(The Collaborative Artist Flute, Viola, Piano). By Nancy Faber. For Flute, Piano...(+)
(The Collaborative Artist
Flute, Viola, Piano). By
Nancy Faber. For Flute,
Piano, Viola. Faber Piano
Adventures. Faber Piano
Adventures #FF7002.
Published by Faber Piano
Adventures
Composed by Catherine Rollin. Graded Standard Repertoire; Piano Suite; Piano ...(+)
Composed by Catherine
Rollin. Graded Standard
Repertoire; Piano Suite;
Piano Supplemental;
Sheet.
Recital Suite Series.
Form:
Suite. Jazz; Recital. 12
pages. Published by
Alfred
Music
(20 Short Recital and Study Pieces for the Intermediate Player). Composed by...(+)
(20 Short Recital and
Study
Pieces for the
Intermediate
Player). Composed by John
Walker. Edited by Nathan
Jorgensen. For alto
saxophone, piano. Score
and
Audio CD. 28 pages.
Published by Carl Fischer
(20 Short Recital and Study Pieces for the Intermediate Player). Composed by...(+)
(20 Short Recital and
Study
Pieces for the
Intermediate
Player). Composed by John
Walker. Edited by David
Reynolds. For trumpet,
piano. Score and Audio
CD.
28 pages. Published by
Carl
Fischer
Piano Accompaniment - early intermediate SKU: BT.DHP-1125344-401 Composed...(+)
Piano Accompaniment -
early intermediate
SKU:
BT.DHP-1125344-401
Composed by Joachim
Johow. Book Only.
Composed 2012. 36 pages.
De Haske Publications
#DHP 1125344-401.
Published by De Haske
Publications
(BT.DHP-1125344-401).
ISBN 9789043142342.
9x12 inches.
English-German-French-Dut
ch.
The band
strikes up the circus
march for the entrance of
the artistes—the
audience waits
expectantly…
Between the Opening
March and the
Grand Finale the
packed audience is
presented with a
colourful programme:
courageous acrobats,
comical clowns, oriental
belly dancers,
knife-throwers and snake
charmers appear one after
the other.Circus
Time is also
available for flute,
clarinet and alto
saxophone (in the same
sounding key). This opens
up all sorts of choices:
musicians can take turns
to perform or build a
real circus band, or
even—with the help
of scenery and
props—put on a
proper circus
performance. There is no
end of
possibilities!Theaccompan
ying CD contains demo and
play-along version of all
the pieces. Alternatively
the chord symbols
(written in concert
pitch) above the music
staff can be used for a
live accompaniment by
guitar and/or keyboard.
An optional piano
accompaniment is
available separately
(order number: DHP
1125344-401).On with the
show!
Het orkest
begint de circusmars te
spelen voordat de
artiesten opkomen - het
publiek wacht vol
spanning
af…Van de
openingsmars tot de grand
finale krijgen de
toeschouwers een
kleurrijk programma
voorgeschoteld: moedige
acrobaten, grappige
clowns,
oostersebuikdanseressen,
messenwerpers en
slangenbezweerders volgen
elkaar op in de
piste.Circus Time
is ook beschikbaar voor
dwarsfluit, klarinet en
altsaxofoon (in dezelfde
klinkende toonsoort). Er
zijn dus allerlei
mogelijkheden: de
muzikanten kunnen elkaar
afwisselen met
solo-optredens of een
echt circusorkest vormen,
of zelfs - in een
geschikte omgeving en met
behulp van decorstukken -
een heus circusoptreden
verzorgen. Laatje
fantasie de vrije loop.De
bijgevoegde cd bevat
zowel demotracks als
begeleidingen voor alle
stukken. Voor live
begeleiding door keyboard
en/of gitaar staan de
akkoordsymbolen (klinkend
genoteerd) boven de
muziek. Optionele
pianobegeleidingen zijn
apart verkrijgbaar
(bestelnummer: DHP
1125344-401).Laat de show
maar beginnen!
Die Kapelle
spielt schon den
Zirkusmarsch zum Einzug
der Artisten - das
Publikum wartet
gespannt...Zwischen dem
Eröffnungsmarsc
h und dem
Großen
Finale wird dem
geneigten Publikum ein
buntes Programm
präsentiert:
Mutige Akrobaten, lustige
Clowns, orientalische
Bauchtänzerinnen,
Messerwerfer und
Schlangenbeschwöre
r treten nacheinander
auf.Circus Time
gibt es auch für
Klarinette, Altsaxophon
und Querflöte (in
den gleichen klingenden
Tonarten). So
eröffnen sich
viele
Möglichkeiten
für die
Aufführung: Die
Musiker können
abwechselnd auftreten
oder ein ganzes
Zirkusorchesterâ€
œ bilden und sogar -
ergänzt durch eine
szenische Umsetzung -
einerichtige
Zirkusvorstellung geben.
Der Fantasie sind keine
Grenzen gesetzt!Die
beiliegende CD
enthält Demo- und
Mitspielversionen aller
Stücke. Alternativ zu
den Mitspiel-Tracks
können die
Akkordsymbole (in
klingenden Tonarten)
über den Noten
für eine
Live-Begleitung durch
Keyboard und/oder Gitarre
genutzt werden. Optional
sind Klavierbegleitungen
separat erhältlich
(Bestellnummer: DHP
1125344-401).Manege frei!
Un viaggio nel
mondo circense che
consente ai musicisti di
suonare da soli, ma anche
di formare una vera band.
Il CD contiene una
versione demo e una
play-long di ogni brano.
In alternativa, grazie ai
simboli degli accordi
sopra il pentagramma, ci
si può esibire
live accompagnati dalla
chitarra e/o tastiera
(DHP 1125344-401).
Promises Wedding Classics for Flute with CD composed by Various. Arranged by Jon...(+)
Promises Wedding Classics
for Flute with CD
composed by Various.
Arranged by Jonathon
Robbins. For flute. This
edition: Paperback.
Collection. Wedding. Book
and CD. Text Language:
English. 32 pages.
Published by Santorella
Publications
SKU: HL.48185463 Composed by George Frideric Handel. Leduc. Baroque. Soft...(+)
SKU: HL.48185463
Composed by George
Frideric Handel. Leduc.
Baroque. Softcover. 32
pages. Alphonse Leduc
#AL29037. Published by
Alphonse Leduc
(HL.48185463).
UPC:
888680834968.
9.0x12.0x0.147
inches.
Famous
pieces by G. F. Handel
for Eb Alto Saxophone and
Piano ? Vol. 2 is an
anthology of four pieces
arranged for Alto
Saxophone and Piano by
Marcel Mule. This second
book features four
sonatas, all composed
initially by G. F. Handel
and part of the
collection ?Saxophone
Classics? by Mule. -
First sonata: Flute and
Piano - Second sonata:
Violin and Piano - Fourth
sonata: Flute and Piano -
Sixth sonata: Violin and
Piano Each sonata should
be played separately and
their level of difficulty
is quite challenging,
which would match the
abilities of upper
intermediate / advanced
players who have mastered
their breathing. Marcel
Mule (1901-2001) is one
of the greatest French
saxophonists, renowned
worldwide for his work on
the classical Saxophone
repertoire. He was
teaching his students how
to obtain a good quality
of sound and believed it
was dependent on the
embouchure, the emission,
the mastery of vibrato
and thus of breathing. He
wrote different methods
that focus on technique,
articulation and tone
productions such as
'Dix-huit Exercices ou
Etudes', 'Exercices
Journaliers d?apres
Terschack' or '30 Grands
Exercices ou Etudes
d?apres Soussmann' (in
two books), among
others..
14 Divisions. Composed by Anonymous. Edited by Kathryn Bennetts and Peter Bo...(+)
14 Divisions. Composed by
Anonymous. Edited by
Kathryn
Bennetts and Peter
Bowman.
Arranged by Yeo Yat-Soon.
This edition: Saddle
stitching. Sheet music.
Schott Student Edition.
Classical. Softcover. 20
pages. Schott Music
#SE1041.
Published by Schott Music
Promises Wedding Classics for Trumpet with CD composed by Various. Arranged by J...(+)
Promises Wedding Classics
for Trumpet with CD
composed by Various.
Arranged by Jonathon
Robbins. For trumpet.
This edition: Paperback.
Collection. Wedding. Book
and CD. Text Language:
English. 32 pages.
Published by Santorella
Publications
Piano and orchestra - difficult SKU: HL.49046544 For piano and orchest...(+)
Piano and orchestra -
difficult
SKU:
HL.49046544
For
piano and orchestra.
Composed by Gyorgy
Ligeti. This edition:
Saddle stitching. Sheet
music. Edition Schott.
Softcover. Composed
1985-1988. Duration 24'.
Schott Music #ED23178.
Published by Schott Music
(HL.49046544).
ISBN
9781705122655. UPC:
842819108726.
9.0x12.0x0.224
inches.
I composed
the Piano Concerto in two
stages: the first three
movements during the
years 1985-86, the next
two in 1987, the final
autograph of the last
movement was ready by
January, 1988. The
concerto is dedicated to
the American conductor
Mario di Bonaventura. The
markings of the movements
are the following: 1.
Vivace molto ritmico e
preciso 2. Lento e
deserto 3. Vivace
cantabile 4. Allegro
risoluto 5. Presto
luminoso.The first
performance of the
three-movement Concerto
was on October 23rd, 1986
in Graz. Mario di
Bonaventura conducted
while his brother,
Anthony di Bonaventura,
was the soloist. Two days
later the performance was
repeated in the Vienna
Konzerthaus. After
hearing the work twice, I
came to the conclusion
that the third movement
is not an adequate
finale; my feeling of
form demanded
continuation, a
supplement. That led to
the composing of the next
two movements. The
premiere of the whole
cycle took place on
February 29th, 1988, in
the Vienna Konzerthaus
with the same conductor
and the same pianist. The
orchestra consisted of
the following: flute,
oboe, clarinet, bassoon,
horn, trumpet, tenor
trombone, percussion and
strings. The flautist
also plays the piccoIo,
the clarinetist, the alto
ocarina. The percussion
is made up of diverse
instruments, which one
musician-virtuoso can
play. It is more
practical, however, if
two or three musicians
share the instruments.
Besides traditional
instruments the
percussion part calls
also for two simple wind
instruments: the swanee
whistle and the
harmonica. The string
instrument parts (two
violins, viola, cello and
doubles bass) can be
performed soloistic since
they do not contain
divisi. For balance,
however, the ensemble
playing is recommended,
for example 6-8 first
violins, 6-8 second, 4-6
violas, 4-6 cellos, 3-4
double basses. In the
Piano Concerto I realized
new concepts of harmony
and rhythm. The first
movement is entirely
written in bimetry:
simultaneously 12/8 and
4/4 (8/8). This relates
to the known triplet on a
doule relation and in
itself is nothing new.
Because, however, I
articulate 12 triola and
8 duola pulses, an
entangled, up till now
unheard kind of polymetry
is created. The rhythm is
additionally complicated
because of asymmetric
groupings inside two
speed layers, which means
accents are
asymmetrically
distributed. These
groups, as in the talea
technique, have a fixed,
continuously repeating
rhythmic structures of
varying lengths in speed
layers of 12/8 and 4/4.
This means that the
repeating pattern in the
12/8 level and the
pattern in the 4/4 level
do not coincide and
continuously give a
kaleidoscope of renewing
combinations. In our
perception we quickly
resign from following
particular rhythmical
successions and that what
is going on in time
appears for us as
something static,
resting. This music, if
it is played properly, in
the right tempo and with
the right accents inside
particular layers, after
a certain time 'rises, as
it were, as a plane after
taking off: the rhythmic
action, too complex to be
able to follow in detail,
begins flying. This
diffusion of individual
structures into a
different global
structure is one of my
basic compositional
concepts: from the end of
the fifties, from the
orchestral works
Apparitions and
Atmospheres I
continuously have been
looking for new ways of
resolving this basic
question. The harmony of
the first movement is
based on mixtures, hence
on the parallel leading
of voices. This technique
is used here in a rather
simple form; later in the
fourth movement it will
be considerably
developed. The second
movement (the only slow
one amongst five
movements) also has a
talea type of structure,
it is however much
simpler rhythmically,
because it contains only
one speed layer. The
melody is consisted in
the development of a
rigorous interval mode in
which two minor seconds
and one major second
alternate therefore nine
notes inside an octave.
This mode is transposed
into different degrees
and it also determines
the harmony of the
movement; however, in
closing episode in the
piano part there is a
combination of diatonics
(white keys) and
pentatonics (black keys)
led in brilliant,
sparkling quasimixtures,
while the orchestra
continues to play in the
nine tone mode. In this
movement I used isolated
sounds and extreme
registers (piccolo in a
very low register,
bassoon in a very high
register, canons played
by the swanee whistle,
the alto ocarina and
brass with a harmon-mute'
damper, cutting sound
combinations of the
piccolo, clarinet and
oboe in an extremely high
register, also
alternating of a
whistle-siren and
xylophone). The third
movement also has one
speed layer and because
of this it appears as
simpler than the first,
but actually the rhythm
is very complicated in a
different way here. Above
the uninterrupted, fast
and regular basic pulse,
thanks to the asymmetric
distribution of accents,
different types of
hemiolas and inherent
melodical patterns appear
(the term was coined by
Gerhard Kubik in relation
to central African
music). If this movement
is played with the
adequate speed and with
very clear accentuation,
illusory
rhythmic-melodical
figures appear. These
figures are not played
directly; they do not
appear in the score, but
exist only in our
perception as a result of
co-operation of different
voices. Already earlier I
had experimented with
illusory rhythmics,
namely in Poeme
symphonique for 100
metronomes (1962), in
Continuum for harpsichord
(1968), in Monument for
two pianos (1976), and
especially in the first
and sixth piano etude
Desordre and Automne a
Varsovie (1985). The
third movement of the
Piano Concerto is up to
now the clearest example
of illusory rhythmics and
illusory melody. In
intervallic and chordal
structure this movement
is based on alternation,
and also inter-relation
of various modal and
quasi-equidistant harmony
spaces. The tempered
twelve-part division of
the octave allows for
diatonical and other
modal interval
successions, which are
not equidistant, but are
based on the alternation
of major and minor
seconds in different
groups. The tempered
system also allows for
the use of the
anhemitonic pentatonic
scale (the black keys of
the piano). From
equidistant scales,
therefore interval
formations which are
based on the division of
an octave in equal
distances, the
twelve-tone tempered
system allows only
chromatics (only minor
seconds) and the six-tone
scale (the whole-tone:
only major seconds).
Moreover, the division of
the octave into four
parts only minor thirds)
and three parts (three
major thirds) is
possible. In several
music cultures different
equidistant divisions of
an octave are accepted,
for example, in the
Javanese slendro into
five parts, in Melanesia
into seven parts, popular
also in southeastern
Asia, and apart from
this, in southern Africa.
This does not mean an
exact equidistance: there
is a certain tolerance
for the inaccurateness of
the interval tuning.
These exotic for us,
Europeans, harmony and
melody have attracted me
for several years.
However I did not want to
re-tune the piano
(microtone deviations
appear in the concerto
only in a few places in
the horn and trombone
parts led in natural
tones). After the period
of experimenting, I got
to pseudo- or
quasiequidistant
intervals, which is
neither whole-tone nor
chromatic: in the
twelve-tone system, two
whole-tone scales are
possible, shifted a minor
second apart from each
other. Therefore, I
connect these two scales
(or sound resources), and
for example, places occur
where the melodies and
figurations in the piano
part are created from
both whole tone scales;
in one band one six-tone
sound resource is
utilized, and in the
other hand, the
complementary. In this
way whole-tonality and
chromaticism mutually
reduce themselves: a type
of deformed
equidistancism is formed,
strangely brilliant and
at the same time
slanting; illusory
harmony, indeed being
created inside the
tempered twelve-tone
system, but in sound
quality not belonging to
it anymore. The
appearance of such
slantedequidistant
harmony fields
alternating with modal
fields and based on
chords built on fifths
(mainly in the piano
part), complemented with
mixtures built on fifths
in the orchestra, gives
this movement an
individual, soft-metallic
colour (a metallic sound
resulting from
harmonics). The fourth
movement was meant to be
the central movement of
the Concerto. Its
melodc-rhythmic elements
(embryos or fragments of
motives) in themselves
are simple. The movement
also begins simply, with
a succession of
overlapping of these
elements in the mixture
type structures. Also
here a kaleidoscope is
created, due to a limited
number of these elements
- of these pebbles in the
kaleidoscope - which
continuously return in
augmentations and
diminutions. Step by
step, however, so that in
the beginning we cannot
hear it, a compiled
rhythmic organization of
the talea type gradually
comes into daylight,
based on the simultaneity
of two mutually shifted
to each other speed
layers (also triplet and
duoles, however, with
different asymmetric
structures than in the
first movement). While
longer rests are
gradually filled in with
motive fragments, we
slowly come to the
conclusion that we have
found ourselves inside a
rhythmic-melodical whirl:
without change in tempo,
only through increasing
the density of the
musical events, a
rotation is created in
the stream of successive
and compiled, augmented
and diminished motive
fragments, and increasing
the density suggests
acceleration. Thanks to
the periodical structure
of the composition,
always new but however of
the same (all the motivic
cells are similar to
earlier ones but none of
them are exactly
repeated; the general
structure is therefore
self-similar), an
impression is created of
a gigantic, indissoluble
network. Also, rhythmic
structures at first
hidden gradually begin to
emerge, two independent
speed layers with their
various internal
accentuations. This
great, self-similar whirl
in a very indirect way
relates to musical
associations, which came
to my mind while watching
the graphic projection of
the mathematical sets of
Julia and of Mandelbrot
made with the help of a
computer. I saw these
wonderful pictures of
fractal creations, made
by scientists from Brema,
Peitgen and Richter, for
the first time in 1984.
From that time they have
played a great role in my
musical concepts. This
does not mean, however,
that composing the fourth
movement I used
mathematical methods or
iterative calculus;
indeed, I did use
constructions which,
however, are not based on
mathematical thinking,
but are rather craftman's
constructions (in this
respect, my attitude
towards mathematics is
similar to that of the
graphic artist Maurits
Escher). I am concerned
rather with intuitional,
poetic, synesthetic
correspondence, not on
the scientific, but on
the poetic level of
thinking. The fifth, very
short Presto movement is
harmonically very simple,
but all the more
complicated in its
rhythmic structure: it is
based on the further
development of ''inherent
patterns of the third
movement. The
quasi-equidistance system
dominates harmonically
and melodically in this
movement, as in the
third, alternating with
harmonic fields, which
are based on the division
of the chromatic whole
into diatonics and
anhemitonic pentatonics.
Polyrhythms and harmonic
mixtures reach their
greatest density, and at
the same time this
movement is strikingly
light, enlightened with
very bright colours: at
first it seems chaotic,
but after listening to it
for a few times it is
easy to grasp its
content: many autonomous
but self-similar figures
which crossing
themselves. I present my
artistic credo in the
Piano Concerto: I
demonstrate my
independence from
criteria of the
traditional avantgarde,
as well as the
fashionable
postmodernism. Musical
illusions which I
consider to be also so
important are not a goal
in itself for me, but a
foundation for my
aesthetical attitude. I
prefer musical forms
which have a more
object-like than
processual character.
Music as frozen time, as
an object in imaginary
space evoked by music in
our imagination, as a
creation which really
develops in time, but in
imagination it exists
simultaneously in all its
moments. The spell of
time, the enduring its
passing by, closing it in
a moment of the present
is my main intention as a
composer. (Gyorgy
Ligeti).
Alto Sax. Arranged by Various. Instrumental Series; Play-Along; Solo. Instrum...(+)
Alto Sax. Arranged by
Various. Instrumental
Series;
Play-Along; Solo.
Instrumental Solos
Series.
Masterwork Arrangement.
Book;
CD. 40 pages. Alfred
Music
#00-47050. Published by
Alfred Music
(For Alto Flute and Piano). By Gary Schocker. Solo instrument with accompaniment...(+)
(For Alto Flute and
Piano). By Gary Schocker.
Solo instrument with
accompaniment. For Alto
Flute, Piano. World
Premiere: New York, NY -
Susan Palma, alto flute;
Fumi Kuwajima, piano.
Contemporary. Solo part
with piano reduction.
Standard notation. 16 8
pages. Duration 13
minutes. Published by
Theodore Presser Company
Three Vocalises Flûte traversière et Piano Falls House Press
For Alto Flute and Piano. Composed by Sergei Rachmaninoff; Maurice Ravel;...(+)
For Alto Flute and
Piano. Composed by
Sergei Rachmaninoff;
Maurice Ravel; Gabriel
Faure. Arranged by
Christine Potter. Solo
part with piano
reduction. With Standard
notation. 16 pages.
Duration 8 minutes. Falls
House Press #FH0491.
Published by Falls House
Press (PR.FH0491).
Velvet Flûte traversière et Piano Theodore Presser Co.
(For Alto Flute And Piano). Composed by Gary Schocker. For alto flute, piano. Co...(+)
(For Alto Flute And
Piano). Composed by Gary
Schocker. For alto flute,
piano. Contemporary. Solo
part with piano
reduction. Standard
Notation. Composed
October 08 2013. 8 pages.
Duration 4 minutes.
Theodore Presser Company
#114-41624. Published by
Theodore Presser Company
Crystal Flûte traversière et Piano [Partition] Boosey and Hawkes
For flute, alto flute and piano. By Michael Daugherty. Boosey and Hawkes Chamber...(+)
For flute, alto flute and
piano. By Michael
Daugherty. Boosey and
Hawkes Chamber Music.
Softcover. Size 9x12
inches. 16 pages.
Published by Boosey and
Hawkes.
Danny Boy and Irish Eyes for Alto Sax arranged by Jonathon Robbins. For alto sax...(+)
Danny Boy and Irish Eyes
for Alto Sax arranged by
Jonathon Robbins. For
alto sax solo and piano
accompaniment. Solo with
Accompaniment. Ethnic.
Score and solo part. Text
Language: English. 12
pages. Published by
Santorella Publications
Flute, piano SKU: FG.55011-591-0 Composed by Kalevi Aho. Solo part, piano...(+)
Flute, piano
SKU:
FG.55011-591-0
Composed by Kalevi Aho.
Solo part, piano
reduction. Fennica
Gehrman #55011-591-0.
Published by Fennica
Gehrman (FG.55011-591-0).
ISBN
9790550115910.
Kale
vi Aho's (b. 1949) Flute
Concerto (2002) was
initially inspired by the
magnificent, enigmatic
poetry of the Swede Tomas
Transtromer, but the
vocal ideas nevertheless
adapted themselves to the
flute. There is lots of
singing, lyrical music at
the beginning and end of
this three-movement work;
the second movement, by
contrast, is quick and
brilliant. The finale
follows from the second
movement without a break,
constituting an epilogue
that draws all the
threads together and
brings the events to a
close. This is one of the
most beautiful works Aho
has ever written. The
virtuosic solo part is
written for flute and
alto flute, and Kari
Vehmanen has created the
piano reduction in 2019.
The orchestral study
score (ISMN
9790550096349) is
available for sale and
the orchestral material
for hire.
Flute, piano (solo: fl - 0.0.0.2.dble bsn - 3.3.0.0. - timp.perc(3) - hp - str) ...(+)
Flute, piano (solo: fl -
0.0.0.2.dble bsn -
3.3.0.0. - timp.perc(3) -
hp - str)
SKU:
BR.EB-8912
Dances
with the Winds.
Composed by Einojuhani
Rautavaara. Solo
instruments; stapled.
Edition Breitkopf.
World premiere:
Stockholm, May 4,
1974
Solo concerto;
Music post-1945. Piano
reduction. 40 pages.
Duration 21'. Breitkopf
and Haertel #EB 8912.
Published by Breitkopf
and Haertel (BR.EB-8912).
ISBN 9790004185780. 9
x 12 inches.
The
flute concerto 'Dances
with the Winds' was
composed in 1974 for the
Swedish flautist Gunilla
von Bohr, a specialist in
all members of the flute
family. The ordinary
flute thus alternates
with a bass flute at the
beginning and end of the
four-movement concerto,
the second movement is
assigned to the shrill
piccolo and the third to
the sensuous alto flute.
The last movement is a
summary of all the
musical events in the
concerto. At the end the
bass flute soars to the
top of its register, the
note D acting as the
pivot to many of the
symmetries in the work,
against a resigned B flat
minor chord on the
orchestra. (Einojuhani
Rautavaara) CD: Patrick
Gallois (flute), Helsinki
Philharmonic Orchestra,
cond. Leif Segerstam ODE
921-2
World
premiere: Stockholm, May
4, 1974 Additional to the
original scoring for
flute, piccolo, alto
flute, and bass flute,
the flute part in the
piano reduction contains
ossias for alto flute
instead of the bass
flute.
Flute SKU: M7.EMS-6131 OLONS, ALTO ET PIANO AVEC TOUTES PARTIES SEPARE...(+)
Flute
SKU:
M7.EMS-6131
OLONS,
ALTO ET PIANO AVEC TOUTES
PARTIES SEPAREES.
Composed by Arthur
Honegger. Sheet music.
MDS (Music Distribution
Services) #EMS 6131.
Published by MDS (Music
Distribution Services)
(M7.EMS-6131).
(Traditional Carols with a Popular Twist). Composed by Ed Hogan. Brass solo. For...(+)
(Traditional Carols with
a Popular Twist).
Composed by Ed Hogan.
Brass solo. For trumpet,
piano. Creative Carols.
Christmas. Moderate.
Published by Lillenas
Publishing Company