| The Hymn Fake Book - C Edition
Ligne De Mélodie, Paroles et Accords [Fake Book] - Facile Hal Leonard
For voice and C instrument. Format: fakebook (spiral bound). With vocal melody, ...(+)
For voice and C
instrument. Format:
fakebook (spiral bound).
With vocal melody,
lyrics, piano
accompaniment, chord
names and leadsheet
notation. Hymn. Series:
Hal Leonard Fake Books.
494 pages. 9x12 inches.
Published by Hal Leonard.
(3)$39.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Best Fake Book Ever - 5th Edition Instruments en Do [Fake Book] Hal Leonard
C Edition. Composed by Various. Fake Book. Broadway, Country, Jazz, Pop, Stand...(+)
C Edition. Composed by
Various. Fake Book.
Broadway,
Country, Jazz, Pop,
Standards.
Softcover. 802 pages.
Published by Hal Leonard
$49.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Ultimate Country Fake Book - 4th Edition
Fake Book [Fake Book] Hal Leonard
Fake Book (Includes melody line and chords). Size 9x12 inches. 568 pages. Publis...(+)
Fake Book (Includes
melody line and chords).
Size 9x12 inches. 568
pages. Published by Hal
Leonard.
(8)$55.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Best Fake Book Ever - C Edition - 3rd Edition
Fake Book [Fake Book] Hal Leonard
(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.
(14)$59.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Buskers Fake Book All Time Hit Piano seul Music Sales
| | |
| The Best Fake Book Ever - 2nd Edition - Eb Edition
Instruments en Mib [Fake Book] Hal Leonard
Fakebook for Eb instrument. With vocal melody, lyrics and chord names. Series: H...(+)
Fakebook for Eb
instrument. With vocal
melody, lyrics and chord
names. Series: Hal
Leonard Fake Books. 864
pages. Published by Hal
Leonard.
(2)$49.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Breathe [Conducteur et Parties séparées] - Avancé
For Concert Band and Prerecorded Soundscape. Composed by Alex Shapiro (1962-)...(+)
For Concert Band and
Prerecorded Soundscape.
Composed by Alex Shapiro
(1962-). Activist Music.
Concert. Softcover.
Duration
600 seconds. Published by
Activist Music
$260.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Ultimate Ukulele Fake Book Ukulele [Fake Book] Hal Leonard
Over 400 Songs to Strum and Sing. Composed by Various. Ukulele. Folk, Standard...(+)
Over 400 Songs to Strum
and
Sing. Composed by
Various.
Ukulele. Folk, Standards.
Softcover. 632 pages.
Published by Hal Leonard
$45.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Ultimate Ukulele Fake Book - Small Edition Ukulele [Fake Book] Hal Leonard
Over 400 Songs to Strum and Sing. By Various. Ukulele. Pop. Softcover. 632 pag...(+)
Over 400 Songs to Strum
and
Sing. By Various.
Ukulele.
Pop. Softcover. 632
pages.
Published by Hal Leonard
$39.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Semper Gratus - Facile Carl Fischer
Band Bass Clarinet, Bassoon, Bells, Chimes, Clarinet 1, Clarinet 2, Clarinet 3, ...(+)
Band Bass Clarinet,
Bassoon, Bells, Chimes,
Clarinet 1, Clarinet 2,
Clarinet 3, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Horn 1, Horn 2,
Mallet Percussion 1,
Mallet Percussion 2,
Mallet Percussion 3,
Marimba, Oboe, Percussion
1, Percussion 2 and more.
- Grade 3 SKU:
CF.CPS251 Composed by
Patrick Glenn Harper. Set
of Score and Parts.
28+8+8+4+8+8+8+4+4+4+4+4+
4+8+8+8+4+4+6+6+6+4+8+1+4
+2+2+12+2+8 pages.
Duration 4 minutes, 27
seconds. Carl Fischer
Music #CPS251. Published
by Carl Fischer Music
(CF.CPS251). ISBN
9781491159873. UPC:
680160918461. About
the Music Semper Gratus
is Latin for always
grateful. The piece was
written in honor of James
E. Champion, who taught
band for thirty-eight
years, twenty-five of
which were spent in
Florence, Alabama, where
he was my elementary
school and high school
band director. His bands
consistently achieved
superior ratings
throughout his career. He
holds
multi-decade-spanning
memberships in
professional music
education organizations,
continues to serve in
helping with Alabama
Bandmasters Association
events, and conducts and
performs in various
community bands and
ensembles. As my band
director at Bradshaw High
School, Mr. Champion
encouraged me to perform
one of my first
compositions, a clarinet
quartet, at solo/ensemble
festival. He taught his
students the fundamentals
of music, the technical
aspects of performance,
and exposed them to the
great standards of band
literature. But in doing
so, he also modeled
leadership, work-ethic,
good character, and
fostered the love of the
activity of band that led
me to choose music
education as a career.
And for that, I will
always be grateful.
Performance Notes
Measures 1-12: The
beginning of the piece
should be performed in a
majestic, fanfare-like
style. The woodwind cues
should only be used if
absolutely needed during
this section. Measures
41-58: The concert toms
should establish a
presence, but not
overpower the winds. The
triangle and woodblock
parts should be heard
distinctly over the
concert toms. A higher
pitched woodblock should
be used for this section.
(A set of claves could be
used in place of the
woodblock if desired.)
Measures 59-94: The
entirety of the middle
section should be played
in a rubato style to
maximize musical
expression, exaggerating
dynamics and ritardando
sections. The
quarter-note triplets in
the middle and low winds
should be emphasized at
m. 70. The molto
ritardando that begins at
m. 70 should be allowed
to build as long as
possible in m. 71 before
reaching the musical apex
of the middle section at
m. 72. At mm. 92-94,
depending on the size of
the ensemble, you may
want to limit the number
of players (or put one
per part) to achieve the
most delicate sound
possible. Measures
95-End: In mm. 99-107, be
sure that the eighth-note
running mallet parts are
heard as a background
texture, but do not
overpower the winds. In
mm. 114-115, the accents
on beats 2 and 4 in the
lower winds should be
exaggerated to contrast
the feel of the previous
four measures. In m. 118,
all winds should cut off
and breathe on beat two
for maximum impact on the
next three
measures. About the
MusicSemper Gratus is
Latin for “always
grateful.†The
piece was written in
honor of James E.
Champion, who taught band
for thirty-eight years,
twenty-five of which were
spent in Florence,
Alabama, where he was my
elementary school and
high school band
director. His bands
consistently achieved
superior ratings
throughout his career. He
holds
multi-decade-spanning
memberships in
professional music
education organizations,
continues to serve in
helping with Alabama
Bandmasters Association
events, and conducts and
performs in various
community bands and
ensembles. As my band
director at Bradshaw High
School, Mr. Champion
encouraged me to perform
one of my first
compositions, a clarinet
quartet, at solo/ensemble
festival. He taught his
students the fundamentals
of music, the technical
aspects of performance,
and exposed them to the
great standards of band
literature. But in
doing so, he also modeled
leadership, work-ethic,
good character, and
fostered the love of the
activity of band that led
me to choose music
education as a
career. And for that,
I will always be
grateful.Performance
NotesMeasures
1-12:Â Â The
beginning of the piece
should be performed in a
majestic, fanfare-like
style. The woodwind
cues should only be used
if absolutely needed
during this
section.Measures
41-58:Â Â The
concert toms should
establish a presence, but
not overpower the
winds.  The
triangle and woodblock
parts should be heard
distinctly over the
concert toms. A
higher pitched woodblock
should be used for this
section. (A set of
claves could be used in
place of the woodblock if
desired.)Â Measures
59-94:Â Â The
entirety of the middle
section should be played
in a rubato style to
maximize musical
expression, exaggerating
dynamics and ritardando
sections.  The
quarter-note triplets in
the middle and low winds
should be emphasized at
m. 70.  The molto
ritardando that begins at
m. 70 should be allowed
to build as long as
possible in m. 71 before
reaching the musical apex
of the middle section at
m. 72. At mm.
92–94, depending
on the size of the
ensemble, you may want to
limit the number of
players (or put one per
part) to achieve the most
delicate sound
possible.Measures
95-End:Â Â In mm.
99–107, be sure
that the eighth-note
running mallet parts are
heard as a background
texture, but do not
overpower the winds. In
mm. 114–115, the
accents on beats 2 and 4
in the lower winds should
be exaggerated to
contrast the feel of the
previous four measures.
 In m. 118, all winds
should cut off and
breathe on beat two for
maximum impact on the
next three measures. $90.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Teen Broadway Songs of the 2010s - Young Women's Edition Piano, Voix [Partition + Accès audio] Hal Leonard
Book/Online Audio Female Voice; Piano Accompaniment; Vocal SKU: HL.299347 ...(+)
Book/Online Audio Female
Voice; Piano
Accompaniment; Vocal
SKU: HL.299347
12 Songs from Teen
Musical Theatre
Roles. Composed by
Various. Vocal
Collection. Broadway,
Musicals, Teens.
Softcover Audio Online.
88 pages. Published by
Hal Leonard (HL.299347).
ISBN 9781540060228.
UPC: 888680956158.
9.0x12.0x0.222
inches. 12 songs
from teen musical theatre
roles from shows that
opened in 2010-2019
complete with access to
professionally-recorded
piano accompaniments!
Contents: Alyssa Greene
from The Prom * Home from
Beetlejuice * Home from
Wonderland * I Love Play
Rehearsal from Be More
Chill * In My Dreams from
Anastasia * Journey to
the Past from Anastasia *
Just Breathe from The
Prom * One Perfect Moment
from Bring It On: The
Musical * Sal Tlay Ka
Siti from The Book of
Mormon * Stupid With Love
from Mean Girls * What's
Wrong With Me? from Mean
Girls * World Burn from
Mean Girls. Audio is
accessed online using the
unique code inside the
book and can be streamed
or downloaded. The audio
files include PLAYBACK ,
a multi-functional audio
player that allows you to
slow down audio without
changing pitch, set loop
points, change keys, and
pan left or right. $17.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Easy Piano White Pages Piano Facile [Partition] - Facile Hal Leonard
| | |
| On Music Carl Fischer
Choral SSA Choir, piano, flute SKU: CF.CM9583 Composed by Christopher Gab...(+)
Choral SSA Choir, piano,
flute SKU:
CF.CM9583 Composed by
Christopher Gabel. Sws.
Performance Score. 20
pages. Duration 4
minutes, 9 seconds. Carl
Fischer Music #CM9583.
Published by Carl Fischer
Music (CF.CM9583).
ISBN 9781491154052.
UPC: 680160912551. 6.875
x 10.5 inches. Key: Eb
major. English. Thomas
Moore
(1779-1852). Thomas
Moore (17791852) was an
Irish poet, singer,
songwriter and
entertainer. In his poem,
On Music, Moore
emphasizes the power that
music has in our lives
and the ability it has to
evoke memories and
feelings from the past.
Music transcends that
which can be spoken or
felt. The beauty of
making music together is
to establish meaningful
connections with others
and to share a common
language through song. We
are reminded, however,
that relationships with
each other can be fluid
or unstable, but as the
words of the poem remind
us, music will not
betray. No matter the
experiences that we face,
the relationships that we
foster, or the memories
that we create, music
will always be there for
us in times of need and
in times of celebration.
What does music mean to
you? How does it enrich
your life? On Music
Thomas Moore When through
life unblest we rove,
Losing all that made life
dear, Should some notes
we used to love, In days
of boyhood, meet our ear,
Oh! how welcome breathes
the strain! Wakening
thoughts that long have
slept, Kindling former
smiles again In faded
eyes that long have wept.
Like the gale, that sighs
along Beds of oriental
flowers, Is the grateful
breath of song, That once
was heard in happier
hours. Filld with balm
the gale sighs on, Though
the flowers have sunk in
death; So, when pleasures
dream is gone, Its memory
lives in Musics breath.
Music, oh, how faint, how
weak, Language fades
before thy spell! Why
should Feeling ever
speak, When thou canst
breathe her soul so well?
Friendships balmy words
may feign, Loves are even
more false than they; Oh!
tis only musics strain
Can sweetly soothe, and
not betray. Note to the
performer: Liberty can be
taken with the tempo
markings and rubato
should be used throughout
in order to further
stress the beauty and
significance of the text.
With its vocal-like
descant, the flute should
be treated as an
additional voice rather
than mere accompaniment
to enhance the texture of
the piece. Thomas
Moore (1779a1852) was an
Irish poet, singer,
songwriter and
entertainer. In his poem,
On Music, Moore
emphasizes the power that
music has in our lives
and the ability it has to
evoke memories and
feelings from the past.
Music transcends that
which can be spoken or
felt. The beauty of
making music together is
to establish meaningful
connections with others
and to share a common
language through song. We
are reminded, however,
that relationships with
each other can be fluid
or unstable, but as the
words of the poem remind
us, music will not
betray. No matter the
experiences that we face,
the relationships that we
foster, or the memories
that we create, music
will always be there for
us in times of need and
in times of celebration.
What does music mean to
you? How does it enrich
your life? On Music a
Thomas Moore When through
life unblest we rove,
Losing all that made life
dear, Should some notes
we used to love, In days
of boyhood, meet our ear,
Oh! how welcome breathes
the strain! Wakening
thoughts that long have
slept, Kindling former
smiles again In faded
eyes that long have wept.
Like the gale, that sighs
along Beds of oriental
flowers, Is the grateful
breath of song, That once
was heard in happier
hours. Fillad with balm
the gale sighs on, Though
the flowers have sunk in
death; So, when
pleasureas dream is gone,
Its memory lives in
Musicas breath. Music,
oh, how faint, how weak,
Language fades before thy
spell! Why should Feeling
ever speak, When thou
canst breathe her soul so
well? Friendshipas balmy
words may feign, Loveas
are even more false than
they; Oh! atis only
musicas strain Can
sweetly soothe, and not
betray. Note to the
performer: Liberty can be
taken with the tempo
markings and rubato
should be used throughout
in order to further
stress the beauty and
significance of the text.
With its vocal-like
descant, the flute should
be treated as an
additional voice rather
than mere accompaniment
to enhance the texture of
the piece. Thomas
Moore (1779-1852) was an
Irish poet, singer,
songwriter and
entertainer. In his poem,
On Music, Moore
emphasizes the power that
music has in our lives
and the ability it has to
evoke memories and
feelings from the past.
Music transcends that
which can be spoken or
felt. The beauty of
making music together is
to establish meaningful
connections with others
and to share a common
language through song. We
are reminded, however,
that relationships with
each other can be fluid
or unstable, but as the
words of the poem remind
us, music will not
betray. No matter the
experiences that we face,
the relationships that we
foster, or the memories
that we create, music
will always be there for
us in times of need and
in times of celebration.
What does music mean to
you? How does it enrich
your life? On Music -
Thomas Moore When through
life unblest we rove,
Losing all that made life
dear, Should some notes
we used to love, In days
of boyhood, meet our ear,
Oh! how welcome breathes
the strain! Wakening
thoughts that long have
slept, Kindling former
smiles again In faded
eyes that long have wept.
Like the gale, that sighs
along Beds of oriental
flowers, Is the grateful
breath of song, That once
was heard in happier
hours. Fill'd with balm
the gale sighs on, Though
the flowers have sunk in
death; So, when
pleasure's dream is gone,
Its memory lives in
Music's breath. Music,
oh, how faint, how weak,
Language fades before thy
spell! Why should Feeling
ever speak, When thou
canst breathe her soul so
well? Friendship's balmy
words may feign, Love's
are even more false than
they; Oh! 'tis only
music's strain Can
sweetly soothe, and not
betray. Note to the
performer: Liberty can be
taken with the tempo
markings and rubato
should be used throughout
in order to further
stress the beauty and
significance of the text.
With its vocal-like
descant, the flute should
be treated as an
additional voice rather
than mere accompaniment
to enhance the texture of
the piece. Thomas
Moore (1779-1852) was an
Irish poet, singer,
songwriter and
entertainer. In his poem,
On Music, Moore
emphasizes the power that
music has in our lives
and the ability it has to
evoke memories and
feelings from the past.
Music transcends that
which can be spoken or
felt. The beauty of
making music together is
to establish meaningful
connections with others
and to share a common
language through song. We
are reminded, however,
that relationships with
each other can be fluid
or unstable, but as the
words of the poem remind
us, music will not
betray. No matter the
experiences that we face,
the relationships that we
foster, or the memories
that we create, music
will always be there for
us in times of need and
in times of celebration.
What does music mean to
you? How does it enrich
your life? On Music -
Thomas Moore When through
life unblest we rove,
Losing all that made life
dear, Should some notes
we used to love, In days
of boyhood, meet our ear,
Oh! how welcome breathes
the strain! Wakening
thoughts that long have
slept, Kindling former
smiles again In faded
eyes that long have wept.
Like the gale, that sighs
along Beds of oriental
flowers, Is the grateful
breath of song, That once
was heard in happier
hours. Fill'd with balm
the gale sighs on, Though
the flowers have sunk in
death; So, when
pleasure's dream is gone,
Its memory lives in
Music's breath. Music,
oh, how faint, how weak,
Language fades before thy
spell! Why should Feeling
ever speak, When thou
canst breathe her soul so
well? Friendship's balmy
words may feign, Love's
are even more false than
they; Oh! 'tis only
music's strain Can
sweetly soothe, and not
betray. Note to the
performer: Liberty can be
taken with the tempo
markings and rubato
should be used throughout
in order to further
stress the beauty and
significance of the text.
With its vocal-like
descant, the flute should
be treated as an
additional voice rather
than mere accompaniment
to enhance the texture of
the piece. Thomas
Moore (1779–1852)
was an Irish poet,
singer, songwriter and
entertainer. In his poem,
On Music, Moore
emphasizes the power that
music has in our lives
and the ability it has to
evoke memories and
feelings from the past.
Music transcends that
which can be spoken or
felt. The beauty of
making music together is
to establish meaningful
connections with others
and to share a common
language through song.We
are reminded, however,
that relationships with
each other can be fluid
or unstable, but as the
words of the poem remind
us, music will not
betray. No matter the
experiences that we face,
the relationships that we
foster, or the memories
that we create, music
will always be there for
us in times of need and
in times of celebration.
What does music mean to
you? How does it enrich
your life?On Music
– Thomas MooreWhen
through life unblest we
rove,Losing all that made
life dear,Should some
notes we used to love,In
days of boyhood, meet our
ear,Oh! how welcome
breathes the
strain!Wakening thoughts
that long have
slept,Kindling former
smiles againIn faded eyes
that long have wept.Like
the gale, that sighs
alongBeds of oriental
flowers,Is the grateful
breath of song,That once
was heard in happier
hours.Fill’d with
balm the gale sighs
on,Though the flowers
have sunk in death;So,
when pleasure’s
dream is gone,Its memory
lives in Music’s
breath.Music, oh, how
faint, how weak,Language
fades before thy
spell!Why should Feeling
ever speak,When thou
canst breathe her soul so
well?Friendship’s
balmy words may
feign,Love’s are
even more false than
they;Oh! ’tis only
music’s strainCan
sweetly soothe, and not
betray.Note to the
performer: Liberty can be
taken with the tempo
markings and rubato
should be used throughout
in order to further
stress the beauty and
significance of the text.
With its vocal-like
descant, the flute should
be treated as an
additional voice rather
than mere accompaniment
to enhance the texture of
the piece. $3.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Ultimate Pop/Rock Fake Book - In C
Instruments en Do [Fake Book] Hal Leonard
(4th Edition ) For voice and C instrument. Format: fakebook. With vocal melody, ...(+)
(4th Edition ) For voice
and C instrument. Format:
fakebook. With vocal
melody, lyrics and chord
names. Pop rock, rock and
pop. Series: Hal Leonard
Fake Books. 584 pages.
9x12 inches. Published by
Hal Leonard.
(26)$49.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Over 200 Irish Songs and Dances Piano, Voix et Guitare [Partition] - Intermédiaire/avancé Amsco Wise Publications
By Amy Appleby. For Piano and Voice, with Guitar chord symbols. Irish, Folk, Cel...(+)
By Amy Appleby. For Piano
and Voice, with Guitar
chord symbols. Irish,
Folk, Celtic. Level:
Intermediate to Advanced.
Sheet Music. Published by
Wise Publications.
(1)$19.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Sanctuary Soloist #2 - Low Vocal Solos (Low Voice) Voix Fred Bock Music Company
| | |
| Nothing But the Blood of Jesus Chorale SATB SATB, Piano [Octavo] Hope Publishing Company
By David Rasbach. Edited by Robert Lowry. Arranged by Robert Lowry. For SATB cho...(+)
By David Rasbach. Edited
by Robert Lowry. Arranged
by Robert Lowry. For SATB
choir. Sacred. Choral
octavo. 8 pages.
Published by Hope
Publishing Company
$2.95 - Voir plus => AcheterDélais: 4 to 6 business days | | |
| Guitar Chord Songbook White Pages Paroles et Accords [Partition] Hal Leonard
By Various. For Guitar. Guitar Chord Songbook. Softcover. 1024 pages. Published ...(+)
By Various. For Guitar.
Guitar Chord Songbook.
Softcover. 1024 pages.
Published by Hal Leonard
$39.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Canticle of Winter Chorale SATB SATB, Piano [Octavo] Heritage Music Press
Composed by Joseph M. Martin. Secular Christmas. Octavo. Heritage Music Press #1...(+)
Composed by Joseph M.
Martin. Secular
Christmas. Octavo.
Heritage Music Press
#15/3436H. Published by
Heritage Music Press
(LO.15-3436H).
$2.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Russian Operatic Arias for Bass Voix basse, Piano [Partition] Peters
Edited by David Fanning. Collection for bass voice and piano. With introductory ...(+)
Edited by David Fanning.
Collection for bass voice
and piano. With
introductory text,
translations, vocal
melody and pronunciation
guide. 19th and 20th
Century Repertoire. Text
language English, French,
and German. Published by
C.F. Peters.
(1)$47.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
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