By Manhattan Transfer. By Joe Zawinul, John Hendricks. Arranged by Paris Ruthe...(+)
By Manhattan Transfer. By
Joe
Zawinul, John Hendricks.
Arranged by Paris
Rutherford.
Jazz Chorals. Concert,
Jazz,
Vocal Jazz, Pop, Fusion,
Show
Choir. Octavo. 24 pages.
Published by Hal Leonard
By Edvard Grieg. Arranged by John Wasson. By Edvard Grieg / arr. John Wasson. Fo...(+)
By Edvard Grieg. Arranged
by John Wasson. By Edvard
Grieg / arr. John Wasson.
For Concert Band. Concert
Band. Belwin Young Band.
Level: Easy (grade II).
Conductor Score. 16
pages. Published by
Alfred Publishing.
Level
2. Composed by John
M. Feierabend. Choral.
Conversational Solfege.
Music Education. Octavo.
GIA Publications #527.
Published by GIA
Publications (GI.G-527).
Text by Noel
Goemanne.
Conversat
ional Solfege is a
dynamic and captivating
first-through-eighth
grade general music
program that enables
students to become
independent musical
thinkers with the help of
a rich variety of folk
and classical
music. It is organized
around increasingly
complex rhythmic and
melodic content. Each new
rhythmic or melodic
element is discovered
first in patterns and
then reinforced with folk
songs, rhymes, and
classical examples.
Central to the
Conversational Solfege
program is the use of
music harvested from our
rich and diverse American
musical history. This
variety of music serves
as a common thread that
spans and bonds
generations. Each book
contains varied song
material so the teacher
can select appropriate
music for the lower
grades or older
beginners. This 12-step
teaching method carefully
brings students from
readiness to, ultimately,
creating music through
inner hearing and then
transferring their
musical thoughts into
notation—in other
words, to compose music!
This CD provides
14Â classical
selections referenced in
Conversational Solfege
Level 2. These examples
provide reinforcement for
emerging literacy skills,
and they also enable
students to listen to
wonderful classical
examples with greater
attention. Listening to
classical music can be
challenging for
elementary students. With
nothing to hang onto, the
many notes can be too
much to comprehend and
attention soon wanes. But
with minimal literacy
skills, students will
have enough musical
information to discover
that classical music can
be accessible and
appealing. In the
included booklet, timings
are given for each
selection and the
portions of the music
that are readable by the
students are reproduced.
Whether using this CD
with Conversational
Solfege instructional
materials or simply as a
resource of classical
music with simple to read
rhythmic and melodic
material, both teachers
and students will delight
in discovering this
wonderful music through
literacy. This series is
a complete, innovative
approach to teaching
music that will stay
fresh year after year.
CONTENTS Conversational
Solfege Unit 5:Â 1.
Antonin Dvorak •
New World Theme
Conversational Solfege
Unit 6:Â 2. Franz
Joseph Haydn •
Theme from  the
Surprise Symphony, 3.
Camille
Saint-Sans •
Turtles from Carnival of
the Animals, 4. Ludwig
van Beethoven •
Symphony No. 7, 2nd
Movement, 5. Josef
Strauss •
Feuerfest (Fireproof)
Polka, Op. 269
Conversational Solfege
Unit 7:Â 6. Jacques
Offenbach •
Can-Can, 7. Dmitry
Kabalevsky •
Pantomime from the
Comedians, 8. Edvard
Grieg • In the
Hall of the Mountain King
Conversational Solfege
Unit 9 and Unit 11:Â 9.
Jacques
Offenbach •
Barcarolle Conversational
Solfege Unit 10:Â 10.
Edvard Grieg •
Morning Conversational
Solfege Unit 11:Â 11.
Ottorino
Respighi •
Ground in G
Conversational Solfege
Unit 12:Â 12. Johann
Sebastian Bach •
Jesu, Joy of Men's
Desiring, 13. Jean
Sibelius •
Finlandia Conversational
Solfege Unit 13:Â 14.
Ludwig Van
Beethoven •
Symphony No. 6, Movement
5Â John M. Feierabend
is Professor Emeritus and
former Director of Music
Education at The Hartt
School of Music,
University of Hartford,
Connecticut.
Chanson d'Amour Chorale, Orchestre [Conducteur et Parties séparées] Molenaar Edition
With optional Choir (SSATB). Composed by Wayne Shanklin. Arranged by Joha...(+)
With optional Choir
(SSATB). Composed by
Wayne Shanklin. Arranged
by Johan De Meij. Score
and parts. Duration 3
minutes, 10 seconds.
Published by Molenaar
Edition (ML.011693060).
Bandwidth Orchestre d'harmonie - Facile Alfred Publishing
Concert Band - Grade 2 SKU: AP.49515S Composed by Vince Gassi (SOCAN). Co...(+)
Concert Band - Grade 2
SKU: AP.49515S
Composed by Vince Gassi
(SOCAN). Concert Band;
MakeMusic Cloud;
Performance Music
Ensemble. Young
Symphonic. Score.
Duration 2:14. Alfred
Music #00-49515S.
Published by Alfred Music
(AP.49515S).
ISBN
9781470649555. UPC:
038081570334.
English.
Bandwidth,
according to Webster's
Dictionary, is the
maximum data transfer
rate of an electronic
communications system. In
Bandwidth by Vince Gassi,
waves of sound and
rhythmic energy (1.21
gigawatts to be exact)
are transferred to you
and your audiences. Right
from the first measure
this piece will power on
and power you up.
Syncopated figures
contrast with legato
lines while the momentum
build throughout. Not too
complicated, just fun to
play and easy to listen
to. (2:14) This title is
available in MakeMusic
Cloud.
Bandwidth Orchestre d'harmonie - Facile Alfred Publishing
Concert Band - Grade 2 SKU: AP.49515 Composed by Vince Gassi (SOCAN). Con...(+)
Concert Band - Grade 2
SKU: AP.49515
Composed by Vince Gassi
(SOCAN). Concert Band;
MakeMusic Cloud;
Performance Music
Ensemble. Young
Symphonic. Score and
Part(s). Duration 2:14.
Alfred Music #00-49515.
Published by Alfred Music
(AP.49515).
ISBN
9781470649548. UPC:
038081570327.
English.
Bandwidth,
according to Webster's
Dictionary, is the
maximum data transfer
rate of an electronic
communications system. In
Bandwidth by Vince Gassi,
waves of sound and
rhythmic energy (1.21
gigawatts to be exact)
are transferred to you
and your audiences. Right
from the first measure
this piece will power on
and power you up.
Syncopated figures
contrast with legato
lines while the momentum
build throughout. Not too
complicated, just fun to
play and easy to listen
to. (2:14) This title is
available in MakeMusic
Cloud.
For solo marimba. Composed by Dustin Schulze. Solos: Marimba and Xylophone. Pr...(+)
For solo marimba.
Composed by
Dustin Schulze. Solos:
Marimba and Xylophone.
Printed
Folio. Tapspace
Publications
#TSPCS19-011. Published
by
Tapspace Publications
Composed by Traditional
Holiday Song. Edited by
Amy Rosen. Arranged by
Bud Caputo. SWS FS. Carl
Fischer Young String
Orchestra Series. Score
and Parts. With Standard
notation.
16+2+4+16+10+10+3+10+12
pages. Carl Fischer Music
#YAS15. Published by Carl
Fischer Music (CF.YAS15).
ISBN 9780825851995.
UPC: 798408051990. 8.5 X
11 inches. Key: D
minor.
Lower
strings be sure to
maintain a steady pulse
and dont rush the walking
figure at the opening.
When the melody is
transferred to the lower
strings (pick-up to m. 10
and m. 13), play with a
full sound. Be careful of
the balance and allow the
soloist to dominate in
mm. 121. If the soloist
is comfortable using
third position, play mm.
119 and the first half of
m. 20 one octave higher.
All parts should be in a
solid marcato style in
the fast section (m. 22
to the end). In m.50,
Violin I should bring out
the Hava Nagila quote
equal to the volume of
the rest of the
orchestra. Be sure to
observe all the soft
dynamics to add interest
to the performance.
String editing by Amy
Rosen. Lower strings
be sure to maintain a
steady pulse and donat
rush the walking figure
at the opening. When the
melody is transferred to
the lower strings
(pick-up to m. 10 and m.
13), play with a full
sound. Be careful of the
balance and allow the
soloist to dominate in
mm. 1a21. If the soloist
is comfortable using
third position, play mm.
1a19 and the first half
of m. 20 one octave
higher. All parts should
be in a solid marcato
style in the fast section
(m. 22 to the end). In
m.50, Violin I should
bring out the Hava Nagila
quote equal to the volume
of the rest of the
orchestra. Be sure to
observe all the soft
dynamics to add interest
to the performance.
String editing by Amy
Rosen. Lower strings
be sure to maintain a
steady pulse and don't
rush the walking figure
at the opening. When the
melody is transferred to
the lower strings
(pick-up to m. 10 and m.
13), play with a full
sound. Be careful of the
balance and allow the
soloist to dominate in
mm. 1-21. If the soloist
is comfortable using
third position, play mm.
1-19 and the first half
of m. 20 one octave
higher. All parts should
be in a solid marcato
style in the fast section
(m. 22 to the end). In
m.50, Violin I should
bring out the Hava Nagila
quote equal to the volume
of the rest of the
orchestra. Be sure to
observe all the soft
dynamics to add interest
to the performance.
String editing by Amy
Rosen. Lower strings
be sure to maintain a
steady pulse and
don’t rush the
walking figure at the
opening. When the melody
is transferred to the
lower strings (pick-up to
m. 10 and m. 13), play
with a full sound. Be
careful of the balance
and allow the soloist to
dominate in mm.
1–21. If the
soloist is comfortable
using third position,
play mm. 1–19 and
the first half of m. 20
one octave higher.All
parts should be in a
solid marcato style in
the fast section (m. 22
to the end). In m.50,
Violin I should bring out
the Hava Nagila quote
equal to the volume of
the rest of the
orchestra. Be sure to
observe all the soft
dynamics to add interest
to the performance.String
editing by Amy Rosen.
About Carl
Fischer Young String
Orchestra
Series
Thi
s series of Grade 2/Grade
2.5 pieces is designed
for second and third year
ensembles. The pieces in
this series are
characterized
by: --Occasionally
extending to third
position --Keys
carefully considered for
appropriate
difficulty --Addition
of separate 2nd violin
and viola
parts --Viola T.C.
part
included --Increase
in independence of parts
over beginning levels
Canopus Drum Hardware.
Hardware Connectors
Fasteners. Hal Leonard
#CBS2-2HY. Published by
Hal Leonard (HL.3725006).
UPC: 888938010021.
5.0x23.5x4.5
inches.
In a
well-balanced stand, the
weight of the stand
increases toward the
bottom. However, we faced
a contradiction when
trying to use steel
material, which transfers
vibration better than
aluminium, near the
actual cymbal itself. Our
unconventional stand
utilizes a lower center
of gravity u hence the
bottom of the center pipe
of the stand gets very
close to the floor to
provide better balance to
the stand. With minor
changes in 2017, we
changed the joint part
from zinc die cast to
aluminum and also from
aluminum pipe to steel
pipe. Thus we managed to
maintain the light
weight, but greatly
improved the sound and
balance of the stand.