Orchestra (Score and
Parts) - Grade 1
SKU:
HL.4493043
Composed
by John Williams.
Arranged by Robert
Longfield. Easy Music For
Strings. Movies.
Softcover. Duration 100
seconds. Published by Hal
Leonard (HL.4493043).
UPC:
196288156468.
Unlea
sh the force of musical
mastery with Robert
Longfield's captivating
string orchestra
arrangement of the
â??Star Wars Main
Titleâ? by John
Williams. Immerse your
ensemble in the iconic
galaxy far, far away as
the strings bring to life
the timeless adventure
and heroic spirit of Star
Wars. Longfield's
arrangement skillfully
preserves the epic
grandeur of Williams'
original, making it a
must-have for orchestras
seeking to ignite the
imaginations of audiences
young and old. May the
music be with you as you
embark on this
intergalactic musical
journey!
Score and Parts Concert Band (Score and Parts) - Grade 3 SKU: HL.4008512 ...(+)
Score and Parts Concert
Band (Score and Parts) -
Grade 3
SKU:
HL.4008512
Composed
by Inon Zur. Arranged by
Michael Brown. Young
Concert Band. Concert,
Video Games. Softcover.
Duration 165 seconds.
Published by Hal Leonard
(HL.4008512).
UPC:
196288176473.
9.0x12.0x0.467
inches.
The video
game “Starfield”
became one of the most
highly anticipated game
releases in years. The
game also features a
stunning soundtrack by
acclaimed composer Inon
Zur. Here is a powerful
and dramatic arrangement
of the main theme.
Piano 4 hands SKU: VD.ED23065 A quatre Mains d'une difficulte progress...(+)
Piano 4 hands
SKU:
VD.ED23065
A
quatre Mains d'une
difficulte progressive
pour Piano-Forte.
Composed by Johann
Christian Heinrich Rinck.
Edited by Christoph Dohr.
Classical. Score.
Composed 1816. 40 S.
pages. Verlag Dohr
#ED23065. Published by
Verlag Dohr (VD.ED23065).
Piano 4 hands SKU: VD.DCD038 Elle -oeuvres pour piano a quatre mains-<...(+)
Piano 4 hands
SKU:
VD.DCD038
Elle
-oeuvres pour piano a
quatre mains-.
Composed by Cecile
Chaminade, Marie Jaell,
and Melanie (Mel) Bonis.
Classical. CD. Duration
52:13. Verlag Dohr
#DCD038. Published by
Verlag Dohr (VD.DCD038).
Piano 4 hands SKU: VD.ED27548 D'une difficulte progressive pour Pianof...(+)
Piano 4 hands
SKU:
VD.ED27548
D'une
difficulte progressive
pour Pianoforte a quatre
mains. Composed by
Johann Christian Heinrich
Rinck. Edited by
Christoph Dohr.
Classical. Score. 35 S.
pages. Verlag Dohr
#ED27548. Published by
Verlag Dohr (VD.ED27548).
Piano 4 hands - Level 3 SKU: VD.ED23072 A quatre mains/ zu vier Handen...(+)
Piano 4 hands - Level 3
SKU: VD.ED23072
A quatre mains/ zu
vier Handen (Postolka
XI:5). Composed by
Leopold Kozeluch. Edited
by Christoph Dohr.
Classical. Score.
Composed 1803. 14 S.
pages. Verlag Dohr
#ED23072. Published by
Verlag Dohr (VD.ED23072).
(Tjenerindens
Fortaelling).
Composed by Poul Ruders.
Music Sales America.
Modern, Opera. Vocal
Score. Composed 2002. 586
pages. Edition Wilhelm
Hansen #WH30499.
Published by Edition
Wilhelm Hansen
(HL.14028039).
ISBN
9788759810613.
8.0x11.0x1.565 inches.
International (more than
one language).
This
is the Vocal Score for
The Handmaid's Tale, an
Opera based on the novel
by Margaret Atwood.
Flute and Piano. Composed by Amanda Maier. Arranged by Carol Wincenc. LKM Mu...(+)
Flute and Piano. Composed
by
Amanda Maier. Arranged by
Carol Wincenc. LKM Music.
Softcover. 36 pages.
Lauren
Keiser Music Publishing
#S111010. Published by
Lauren Keiser Music
Publishing
I'm Gonna E-Mail Santa by Billy Gilman. Arranged by Jerry Ray. For Choral (3-par...(+)
I'm Gonna E-Mail Santa by
Billy Gilman. Arranged by
Jerry Ray. For Choral
(3-part Mixed). Shawnee
Press. Choral. 12 pages.
Shawnee Press #E0524.
Published by Shawnee
Press
Youth choir (SMez), solo parts, speakers, recorder and violin (CHP) - very easy ...(+)
Youth choir (SMez), solo
parts, speakers, recorder
and violin (CHP) - very
easy
SKU:
HL.49030865
Fruhlingskantate nach
Volksliedern.
Composed by Knab. Sheet
music. Edition Schott.
Choral Score. 4 pages.
Duration 20'. Schott
Music #ED 2444-01.
Published by Schott Music
(HL.49030865).
Composed
by Zachary Cairns. Sws.
Yps. Full score. 24
pages. Duration 4
minutes, 48 seconds. Carl
Fischer Music #YPS217F.
Published by Carl Fischer
Music (CF.YPS217F).
ISBN 9781491156551.
UPC: 680160915095. 9 x 12
inches.
Hope
Remains Within was
commissioned by and
composed for the Mount
Nittany Middle School 7th
and 8th Grade Concert
Bands. Having heard the
students of Mount Nittany
perform another work of
mine, I was very excited
when their director,
Johanna Steinbacher,
approached me about
writing a piece
specifically for them. I
knew right away that I
wanted to write something
that would tie in with
their non-music
curriculum in some way,
but I wasn't exactly sure
how, or what. Johanna
talked to some of her
students and learned
that, in 7th grade, the
students spend a good
deal of time studying
mythology in their
English class. In
particular, two clarinet
students mentioned how
much they enjoyed the
story of Pandora. As
such, I decided to use
that story as the basis
of this composition. Hope
Remains Within doesn't
attempt to re-tell the
story, event by event, in
musical terms. Instead,
my goal was to address
what seems to be one of
the central issues of the
Pandora myth. Though
there are some
variations, we probably
all know the basics as
told by the ancient Greek
poet Hesiod. Zeus decides
to punish Prometheus for
stealing fire from heaven
and giving it to humans.
He and the other gods
create Pandora, a
beautiful and deceitful
woman, and they give her
to Prometheus's brother
Epimetheus as a bride.
Pandora is herself given
a jar (according to many
sources, jar seems to be
a more accurate
translation for what we
commonly call Pandora's
box) which contained
numerous evils, diseases,
and other pains. Out of
curiosity, Pandora opens
the jar and releases all
of these evils into the
world. But one thing
remains in the jar: hope.
The issue of hope seems
to be one of the big
interpretive questions of
the Pandora myth. Why
does hope remain within
the jar? Why doesn't it
come out of the jar to
help humanity? Is hope
being held on a pedestal
of some sort? Is hope
deliberately withheld
from humanity? Why was
hope in the jar with all
those evils in the first
place? I'm not enough of
a mythological scholar to
claim to have definitive
answers to those
questions, but these are
the questions that I've
tried to engage from a
musical perspective in
Hope Remains Within. I
encourage the students
and listeners to consider
their own ideas of what
hope is, and where you
can find your own hope
when needed. Musically,
Hope Remains Within draws
one of its main themes
from the Prometheus
Symphony by Alexander
Skryabin (Scriabin). The
note sequence F-D-Gb -F,
heard near Hope's
beginning played by alto
saxophones and chimes,
comes from the opening
measures of Skyrabin's
work. Given the important
role that Prometheus
plays in the Pandora
myth, this seemed like an
appropriate musical
gesture to quote. This
Prometheus motive is
varied throughout the
course of the piece, and
even provides closure at
the end, recast in a
major key. Additionally,
I have tried to involve a
manageable amount of
chromaticism in this
piece. I have worked from
the key of Bb major, no
doubt familiar to every
student who has ever
played an instrument in a
band. But I have added
three extra notes: Db,
Gb, and Ab, which are
drawn from the key of Bb
minor. During the piece's
slow opening, I have
allowed these minor key
pitches to mingle freely
within the Bb major
tonality, adding extra
color and (I hope!)
beauty. As the piece
progresses, though, the
tempo increases, and we
lose sense of the Bb
major key entirely, and
these extra notes play a
more important role. But
finally, Bb major returns
triumphantly and all the
extra notes are gone,
except for a brief memory
near the very end. (Ok,
there are a couple of
E-naturals that sneak in
there along the way. I
couldn't
resist.). Hope Remains
Within was commissioned
by and composed for the
Mount Nittany Middle
School 7th and 8th Grade
Concert Bands. Having
heard the students of
Mount Nittany perform
another work of mine, I
was very excited when
their director, Johanna
Steinbacher, approached
me about writing a piece
specifically for them. I
knew right away that I
wanted to write something
that would tie in with
their non-music
curriculum in some way,
but I wasn’t
exactly sure how, or
what. Johanna talked to
some of her students and
learned that, in 7th
grade, the students spend
a good deal of time
studying mythology in
their English class. In
particular, two clarinet
students mentioned how
much they enjoyed the
story of Pandora.As such,
I decided to use that
story as the basis of
this composition. Hope
Remains Within
doesn’t attempt to
re-tell the story, event
by event, in musical
terms. Instead, my goal
was to address what seems
to be one of the central
issues of the Pandora
myth. Though there are
some variations, we
probably all know the
basics as told by the
ancient Greek poet
Hesiod. Zeus decides to
punish Prometheus for
stealing fire from heaven
and giving it to humans.
He and the other gods
create Pandora, a
beautiful and deceitful
woman, and they give her
to Prometheus’s
brother Epimetheus as a
bride. Pandora is herself
given a jar (according to
many sources,
“jar†seems
to be a more accurate
translation for what we
commonly call
“Pandora’s
boxâ€) which
contained numerous evils,
diseases, and other
pains. Out of curiosity,
Pandora opens the jar and
releases all of these
evils into the world. But
one thing remains in the
jar: hope.The issue of
hope seems to be one of
the big interpretive
questions of the Pandora
myth. Why does hope
remain within the jar?
Why doesn’t it
come out of the jar to
help humanity? Is hope
being held on a pedestal
of some sort? Is hope
deliberately withheld
from humanity? Why was
hope in the jar with all
those evils in the first
place?I’m not
enough of a mythological
scholar to claim to have
definitive answers to
those questions, but
these are the questions
that I’ve tried to
engage from a musical
perspective in Hope
Remains Within. I
encourage the students
and listeners to consider
their own ideas of what
hope is, and where you
can find your own hope
when needed.Musically,
Hope Remains Within draws
one of its main themes
from the Prometheus
Symphony by Alexander
Skryabin (Scriabin). The
note sequence F-D-Gb -F,
heard near Hope’s
beginning played by alto
saxophones and chimes,
comes from the opening
measures of
Skyrabin’s work.
Given the important role
that Prometheus plays in
the Pandora myth, this
seemed like an
appropriate musical
gesture to quote. This
Prometheus motive is
varied throughout the
course of the piece, and
even provides closure at
the end, recast in a
major key.Additionally, I
have tried to involve a
manageable amount of
chromaticism in this
piece. I have worked from
the key of Bb major, no
doubt familiar to every
student who has ever
played an instrument in a
band. But I have added
three extra notes: Db,
Gb, and Ab, which are
drawn from the key of Bb
minor. During the
piece’s slow
opening, I have allowed
these minor key pitches
to mingle freely within
the Bb major tonality,
adding extra color and (I
hope!) beauty. As the
piece progresses, though,
the tempo increases, and
we lose sense of the Bb
major key entirely, and
these extra notes play a
more important role. But
finally, Bb major returns
triumphantly and all the
extra notes are gone,
except for a brief memory
near the very end. (Ok,
there are a couple of
E-naturals that sneak in
there along the way. I
couldn’t
resist.).
Composed by
Zachary Cairns. Folio.
Yps. Set of Score and
Parts.
8+8+4+8+8+4+2+6+4+4+4+8+8
+8+8+6+6+6+4+6+4+2+2+4+6+
10+24 pages. Duration 4
minutes, 48 seconds. Carl
Fischer Music #YPS217.
Published by Carl Fischer
Music (CF.YPS217).
ISBN 9781491156544.
UPC: 680160915088. 9 x 12
inches.
Hope
Remains Within was
commissioned by and
composed for the Mount
Nittany Middle School 7th
and 8th Grade Concert
Bands. Having heard the
students of Mount Nittany
perform another work of
mine, I was very excited
when their director,
Johanna Steinbacher,
approached me about
writing a piece
specifically for them. I
knew right away that I
wanted to write something
that would tie in with
their non-music
curriculum in some way,
but I wasn't exactly sure
how, or what. Johanna
talked to some of her
students and learned
that, in 7th grade, the
students spend a good
deal of time studying
mythology in their
English class. In
particular, two clarinet
students mentioned how
much they enjoyed the
story of Pandora. As
such, I decided to use
that story as the basis
of this composition. Hope
Remains Within doesn't
attempt to re-tell the
story, event by event, in
musical terms. Instead,
my goal was to address
what seems to be one of
the central issues of the
Pandora myth. Though
there are some
variations, we probably
all know the basics as
told by the ancient Greek
poet Hesiod. Zeus decides
to punish Prometheus for
stealing fire from heaven
and giving it to humans.
He and the other gods
create Pandora, a
beautiful and deceitful
woman, and they give her
to Prometheus's brother
Epimetheus as a bride.
Pandora is herself given
a jar (according to many
sources, jar seems to be
a more accurate
translation for what we
commonly call Pandora's
box) which contained
numerous evils, diseases,
and other pains. Out of
curiosity, Pandora opens
the jar and releases all
of these evils into the
world. But one thing
remains in the jar: hope.
The issue of hope seems
to be one of the big
interpretive questions of
the Pandora myth. Why
does hope remain within
the jar? Why doesn't it
come out of the jar to
help humanity? Is hope
being held on a pedestal
of some sort? Is hope
deliberately withheld
from humanity? Why was
hope in the jar with all
those evils in the first
place? I'm not enough of
a mythological scholar to
claim to have definitive
answers to those
questions, but these are
the questions that I've
tried to engage from a
musical perspective in
Hope Remains Within. I
encourage the students
and listeners to consider
their own ideas of what
hope is, and where you
can find your own hope
when needed. Musically,
Hope Remains Within draws
one of its main themes
from the Prometheus
Symphony by Alexander
Skryabin (Scriabin). The
note sequence F-D-Gb -F,
heard near Hope's
beginning played by alto
saxophones and chimes,
comes from the opening
measures of Skyrabin's
work. Given the important
role that Prometheus
plays in the Pandora
myth, this seemed like an
appropriate musical
gesture to quote. This
Prometheus motive is
varied throughout the
course of the piece, and
even provides closure at
the end, recast in a
major key. Additionally,
I have tried to involve a
manageable amount of
chromaticism in this
piece. I have worked from
the key of Bb major, no
doubt familiar to every
student who has ever
played an instrument in a
band. But I have added
three extra notes: Db,
Gb, and Ab, which are
drawn from the key of Bb
minor. During the piece's
slow opening, I have
allowed these minor key
pitches to mingle freely
within the Bb major
tonality, adding extra
color and (I hope!)
beauty. As the piece
progresses, though, the
tempo increases, and we
lose sense of the Bb
major key entirely, and
these extra notes play a
more important role. But
finally, Bb major returns
triumphantly and all the
extra notes are gone,
except for a brief memory
near the very end. (Ok,
there are a couple of
E-naturals that sneak in
there along the way. I
couldn't
resist.). Hope Remains
Within was commissioned
by and composed for the
Mount Nittany Middle
School 7th and 8th Grade
Concert Bands. Having
heard the students of
Mount Nittany perform
another work of mine, I
was very excited when
their director, Johanna
Steinbacher, approached
me about writing a piece
specifically for them. I
knew right away that I
wanted to write something
that would tie in with
their non-music
curriculum in some way,
but I wasn’t
exactly sure how, or
what. Johanna talked to
some of her students and
learned that, in 7th
grade, the students spend
a good deal of time
studying mythology in
their English class. In
particular, two clarinet
students mentioned how
much they enjoyed the
story of Pandora.As such,
I decided to use that
story as the basis of
this composition. Hope
Remains Within
doesn’t attempt to
re-tell the story, event
by event, in musical
terms. Instead, my goal
was to address what seems
to be one of the central
issues of the Pandora
myth. Though there are
some variations, we
probably all know the
basics as told by the
ancient Greek poet
Hesiod. Zeus decides to
punish Prometheus for
stealing fire from heaven
and giving it to humans.
He and the other gods
create Pandora, a
beautiful and deceitful
woman, and they give her
to Prometheus’s
brother Epimetheus as a
bride. Pandora is herself
given a jar (according to
many sources,
“jar†seems
to be a more accurate
translation for what we
commonly call
“Pandora’s
boxâ€) which
contained numerous evils,
diseases, and other
pains. Out of curiosity,
Pandora opens the jar and
releases all of these
evils into the world. But
one thing remains in the
jar: hope.The issue of
hope seems to be one of
the big interpretive
questions of the Pandora
myth. Why does hope
remain within the jar?
Why doesn’t it
come out of the jar to
help humanity? Is hope
being held on a pedestal
of some sort? Is hope
deliberately withheld
from humanity? Why was
hope in the jar with all
those evils in the first
place?I’m not
enough of a mythological
scholar to claim to have
definitive answers to
those questions, but
these are the questions
that I’ve tried to
engage from a musical
perspective in Hope
Remains Within. I
encourage the students
and listeners to consider
their own ideas of what
hope is, and where you
can find your own hope
when needed.Musically,
Hope Remains Within draws
one of its main themes
from the Prometheus
Symphony by Alexander
Skryabin (Scriabin). The
note sequence F-D-Gb -F,
heard near Hope’s
beginning played by alto
saxophones and chimes,
comes from the opening
measures of
Skyrabin’s work.
Given the important role
that Prometheus plays in
the Pandora myth, this
seemed like an
appropriate musical
gesture to quote. This
Prometheus motive is
varied throughout the
course of the piece, and
even provides closure at
the end, recast in a
major key.Additionally, I
have tried to involve a
manageable amount of
chromaticism in this
piece. I have worked from
the key of Bb major, no
doubt familiar to every
student who has ever
played an instrument in a
band. But I have added
three extra notes: Db,
Gb, and Ab, which are
drawn from the key of Bb
minor. During the
piece’s slow
opening, I have allowed
these minor key pitches
to mingle freely within
the Bb major tonality,
adding extra color and (I
hope!) beauty. As the
piece progresses, though,
the tempo increases, and
we lose sense of the Bb
major key entirely, and
these extra notes play a
more important role. But
finally, Bb major returns
triumphantly and all the
extra notes are gone,
except for a brief memory
near the very end. (Ok,
there are a couple of
E-naturals that sneak in
there along the way. I
couldn’t
resist.).
Youth choir (SMez), solo parts, speakers, recorder and violin (Score) - very eas...(+)
Youth choir (SMez), solo
parts, speakers, recorder
and violin (Score) - very
easy
SKU:
HL.49003757
Fruhlingskantate nach
Volksliedern.
Composed by Armin Knab.
This edition: Saddle
stitching. Sheet music.
Edition Schott.
Classical. Score for
Voice and/or Instruments.
16 pages. Duration 20'.
Schott Music #ED 2444.
Published by Schott Music
(HL.49003757).
Voice, guitar or piano SKU: LM.PB729 By Stanislas. By Stanislas. Album. P...(+)
Voice, guitar or piano
SKU: LM.PB729
By
Stanislas. By Stanislas.
Album. Pop, jazz. Score.
Bookmakers International
#PB729. Published by
Bookmakers International
(LM.PB729).
ISBN
9790231307290.
Le
manege - La belle de mai
- Les lignes de ma main -
La debacle des sentiments
- Entre deux femmes - Ana
quand bien meme - Nouveau
big bang - L'absinthe
pour l'absent - Le temps
des roses - L'age bete -
A d'autres - Memoire
morte - L'hiver.
Composed
by Benedetto Vinaccesi.
Edited by Michael Talbot.
Voice (Soprano) & Basso
Continuo. Full score and
parts. Duration 8
minutes. Edition HH Music
Publishers #HH104-FSP.
Published by Edition HH
Music Publishers
(HH.HH104-FSP).
ISBN
9790708041542.
The
text for Or fia mai ver,
o lontananza infida does
not appear in
Ottoboni’s
Trattenimenti poetici,
and its authorship is
therefore uncertain.
However, it exhibits one
of Ottoboni’s most
consistent stylistic
‘trademarks’
– the use of end
rhyme throughout the
recitative stanzas (i.e.,
not merely in a final
couplet) – and the
unusually serious
treatment of the subject
(the ability of a
lover’s
imagination to remain
close to the beloved
despite physical
separation) is very much
in his vein. It should be
considered a candidate
for his authorship. The
text comprises two arias,
each introduced by a
short recitative, and a
final recitative that is
completed, in order to
achieve a better sense of
climax, by a
‘cavata’
– the name given
to an extended setting,
often in contrapuntal
style, of one or two
selected lines of
recitative.
Piano (4 hands) - very easy to easy SKU: HL.49004858 A selection of be...(+)
Piano (4 hands) - very
easy to easy
SKU:
HL.49004858
A
selection of beautiful
children's songs - light
and calm. Edited by
Wilhelm Lutz. This
edition: Paperback/Soft
Cover. Sheet music.
Edition Schott.
Classical. 48 pages.
Schott Music #ED 4400.
Published by Schott Music
(HL.49004858).
Female choir (SA/SMezA) - easy to intermediate SKU: HL.49001311 Der Ma...(+)
Female choir (SA/SMezA) -
easy to intermediate
SKU: HL.49001311
Der Mai tritt ein mit
Freuden. Edited by
Helmut Moenkemeyer. This
edition: Saddle
stitching. Sheet music.
Schott Chorverlag (Choral
Music). Classical. Choral
Score. 8 pages. Schott
Music #C 45348. Published
by Schott Music
(HL.49001311).
Treble Recorder - easy SKU: HL.49005532 Treble Recorder and Piano....(+)
Treble Recorder - easy
SKU: HL.49005532
Treble Recorder and
Piano. Arranged by
Hans Wö and llner.
This edition: Saddle
stitching. Sheet music.
Edition Schott.
Classical. 39 pages.
Schott Music #ED 5224.
Published by Schott Music
(HL.49005532).
ISBN
9790001059442. UPC:
073999776249.
7.5x10.75x0.152
inches.
SKU: CA.623200 Composed by Gunther Marks. German title: Aus Der Tiefe + S...(+)
SKU: CA.623200
Composed by Gunther
Marks. German title: Aus
Der Tiefe + Schmuckt Das
Fest Mit Mai. Sacred
vocal music, Hymn
settings, Psalms, German,
Whitsun, Prayer, Psalms.
Full score. Composed
1587. Carus Verlag #CV
06.232/00. Published by
Carus Verlag (CA.623200).
(Your passport to a new world of music). By Pete Sweeney. For World Percussion. ...(+)
(Your passport to a new
world of music). By Pete
Sweeney. For World
Percussion.
Method/Instruction;
Percussion -
Miscellaneous Educational
Books and Manuals. Drum
Atlas. Multicultural;
World. Book and CD. 48
pages