Compiled by Amy Appleby and Peter Pickow. Spiral-bound book. 240 pages. Publish...(+)
Compiled by Amy Appleby
and Peter Pickow.
Spiral-bound book. 240
pages. Published by Music
Sales. (AM948850)
Pound for pound, one of
the best deals around.
114 selections in
piano/vocal/guitar chord
format. A collection of
the world's best
lovedChristmas music for
the holiday season. Songs
are categorized into 11
sections-from night
before Christmas through
carols for the new year.
(Leadsheets for Performance and Personal Enjoyment). Composed by David Mcdonald....(+)
(Leadsheets for
Performance and Personal
Enjoyment). Composed by
David Mcdonald. For voice
solo. Sacred Vocal.
Published by Lillenas
Publishing Company
Edited by Amy Appleby, Liz Seelhoff Byrum. For voice and piano. Format: piano/vo...(+)
Edited by Amy Appleby,
Liz Seelhoff Byrum. For
voice and piano. Format:
piano/vocal/chords
songbook (spiral bound).
With vocal melody, piano
accompaniment, lyrics,
chord names,
illustrations and
introductory text.
Children's and Folk. 240
pages. 9x12 inches.
Published by Music Sales.
Piano - intermediate SKU: BT.DHP-1175849-401 20 great songs and themes...(+)
Piano - intermediate
SKU:
BT.DHP-1175849-401
20 great songs and
themes arranged for piano
solo.
TV-Film-Musical-Show.
Book Only. Composed 2017.
76 pages. De Haske
Publications #DHP
1175849-401. Published by
De Haske Publications
(BT.DHP-1175849-401).
ISBN 9789043153881.
International.
Are
you an enthusiastic
cinema-goer? Then many of
the melodies and themes
in this collection will
be familiar to you: they
are soundtracks to some
of the great classics
from the world of film.
If youâ??ve had just a
few years of study on the
pianoyouâ??ll be able to
enjoy these wonderful
pieces.
Ga je
graag naar de bioscoop?
Dan zullen de
melodieën en
themaâ??s uit deze
selectie je zeker bekend
voorkomen: ze zijn
afkomstig uit de
soundtracks van een
aantal van de grootste
filmklassiekers aller
tijden. Wie slechts een
paar jaar
pianolessenheeft gevolgd,
kan deze prachtige
filmmuziek nu zelf
spelen. De bewerkingen
zijn van een gemiddelde
moeilijkheidsgraad en
blijven heel dicht bij de
originele stukken, zodat
je ze meteen
herkent!
Sie sind
begeisterter
Kinogänger? Dann
werden Ihnen mit
Sicherheit viele der in
diesem Band versammelten
Melodien und Themen
bekannt vorkommen: Sie
entstammen den
Soundtracks zu einigen
der grö�ten
Filmklassiker aller
Zeiten. Mit ein paar
JahrenUnterrichts- bzw.
Spielerfahrung auf dem
Klavier können Sie
diese wunderbaren
Filmmusiken nun selbst
nachspielen. Die
Bearbeitungen sind im
mittleren
Schwierigkeitsgrad
gehalten und orientieren
sich klanglich eng an den
Originalen, sodass Sie
sorecht in Erinnerungen
schwelgen
können.
Piano, Vocal and Guitar SKU: HL.14021542 Composed by Debbie Campbell. Mus...(+)
Piano, Vocal and Guitar
SKU: HL.14021542
Composed by Debbie
Campbell. Music Sales
America. Musical
Education. Book
[Softcover]. Composed
2015. 16 pages. Music
Sales #GA11091. Published
by Music Sales
(HL.14021542).
ISBN
9780711975668.
English.
Minibeast
Madness takes a humorous
and delightfully
appealing look at a bug's
life, as fiesta guests
gather in the garden on
midsummer's night. The
ten new songs from Debbie
Campbell will both amuse
and provide excellent new
repertoire for young
singers.Minibeast Madness
can be performed as a
musical or concert piece
and is ideal for use with
conservation projects.
Approximate duration as a
musical is 45mins. The
musical suits Key Stages
2 and 3, but also has
parts which can be taken
by younger children, and
is appropriate for whole
primary school
productions. This pupil's
book contains the script
for the play and songs.
If you need to license a
school/youth theatre
performance of this
product, please use the
online application form.
Related title: Minibeast
Madness! (Teacher's
Book).
Piano, Vocal and Guitar SKU: HL.14021541 By Alison Hedger. By Debbie Camp...(+)
Piano, Vocal and Guitar
SKU: HL.14021541
By Alison Hedger. By
Debbie Campbell. Music
Sales America. Musicals.
Cassette. Composed 2015.
Golden Apple Productions
#GA11092. Published by
Golden Apple Productions
(HL.14021541).
English.
Minibea
st Madness takes a
humorous and delightfully
appealing look at a bug's
life, as fiesta guests
gather in the garden on
midsummer's night. The
ten new songs from Debbie
Campbell will both amuse
and provide excellent new
repertoire for young
singers.Minibeast Madness
can be performed as a
musical or concert piece
and is ideal for use with
conservation projects.
Approximate duration as a
musical is 45mins. The
musical suits Key Stages
2 and 3, but also has
parts which can be taken
by younger children, and
is appropriate for whole
primary school
productions. If you need
to license a school/youth
theatre performance of
this product, please use
the online application
form.
SKU: PR.16400212S Composed by Dan Welcher. With Standard notation. Durati...(+)
SKU: PR.16400212S
Composed by Dan Welcher.
With Standard notation.
Duration 16 minutes.
Theodore Presser Company
#164-00212S. Published by
Theodore Presser Company
(PR.16400212S).
UPC:
680160037605.
Works
of chamber music
including flute and
strings are not nearly as
numerous as those for
clarinet, or even the
oboe. Probably the reason
for this is the less
assertive, more pure tone
the flute possesses - it
can't compete for volume
or range with the
clarinet, except in its
top octave, and the
oboe's tone is more
penetrating and easily
discerned from within a
string texture.
Consequently, composers
who have written for
flute and strings have
done so in lightweight
divertimento works:
compare, for instance,
the delicate flute
quartets of Mozart with
his monumental quintet
for clarinet and strings.
When Karl and Joan
Karber approached me with
the ideas of writing a
work for flute and string
trio, I originally
thought it would be best
to write a humorous,
rather offhand piece -
but a look at their
repertoire (mostly
comprised of smaller
works of the Rococo
period) convinced me that
it was the last thing
they needed. In spite of
the challenge (or maybe
because of it?), I
determined to write a
large work, and a serious
work. Zephyrus (named for
the God of the West Wind,
in deference to the
flute) is a
three-movement work, with
each movement cast in a
very different form, but
all three being built of
the same twelve-note
series. There is also a
rhythmic motive and a
pair of themes that
appear in all three
movements. The
first movement plays with
the idea of contrast and
persuasion. The flute, at
the outset, is the
hell-for-leather
protagonist, charging and
swooping around the
strings - who seem oddly
unconcerned by his
passion. Indeed, they
have a more somber song
to sing - and as the
movement unfolds, the
flute becomes less and
less active, while the
strings become
increasingly enlivened.
By the midpoint, when all
four instruments are
finally in the same meter
and the same tempo, the
flute's energy has
finally infected the
other three players, and
this energy does not let
up until the movement's
abrupt final cadence.
The second
movement begins with a
tag from the first - as
if the energy left over
was too great to simply
stop. At length, though,
a very poignant flute
melody appears over an
almost bluesy harmony in
the strings. After this
has been fully exposed, a
slight increase in
motion, marked gently
rocking in triplets,
features a theme-fragment
from Leonard Bernstein's
Symphony No. 2 (Kaddish).
Bernstein died as I was
writing this work, and it
seemed quite natural to
encourage what was
already implicit in the
music, and create an
Elegy for L.B. The music
rises and peaks, then in
the recapitulation of the
opening the Kaddish theme
reappears, as the
ensemble suggests a
gentle song of sleep.
The final movement
is a Rondo-Variations
form, with the slight
alteration of adding the
main theme of the second
movement in what would be
the trio of the form. The
ritornello theme is a
kind of ethnic dance
music, almost an allusion
to the Klezmer ensembles
of Eastern Europe. The
successive episodes
between the ritornelli
are loosely organized
variations on the basic
theme, but always
beginning with a metric
modulation, a rhythmic
changing of gears. The
movement reaches and apex
of speed and furious
pulsing, then abruptly
pirouttes, and finishes.
Zephyrus was
written between April and
November of 1990 in
Austin, Aspen, and
Honolulu, and is
dedicated to Karl Kraber
and The Chamber Soloists
of Austin. --Dan
Welcher.
For voice and piano. Format: easy piano/vocal/chords songbook. With vocal melody...(+)
For voice and piano.
Format: easy
piano/vocal/chords
songbook. With vocal
melody, piano
accompaniment, lyrics and
chord names. Christmas
and holiday. 268 pages.
9x12 inches. Published by
Hal Leonard.
By Various. Piano/Vocal/Chords Songbook (Arrangements for piano and voice with g...(+)
By Various.
Piano/Vocal/Chords
Songbook (Arrangements
for piano and voice with
guitar chords).
Softcover. Size 9x12
inches. 272 pages.
Published by Hal Leonard.
E-Z Play Today (Easy big-note right-hand-only arrangements for piano, organ, and...(+)
E-Z Play Today (Easy
big-note right-hand-only
arrangements for piano,
organ, and electronic
keyboard). Size 9x12
inches. 256 pages.
Published by Hal Leonard.
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).
Composed by Gerald Near (1942-). For organ. Chant-Based. Catholic Sequences, Com...(+)
Composed by Gerald Near
(1942-). For organ.
Chant-Based. Catholic
Sequences, Complete Mass,
Pentecost, Trinity,
Communion. Medium.
Published by Aureole
Editions
(1+1.1.2.1/2.2.1.0,perc,( 2 sax),str) SKU: TM.09024SET Arranged by Walthe...(+)
(1+1.1.2.1/2.2.1.0,perc,(
2 sax),str)
SKU:
TM.09024SET
Arranged
by Walther Lampe. Set
Type: D. Set of parts.
Published by Lucks Music
Library (TM.09024SET).
Introduction,
I'll Say She Does, I'm
Forever Blowing Bubbles,
My Chocolate Soldier,
Sammy Boy, You Cannot
Shake That Shimmie Here,
Old Sweetheart of Mine,
After All, Some Sunny
Day, Out of the East,
Finale. P/C in set.
Grade=MD.
Easy Piano Piano/Keyboard SKU: HL.282475 The New Decade Series. Co...(+)
Easy Piano Piano/Keyboard
SKU: HL.282475
The New Decade
Series. Composed by
Various. Easy Piano
Songbook. Standards.
Softcover. 360 pages.
Published by Hal Leonard
(HL.282475).
ISBN
9781540034328. UPC:
888680789190.
9.0x12.0x0.847
inches.
Music is
what helped many keep
their spirits up during
the Great Depression in
the 1930s. Here are 100
of the most memorable
songs of the decade
presented in easy piano
arrangements with lyrics.
Songs include: As Time
Goes By * Blue Moon *
Body and Soul *
Embraceable You * Georgia
on My Mind * The Glory of
Love * How Deep Is the
Ocean (How High Is the
Sky) * I Don't Know Why
(I Just Do) * I Got
Rhythm * I'll Be Seeing
You * In the Mood * The
Lady Is a Tramp * Love Is
Here to Stay * Mood
Indigo * My Funny
Valentine * The Nearness
of You * Over the Rainbow
* Sing, Sing, Sing *
Summertime * Thanks for
the Memory * The Very
Thought of You * The Way
You Look Tonight * and
more.