(C Edition) For voice and C instrument. Format: fakebook. With vocal melody, lyr...(+)
(C Edition) For voice and
C instrument. Format:
fakebook. With vocal
melody, lyrics and chord
names. Series: Hal
Leonard Fake Books. 856
pages. 9x12 inches.
Published by Hal Leonard.
Piano seul [Partition] - Intermédiaire Hal Leonard
Transcribed by Paul Posnak, performed by Thomas "Fats" Waller. For piano. Format...(+)
Transcribed by Paul
Posnak, performed by
Thomas "Fats" Waller. For
piano. Format: piano solo
songbook. With
introductory text.
Ragtime and jazz. 120
pages. 9x12 inches.
Published by Hal Leonard
(Newly Composed Fiddle Tunes). Edited by Paul Stewart Cranford. For Fiddle and V...(+)
(Newly Composed Fiddle
Tunes). Edited by Paul
Stewart Cranford. For
Fiddle and Violin.
Transcribed Solos.
Cranford Publications.
Fiddle Tunes.
Intermediate. Book/CD
Set. 112 pages
Fakebook for Eb instrument and voice. With vocal melody, lyrics and leadsheet no...(+)
Fakebook for Eb
instrument and voice.
With vocal melody, lyrics
and leadsheet notation.
Series: Hal Leonard Fake
Books. 448 pages.
Published by Hal Leonard.
Bass Guitar SKU: BT.PB1280 Composed by Francis Darizcuren. Jazz. Book wit...(+)
Bass Guitar
SKU:
BT.PB1280
Composed by
Francis Darizcuren. Jazz.
Book with CD. 50 pages.
Paul Beuscher #PB1280.
Published by Paul
Beuscher (BT.PB1280).
French.
A Night
in Tunisia - All Blues -
Amazing Grace - C'est si
bon - Caravan - I Will
Survive - Les Feuilles
mortes - Nuages - Saint
Thomas - Satin Doll - So
What - Le Sud - Sweet
Home Chicago - Take Five
- La Vie en rose.
Chamber Music English Horn, Oboe SKU: CF.WF229 15 Pieces for Oboe and ...(+)
Chamber Music English
Horn, Oboe
SKU:
CF.WF229
15 Pieces
for Oboe and English
Horn. Composed by
Gustave Vogt. Edited by
Kristin Jean Leitterman.
Collection - Performance.
32+8 pages. Carl Fischer
Music #WF229. Published
by Carl Fischer Music
(CF.WF229).
SKU: HL.49044677 German Text. Composed by Carl Orff. Edited by Tho...(+)
SKU: HL.49044677
German Text.
Composed by Carl Orff.
Edited by Thomas Roesch.
This edition:
Hardback/Hard Cover.
Book. Edition Schott.
>>Text, Musik, Szene -
Das Musiktheater von Carl
Orff<< lautet der Titel
eines Symposiums, das
2007 anlasslich des 25.
Todesjahres Carl Orffs
vom Orff-Zentrum Munchen
in Zusammenarbeit mit dem
Musikwissenschaftlichen
Seminar der Freien
Universitat Berlin.
Classical Reference,
German Edition.
Hardcover. 324 pages.
Schott Music #ED20654.
Published by Schott Music
(HL.49044677).
ISBN
9783795706722.
7.0x9.75x0.827 inches.
German.
Uber die
Carmina Burana hinaus
sind die Buhnenwerke von
Carl Orff - darunter die
gewichtigen Opern nach
antiken Stoffen und das
endzeitliche De temporum
fine comoedia - nach wie
vor zu entdecken.
Interdisziplinar
beleuchtet werden
Entstehungs- und
Wirkungsgeschichte,
Asthetik, Satztechnik,
Dramaturgie,
Inszenierungsstile und
Instrumententarium bis
hin zur
Kommerzialisierung von
Orffs Musik in der
Werbung.
German Voice - intermediate SKU: HL.49045673 Voice and Piano. Comp...(+)
German Voice -
intermediate
SKU:
HL.49045673
Voice
and Piano. Composed
by Georg Kreisler. Edited
by Barbara
Kreisler-Peters and
Thomas A. Schneider. This
edition: Paperback/Soft
Cover. Sheet music. Vocal
Solo. Classical.
Softcover. 192 pages.
Schott Music #ED22741.
Published by Schott Music
(HL.49045673).
ISBN
9783795711917. UPC:
841886031548.
9.0x12.0x0.555 inches.
German.
Volume 6 of
the most beloved lieder
and chansons by the
exceptional artist from
Austria.
For C instrument and voice. Format: fakebook (spiral bound). With chord names, v...(+)
For C instrument and
voice. Format: fakebook
(spiral bound). With
chord names, vocal melody
and lyrics. Jazz. Series:
Hal Leonard Fake Books.
448 pages. 9x12 inches.
Published by Hal Leonard.
Guitar - Intermediate SKU: MB.31129M Saddle-stitched, World. Folk. Book a...(+)
Guitar - Intermediate
SKU: MB.31129M
Saddle-stitched, World.
Folk. Book and online
audio. Mel Bay
Publications, Inc
#31129M. Published by Mel
Bay Publications, Inc
(MB.31129M).
ISBN
9781513476896. 8.75X11.75
inches.
The name of
this book is no
exaggeration. It includes
some of the most gorgeous
music that the authors El
McMeen and Sandy Shalk
know. To make things even
more interesting, none of
the music was originally
written for guitar.In
addition to Celtic
favorites, El includes
his arrangements of two
of the most beautiful
arias in all of opera:
Che Gelida Manina from
Puccinis La Boheme and My
Heart at Thy Sweet Voice
ôMon Coeur Souvre ? ta
Voixö from Samson and
Delilah by Camille
Saint-Sa?ns. Sandys
contributions range from
Celtic to French love
songs to Stephen Foster,
manifesting Sandys gift
for chordal subtleties
and innovation.Each piece
is in either standard
tuning EADGBE or Drop D
tuning DADGBE .Written in
standard notation and
tablature with computer
generated audio files of
each arrangement.
SKU: GI.G-10580 Philosopher and Practitioner in Dialogue. Composed...(+)
SKU: GI.G-10580
Philosopher and
Practitioner in
Dialogue. Composed by
William Perrine. Music
Education. 430 pages. GIA
Publications #10580.
Published by GIA
Publications
(GI.G-10580).
ISBN
9781622776375.
Cont
ributors: Travis J. Cross
(University of
California–Los
Angeles) • David J.
Elliott (New York
University) •
Marissa Silverman
(Montclair State
University) • Jacob
Wallace (South Dakota
State University) •
Randall Everett Allsup
(Teachers College,
Columbia University)
• Cynthia Johnston
Turner (Wilfrid Laurier
University) •
Carolyn Barber
(University of
Nebraska-Lincoln) •
John Kratus (Independent
Scholar) • Vincent
C. Bates (Weber State
University) •
Thomas G. Warner, Jr.
(North Carolina
Agricultural and
Technical State
University) • Ben
Hawkins (Transylvania
University) •
Thomas A. Regelski (SUNY
Fredonia School of Music,
Helsinki University of
Finland) • Paul
Woodford (Western
University) •
Charles Peltz (New
England Conservatory of
Music) In the wind band
profession—as in
every great
discipline—it is
critical to take stock in
the big questions about
where we are heading, and
why, as we move through
the twenty-first century.
This thought-provoking
book contains seven
high-level exchanges
between a leading wind
band practitioner and a
music education
philosopher. Each section
of The Future of the Wind
Band grapples with the
most profound issues
facing the music
education profession and
the path of instrumental
music education in our
schools: Relevance: What
relevance, if any, does
the wind band have both
to today’s
students and to culture
more broadly in the
twenty-first century?
What relevance does the
band experience hold for
students’ everyday
life? Repertoire: What is
the relationship between
the repertoire performed
by wind ensembles and the
larger musical world?
Pedagogy: What
constitutes best practice
in terms of musical
pedagogy and rehearsal
technique within the
large-ensemble
experience? Creativity:
Can the wind band
function as a vehicle for
enhancing the individual
creativity of its
members? Economic
Justice: How do issues of
social class and the
distribution of wealth
relate to broader
questions of social
justice within the
context of instrumental
music education?
Professional Ethics: What
are the primary ethical
responsibilities of the
wind band conductor?
Democratic Citizenship:
What relationship, if
any, can be drawn between
membership in the wind
band and citizen
participation in
democracy? Such exchanges
can only strengthen our
profession and pay rich
dividends in our musical
and educational work with
the students we serve.
Editor of this book,
William (Bill) M. Perrine
is Associate Professor of
Music and Director of
Instrumental Activities
at Concordia University
in Ann Arbor, Michigan,
where he directs the wind
ensemble, marching band,
and community
orchestra.
20 iconic pieces of British classical music specially arranged for intermediat...(+)
20 iconic pieces of
British
classical music specially
arranged for intermediate
piano solo, plus a
pull-out
print of the striking
cover
artwork. Graded Standard
Repertoire; Piano
Collection.
The Piano Player Series.
Classical; Masterwork
Arrangement; Traditional.
Book. Faber Music #12-
0571541690. Published by
Faber
Music
Kontrabass und Klavier SKU: HG.GH-11772 Bearbeitungen fur Kontrabass u...(+)
Kontrabass und Klavier
SKU: HG.GH-11772
Bearbeitungen fur
Kontrabass und Klavier
von leicht bis II.
Lage. Composed by
Thomas Grossmann. Noten
inklusive Audio-Download.
Hug Musikverlage #GH
11772. Published by Hug
Musikverlage
(HG.GH-11772).
ISBN
9790202825167.
Im
Ensemblespiel ubernimmt
der Kontrabassist
meistens die tiefste
Begleitstimme. Nur selten
bekommt er die
Gelegenheit, die Melodie
zu ubernehmen. Die
vorliegenden Play Alongs
ermoglichen es nun dem
Kontrabassisten, im
tiefen Register bekannte
Titel der popularen Musik
des 20. Jahrhunderts zu
spielen. Man findet hier
Songs von Interpreten wie
Joan Baez, Johnny Cash,
Ray Charles, Joe Cocker,
Phil Collins, Bill Haley,
Cyndi Lauper, Marius
Muller-Westernhagen,
Peter, Paul and Mary,
Elvis Presley, Heinz
Ruhmann, Rod Stewart oder
Neil Young. Auch
Jazz-Titel, die durch
Louis Armstrong, Miles
Davis, Doris Day, Tommy
Dorsey, Duke Ellington,
Stephane Grappelli, Diana
Krall, Glenn Miller, das
Modern Jazz Quartet,
Frank Sinatra und Stevie
Wonder bekannt wurden,
sind vertreten. Die
Ausgabe umfasst
zahlreiche Bearbeitungen
fur Kontrabass, die zu
farbenfroh
instrumentierten Play
Alongs gespielt werden
konnen. In den
Demoversionen ist
zusatzlich die
Kontrabass-Stimme zu
horen. Die Audiodateien
konnen mit dem
Download-Code
heruntergeladen werden.
Wer gerne gemeinsam mit
dem Klavier musiziert,
findet die Noten der
Begleitungen im
Hauptheft. Begonnen wird
jeweils mit dem
Tonmaterial, das sich
sowohl in der 1/2 Lage
als auch in der I. Lage
spielen lasst. Es wird
nach und nach erweitert.
So konnen sowohl Anfanger
als auch Fortgeschrittene
das Spiel im tiefen
Register erproben.
Composed by Various. Edited by David Wordsworth. For Choral (SATB). Choral. Soft...(+)
Composed by Various.
Edited by David
Wordsworth. For Choral
(SATB). Choral.
Softcover. 192 pages.
Novello and Co Ltd.
#NOV164681. Published by
Novello and Co Ltd.
Choral SA choir, piano SKU: CF.CM9576 1. Who Robbed the Woods 2. Cool ...(+)
Choral SA choir, piano
SKU: CF.CM9576
1. Who Robbed the
Woods 2. Cool is the
Valley Now. Composed
by Paul David Thomas.
Sws. Performance Score.
16 pages. Carl Fischer
Music #CM9576. Published
by Carl Fischer Music
(CF.CM9576).
ISBN
9781491153987. UPC:
680160912483. 6.875 x
10.5 inches. Key: G
minor. English. Emily
Dickinson (1830-1886) ,
Walt Whitman
(1819-1892).
The
two pieces, Who Robbed
the Woods? and O Cool is
the Valley Now, combine
to create a set that both
explores the subtle
beauty, serenity,
fragility, and resiliency
of nature and examines
our relationship to the
natural world around us.
The first song combines a
short poem by Emily
Dickinson with a journal
entry excerpt by Walt
Whitman entitled The
Lesson of the Tree.
Only two stanzas in
length, Dickinsons poem
considers the ways in
which people use and
exploit trees for their
own purposes and asks, on
the trees behalf, who
would do such a thing?
Whitman ponders a trees
silent majesty and power
and its ability to be yet
say nothing at all. The
musical setting begins
and ends in the mode of
G-Dorian while moving
briefly in the middle
section to Bb major. The
Dorian mode, similar to
the natural minor but
with a raised sixth scale
degree, possesses a
mysterious and whimsical
sound, fitting for a poem
that considers the
possibility of talking
trees. The accents and
syncopation of the piano
accompaniment should be
carefully observed, with
particular attention paid
to the syncopation found
in gestures occurring in
mm. 712. The beginning
a cappella
section should be hushed
yet intense; a richer,
fuller sound may be
brought out in the middle
section where the key
shifts to Bb major and
the choir sings of the
many noble qualities of
trees (mm. 3953). O Cool
is the Valley Now also
makes use of a modal
scale. Set primarily in D
Mixolydian, similar to D
major but with a lowered
seventh scale degree,
this modes lack of a
leading tone gives the
melody a folk-tune
quality. The piano should
at all times remain
legato and flowing, its
ascending and descending
gestures, found in mm.
910, imitating the
rolling hills and valleys
evoked in the text. The
phrases of the vocal
lines should also be
flowing and carefully
shaped. Additional rubato
and dynamic subtleties
may be added to
accentuate any number of
the suspensions and
dissonances that occur,
especially on p.
14. The two pieces,
aWho Robbed the Woods?a
and aO Cool is the Valley
Now,a combine to create a
set that both explores
the subtle beauty,
serenity, fragility, and
resiliency of nature and
examines our relationship
to the natural world
around us. The first song
combines a short poem by
Emily Dickinson with a
journal entry excerpt by
Walt Whitman entitled
The Lesson of the
Tree. Only two
stanzas in length,
Dickinsonas poem
considers the ways in
which people use and
exploit trees for their
own purposes and asks, on
the treesa behalf, who
would do such a thing?
Whitman ponders a treeas
silent majesty and power
and its ability to be
ayet say nothing at all.a
The musical setting
begins and ends in the
mode of G-Dorian while
moving briefly in the
middle section to Bb
major. The Dorian mode,
similar to the natural
minor but with a raised
sixth scale degree,
possesses a mysterious
and whimsical sound,
fitting for a poem that
considers the possibility
of talking trees. The
accents and syncopation
of the piano
accompaniment should be
carefully observed, with
particular attention paid
to the syncopation found
in gestures occurring in
mm. 7a12. The beginning
a cappella
section should be hushed
yet intense; a richer,
fuller sound may be
brought out in the middle
section where the key
shifts to Bb major and
the choir sings of the
many noble qualities of
trees (mm. 39a53). O Cool
is the Valley NowA also
makes use of a modal
scale. Set primarily in D
Mixolydian, similar to D
major but with a lowered
seventh scale degree,
this modeas lack of a
leading tone gives the
melody a folk-tune
quality. The piano should
at all times remain
legato and flowing, its
ascending and descending
gestures, found in mm.
9a10, imitating the
rolling hills and valleys
evoked in the text. The
phrases of the vocal
lines should also be
flowing and carefully
shaped. Additional rubato
and dynamic subtleties
may be added to
accentuate any number of
the suspensions and
dissonances that occur,
especially on p.
14. The two pieces,
aWho Robbed the Woods?a
and aO Cool is the Valley
Now,a combine to create a
set that both explores
the subtle beauty,
serenity, fragility, and
resiliency of nature and
examines our relationship
to the natural world
around us. The first song
combines a short poem by
Emily Dickinson with a
journal entry excerpt by
Walt Whitman entitled
The Lesson of the
Tree. Only two
stanzas in length,
Dickinsonas poem
considers the ways in
which people use and
exploit trees for their
own purposes and asks, on
the treesa behalf, who
would do such a thing?
Whitman ponders a treeas
silent majesty and power
and its ability to be
ayet say nothing at all.a
The musical setting
begins and ends in the
mode of G-Dorian while
moving briefly in the
middle section to Bb
major. The Dorian mode,
similar to the natural
minor but with a raised
sixth scale degree,
possesses a mysterious
and whimsical sound,
fitting for a poem that
considers the possibility
of talking trees. The
accents and syncopation
of the piano
accompaniment should be
carefully observed, with
particular attention paid
to the syncopation found
in gestures occurring in
mm. 7a12. The beginning
a cappella
section should be hushed
yet intense; a richer,
fuller sound may be
brought out in the middle
section where the key
shifts to Bb major and
the choir sings of the
many noble qualities of
trees (mm. 39a53). O Cool
is the Valley NowA also
makes use of a modal
scale. Set primarily in D
Mixolydian, similar to D
major but with a lowered
seventh scale degree,
this modeas lack of a
leading tone gives the
melody a folk-tune
quality. The piano should
at all times remain
legato and flowing, its
ascending and descending
gestures, found in mm.
9a10, imitating the
rolling hills and valleys
evoked in the text. The
phrases of the vocal
lines should also be
flowing and carefully
shaped. Additional rubato
and dynamic subtleties
may be added to
accentuate any number of
the suspensions and
dissonances that occur,
especially on p.
14. The two pieces,
Who Robbed the Woods? and
O Cool is the Valley Now,
combine to create a set
that both explores the
subtle beauty, serenity,
fragility, and resiliency
of nature and examines
our relationship to the
natural world around us.
The first song combines a
short poem by Emily
Dickinson with a journal
entry excerpt by Walt
Whitman entitled The
Lesson of the Tree.
Only two stanzas in
length, Dickinson's poem
considers the ways in
which people use and
exploit trees for their
own purposes and asks, on
the trees' behalf, who
would do such a thing?
Whitman ponders a tree's
silent majesty and power
and its ability to be yet
say nothing at all. The
musical setting begins
and ends in the mode of
G-Dorian while moving
briefly in the middle
section to Bb major. The
Dorian mode, similar to
the natural minor but
with a raised sixth scale
degree, possesses a
mysterious and whimsical
sound, fitting for a poem
that considers the
possibility of talking
trees. The accents and
syncopation of the piano
accompaniment should be
carefully observed, with
particular attention paid
to the syncopation found
in gestures occurring in
mm. 7-12. The beginning
a cappella
section should be hushed
yet intense; a richer,
fuller sound may be
brought out in the middle
section where the key
shifts to Bb major and
the choir sings of the
many noble qualities of
trees (mm. 39-53). O Cool
is the Valley Now also
makes use of a modal
scale. Set primarily in D
Mixolydian, similar to D
major but with a lowered
seventh scale degree,
this mode's lack of a
leading tone gives the
melody a folk-tune
quality. The piano should
at all times remain
legato and flowing, its
ascending and descending
gestures, found in mm.
9-10, imitating the
rolling hills and valleys
evoked in the text. The
phrases of the vocal
lines should also be
flowing and carefully
shaped. Additional rubato
and dynamic subtleties
may be added to
accentuate any number of
the suspensions and
dissonances that occur,
especially on p.
14. The two pieces,
Who Robbed the Woods? and
O Cool is the Valley Now,
combine to create a set
that both explores the
subtle beauty, serenity,
fragility, and resiliency
of nature and examines
our relationship to the
natural world around us.
The first song combines a
short poem by Emily
Dickinson with a journal
entry excerpt by Walt
Whitman entitled The
Lesson of the Tree. Only
two stanzas in length,
Dickinson's poem
considers the ways in
which people use and
exploit trees for their
own purposes and asks, on
the trees' behalf, who
would do such a thing?
Whitman ponders a tree's
silent majesty and power
and its ability to be yet
say nothing at all. The
musical setting begins
and ends in the mode of
G-Dorian while moving
briefly in the middle
section to Bb major. The
Dorian mode, similar to
the natural minor but
with a raised sixth scale
degree, possesses a
mysterious and whimsical
sound, fitting for a poem
that considers the
possibility of talking
trees. The accents and
syncopation of the piano
accompaniment should be
carefully observed, with
particular attention paid
to the syncopation found
in gestures occurring in
mm. 7-12. The beginning a
cappella section should
be hushed yet intense; a
richer, fuller sound may
be brought out in the
middle section where the
key shifts to Bb major
and the choir sings of
the many noble qualities
of trees (mm. 39-53). O
Cool is the Valley Now
also makes use of a modal
scale. Set primarily in D
Mixolydian, similar to D
major but with a lowered
seventh scale degree,
this mode's lack of a
leading tone gives the
melody a folk-tune
quality. The piano should
at all times remain
legato and flowing, its
ascending and descending
gestures, found in mm.
9-10, imitating the
rolling hills and valleys
evoked in the text. The
phrases of the vocal
lines should also be
flowing and carefully
shaped. Additional rubato
and dynamic subtleties
may be added to
accentuate any number of
the suspensions and
dissonances that occur,
especially on p.
14. The two pieces,
“Who Robbed the
Woods?†and
“O Cool is the
Valley Now,â€
combine to create a set
that both explores the
subtle beauty, serenity,
fragility, and resiliency
of nature and examines
our relationship to the
natural world around
us.The first song
combines a short poem by
Emily Dickinson with a
journal entry excerpt by
Walt Whitman entitled The
Lesson of the Tree. Only
two stanzas in length,
Dickinson’s poem
considers the ways in
which people use and
exploit trees for their
own purposes and asks, on
the trees’ behalf,
who would do such a
thing? Whitman ponders a
tree’s silent
majesty and power and its
ability to be “yet
say nothing at
all.â€The musical
setting begins and ends
in the mode of G-Dorian
while moving briefly in
the middle section to Bb
major. The Dorian mode,
similar to the natural
minor but with a raised
sixth scale degree,
possesses a mysterious
and whimsical sound,
fitting for a poem that
considers the possibility
of talking trees. The
accents and syncopation
of the piano
accompaniment should be
carefully observed, with
particular attention paid
to the syncopation found
in gestures occurring in
mm. 7–12. The
beginning a cappella
section should be hushed
yet intense; a richer,
fuller sound may be
brought out in the middle
section where the key
shifts to Bb major and
the choir sings of the
many noble qualities of
trees (mm.
39–53).O Cool is
the Valley Now also
makes use of a modal
scale. Set primarily in D
Mixolydian, similar to D
major but with a lowered
seventh scale degree,
this mode’s lack
of a leading tone gives
the melody a folk-tune
quality. The piano should
at all times remain
legato and flowing, its
ascending and descending
gestures, found in mm.
9–10, imitating
the rolling hills and
valleys evoked in the
text. The phrases of the
vocal lines should also
be flowing and carefully
shaped. Additional rubato
and dynamic subtleties
may be added to
accentuate any number of
the suspensions and
dissonances that occur,
especially on p. 14.