By ABRSM. Edited by Catherine Black and Paul Harris. For violoncello, piano. (Gr...(+)
By ABRSM. Edited by
Catherine Black and Paul
Harris. For violoncello,
piano. (Grades 3-4).
Published by ABRSM
(Associated Board of the
Royal Schools of Music).
For voice and C instrument. Format: fakebook. With vocal melody, lyrics and chor...(+)
For voice and C
instrument. Format:
fakebook. With vocal
melody, lyrics and chord
names. Randb and classic
soul. Series: Hal Leonard
Fake Books. 437 pages.
9x12 inches. Published by
Hal Leonard.
Arranged by Denes Agay. Book. Published by Music Sales. (YK21103) These famili...(+)
Arranged by Denes Agay.
Book. Published by Music
Sales. (YK21103)
These familiar melodies
in easy arrangements
include Fascination,
Moscow Nights, waltzes by
Strauss, and over 65 more
favorite pieces; themes;
and folk, popular, and
standard songs. The
variety is both appealing
and educational.
Piano SKU: M7.ART-42182 30 melodische Spiel- und Übungsstücke f...(+)
Piano
SKU:
M7.ART-42182
30
melodische Spiel- und
Übungsstücke für
Klavier, mittelleicht bis
mittelschwer
arrangiert. Composed
by Nataliya Frenzel.
Score with online audio
files. Performance book.
56 pages. MDS (Music
Distribution Services)
#ART 42182. Published by
MDS (Music Distribution
Services) (M7.ART-42182).
ISBN
9783866421820.
'My
Piano Pieces' enthält
30 moderne
Klavierstücke im
romantischen Stil, die
jede Menge Spielfreude
bereiten und gleichzeitig
die technischen
Fähigkeiten
verbessern. Klassische
Spieltechniken wie
Tonleiter-, Akkord- und
Arpeggiospiel,
Anschlagsarten wie
Staccato und Legato,
Unter- und
Ãœbersetzungen sowie
verschiedene
Begleitmuster werden
gezielt geschult. Auch
Kraft, Ausdauer und die
Unabhängigkeit der
Finger sowie die
Beweglichkeit des
Handgelenks werden
gefördert. Die
mittelleicht bis
mittelschwer arrangierten
Klavierkompositionen sind
dabei keineswegs nur
'trockene' Etüden,
sondern ausgesprochen
wohlklingend und gehen
durch ihre melodische
Struktur leicht 'ins
Ohr'. Die Motivation, die
Klavierstücke gerne zu
üben und zu spielen,
wird dadurch enorm
gesteigert. Abgesehen von
den rein technischen
Aspekten, geht es vor
allem auch darum, die
musikalische
Ausdrucksfähigkeit wie
Phrasierung und Dynamik
zu optimieren und somit
zu einem schöneren
Klangergebnis zu
gelangen. Die Stücke
sind mit ausführlichen
Fingersätzen und
Pedalbezeichnungen
versehen und für den
Klavierunterricht, zum
Selbststudium aber auch
für das häusliche
Musizieren bestens
geeignet. 'My Piano
Pieces' - Freude am
Ãœben & Spielen!
Composed by Paul Baloche. Arranged by Mark Hayes. For 2- part mixed choir and...(+)
Composed by Paul Baloche.
Arranged by Mark Hayes.
For 2-
part mixed choir and
piano
(with optional rhythm).
Ready
to Worship. Sacred
Anthem,
Ascension, Christ the
King,
General, Transfiguration.
Octavo. Published by
Lorenz
Publishing Compan
Shlof, Mayn Kind.
Composed by Larry Clark.
Young String Orchestra
(YAS). Set of Score and
Parts. With Standard
notation.
8+5+2+8+5+5+3+12 pages.
Duration 2018. Carl
Fischer Music #YAS186.
Published by Carl Fischer
Music (CF.YAS186).
ISBN 9781491151518.
UPC: 680160909018. 9 x 12
inches. Key: D
minor.
A stunning
and heart-wrenching
composition based on the
Jewish folk son Shlof,
Mayn Kind. You can
hear the emotional
content pour out of this
piece written in memory
of an outstanding
orchestra director. The
piece beginnings with
original material to set
the tone, followed by a
violin solo on the song.
It them develops through
a variety of different
harmonic presentation
before building to a nice
key change and climatic
moment. The piece ends as
it began, but with a more
hopeful tone. An amazing
piece. Sleep, My Child
was commissioned by the
Madison Middle School
Band and Orchestra in
Tampa, Florida, and is
dedicated to the memory
of their Director of
Orchestras Kevin Frye.
Director of Bands Chris
Shultz championed the
commissioning of this
piece to honor Kevin
after he passed away in
December 2016. Mr. Frye
was a beloved member of
the staff at Madison
Middle as well as the
music community of Tampa
and the state of
Florida. I was a
personal friend of
Kevin’s. We were
in several musical groups
together when we were
young that were formative
to both of our musical
careers. I also
guest-conducted his
Madison Middle School
Orchestra several times
over the past four years.
His musicianship,
teaching skills and love
for his students were
exemplary.When taking on
the challenge of writing
a piece to honor
Kevin’s legacy,
Mr. Shultz and I decided
to try and include
several important aspects
of Kevin’s life
into the piece. Kevin was
proudly Jewish, a
fantastic trumpet player
and loved Jazz. With that
in mind, and after a lot
of research, a Jewish
folk song Shlof, Mayn
Kind was selected as the
basis for the piece, not
to be religious, but to
honor his faith and
heritage. Plus it is a
beautiful song and I felt
the title reflected the
sentiment I was looking
to express, which is of
someone taking rest after
a long battle with
illness, so a lullaby
seemed appropriate.I also
wanted to incorporate
Jazz into the piece, but
in a concert setting, so
you will hear as the
piece develops, the
harmonies of the folk
song expand into ones
found more commonly in
Jazz compositions.Â
Not in a far out way, but
in a subtle way to again
honor this part of his
life. For example the
climactic moment of the
piece at the fermata in
m. 57 is a Dbmaj9#11
chord. It appropriately
give the piece the angst
that I was looking for at
this moment in the piece,
while honoring the
importance of Jazz in
Kevin’s musical
life.The piece was also
conceived to include both
the Madison band and
orchestra in the
performance at the
premiere. I wanted the
pieces to work separately
by the band and
separately by the
orchestra, but I also
wanted them to be able to
play the piece together
to honor Kevin.The piece
begins with original
material designed to set
the mood of the piece
with a tempo/style
marking of pensive, but
also as material that I
used as connective
musical tissue between
statements of the folk
song. After this
introduction, the folk
song is presented by a
solo violin (or clarinet)
with orchestral
accompaniment in a simple
straight forward
presentation of the song.
This is followed by a
woodwind section
statement of the folk
song accompanied by muted
trumpets. During this
presentation the harmony
starts to expand with
more color notes in the
chords. The low brass are
added half way through
this statement to add
depth and lushness.The
introductory material
returns, but with some
angry hits in the lower
voices. This leads to a
full ensemble state of
new material that is used
to transition to the
climax of the piece, and
to build tension. After
the build, the piece
modulates to a shortened
statement of the folk
song with more advanced
harmonies and an active
counter line in the
violas, horns, saxes and
first clarinets to
further build the
tension. This tension
is released at the
fermata in m. 57 as
mentioned above. After a
thoughtful pause, the
piece concludes with a
completion of the folk
song again with a solo
violin (or clarinet)
followed by a return of
the introductory material
to tie the piece
together. The piece ends
hopeful, with a solo
trumpet (Kevin’s
instrument) that is
dissonant at first, but
then resolves as if to
say, Everything will be
OK! It has been my
distinct honor to have
been asked to write this
piece in Kevin’s
memory! I hope that in
some small way the piece
helps to bring comfort to
his family, students,
colleagues and to all
those that knew
him!–Larry
ClarkLakeland, FLÂ
2017.
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
Focus [Complete Set] Orchestre à Cordes [Conducteur et Parties séparées] Jazz Lines Publications
By Stan Getz and Beaux Arts String Ensemble. By Eddie Sauter. Edited by Rob Dubo...(+)
By Stan Getz and Beaux
Arts String Ensemble. By
Eddie Sauter. Edited by
Rob Duboff, Jeffrey
Sultanof, Alex Chilowicz,
and Andrew Homzy.
Arranged by Eddie Sauter.
For string ensemble
(score and parts)
(Soloist (parts in
concert, B-flat, and
E-flat), Violin I (8
parts), Violin II (8
parts), Viola (5 Parts),
Cello (5 Parts) , Double
Bass (3 Parts), Harp,
Piano/Celeste, Percussion
(Snare Drum, Marimba,
Tambourine)). Advanced.
Score and parts.
Published by Jazz Lines
Publications
Composed by Karen
Marrolli.
21st Century.
Instrumental
part. Duration 5 minutes,
30
seconds. Galaxy Music
Corporation #1.3516.
Published by Galaxy Music
Corporation
As Recorded by *NSYNC and Gloria Estefan. Composed by Diane Warren. Arranged by ...(+)
As Recorded by *NSYNC and
Gloria Estefan. Composed
by Diane Warren. Arranged
by Jerry Ray. This
edition: Accompaniment
CD. Choral Octavo;
Performance Music
Ensemble; Single Titles.
Movie; Pop; Secular. CD.
Alfred Music #00-CD99102.
Published by Alfred Music
Composed by
Evan Ramos. Sws.
Performance Score. 16
pages. Duration 3
minutes, 20 seconds. Carl
Fischer Music #CM9628.
Published by Carl Fischer
Music (CF.CM9628).
ISBN 9781491157008.
UPC: 680160915569. 6.875
x 10.5 inches. Key: E
minor. English, English.
Original, Sarah Ramos &
Robert
Draper.
Ramos has
written a memorable
tribute to a beloved
teacher in I Carry Your
Song in My Heart. For the
advanced treble ensemble,
the lush and captivating
harmonies are sure to
engage both singer and
audience. With a
wonderful it factor, it
is a great find for
concert or festival. A
great music teacher's
legacy is not measured by
the festivals and
conventions at which
their students performed.
It is not measured by the
number of all-state
performers or
professional musicians
their program generated.
Nor is it measured by
Teacher-of-the-Year
awards or accolades. A
great music teacher's
legacy is found in the
memories, the music, the
life lessons, and the
truths still resonating
in the hearts of their
students. I Carry Your
Song in My Heart was
created to celebrate the
legacy of Cheryl Wilson,
a great choir director,
and the 'song' she
imparted to her students.
Robert Draper, her former
assistant, wrote the
first draft of the text
which was further
developed into its
present form by Evan and
Sarah Ramos. Performance
Notes: Mm. 9-16: Be
careful not to take this
section too quickly. The
section 'rhythms dance,
phrases spin' is
difficult to enunciate at
too fast a tempo. Work
with your singers to find
a tempo that allows mm.
13-16 to 'dance' without
feeling rushed. Mm. 37,
61: Keep the dotted
eighth notes in these
measures as legato as
possible. M. 47: If you
would like, accenting the
dotted eighth notes is
appropriate here. If you
choose to perform this
piece with Cello, feel
free to adjust dynamics
as needed for balance in
the overall sound. A
great music
teacher’s legacy
is not measured by the
festivals and conventions
at which their students
performed. It is not
measured by the number of
all-state performers or
professional musicians
their program generated.
Nor is it measured by
Teacher-of-the-Year
awards or accolades.A
great music
teacher’s legacy
is found in the memories,
the music, the life
lessons, and the truths
still resonating in the
hearts of their
students.I Carry Your
Song in My Heart was
created to celebrate the
legacy of Cheryl Wilson,
a great choir director,
and the
‘song’ she
imparted to her students.
Robert Draper, her former
assistant, wrote the
first draft of the text
which was further
developed into its
present form by Evan and
Sarah Ramos.Performance
Notes:Mm. 9-16: Be
careful not to take this
section too quickly. The
section ‘rhythms
dance, phrases
spin’ is difficult
to enunciate at too fast
a tempo. Work with your
singers to find a tempo
that allows mm. 13-16 to
‘dance’
without feeling
rushed.Mm. 37, 61: Keep
the dotted eighth notes
in these measures as
legato as possible.M. 47:
If you would like,
accenting the dotted
eighth notes is
appropriate here.If you
choose to perform this
piece with Cello, feel
free to adjust dynamics
as needed for balance in
the overall sound.
Shlof,
Mayn Kind. Composed
by Larry Clark. Young
Band (YPS). Set of Score
and Parts. With Standard
notation.
8+2+4+4+2+2+5+2+2+4+4+4+6
+3+2+3+1+1+2+6+12 pages.
Duration 4 minutes, 31
seconds. Carl Fischer
Music #YPS208. Published
by Carl Fischer Music
(CF.YPS208).
ISBN
9781491152287. UPC:
680160909780. Key: D
minor.
A stunning
and heart-wrenching
composition based on the
Jewish folk son Shlof,
Mayn Kind. You can
hear the emotional
content pour out of this
piece written in memory
of an outstanding
orchestra director. The
piece beginnings with
original material to set
the tone, followed by
a clarinet solo on the
song. It then develops
through a variety of
different harmonic
presentation before
building to a nice key
change and climatic
moment. The piece ends as
it began, but with a more
hopeful tone. An amazing
piece. Sleep, My Child
was commissioned by the
Madison Middle School
Band and Orchestra in
Tampa, Florida, and is
dedicated to the memory
of their Director of
Orchestras Kevin Frye.
Director of Bands Chris
Shultz championed the
commissioning of this
piece to honor Kevin
after he passed away in
December 2016. Mr. Frye
was a beloved member of
the staff at Madison
Middle as well as the
music community of Tampa
and the state of
Florida. I was a
personal friend of
Kevin’s. We were
in several musical groups
together when we were
young that were formative
to both of our musical
careers. I also guest
conducted his Madison
Middle School Orchestra
several times over the
past four years. His
musicianship, teaching
skills and love for his
students were
exemplary.When taking on
the challenge of writing
a piece to honor
Kevin’s legacy,
Mr. Shultz and I decided
to try and include
several important aspects
of Kevin’s life
into the piece. Kevin was
proudly Jewish, a
fantastic trumpet player
and loved Jazz. With that
in mind, and after a lot
of research, a Jewish
folk song Shlof, Mayn
Kind was selected as the
basis for the piece, not
to be religious, but to
honor his faith and
heritage. Plus it is a
beautiful song, and I
felt the title reflected
the sentiment I was
looking to express, which
is of someone taking rest
after a long battle with
illness. Thus, a lullaby
seemed appropriate.I also
wanted to incorporate
Jazz into the piece, but
in a concert setting, so
you will hear as the
piece develops, the
harmonies of the folk
song expand into ones
found more commonly in
Jazz compositions. Not
in a far out way, but in
a subtle way to again
honor this part of his
life. For example the
climactic moment of the
piece at the fermata in
m. 57 is a Dbmaj9#11
chord. It appropriately
give the piece the angst
that I was looking for at
this moment in the piece,
while honoring the
importance of Jazz in
Kevin’s musical
life.The piece was also
conceived to include both
the Madison band and
orchestra in the
performance at the
premiere. I wanted the
pieces to work separately
by the band and
separately by the
orchestra, but I also
wanted them to be able to
play the piece together
to honor Kevin.The piece
begins with original
material designed to set
the mood of the piece
with a tempo/style
marking of pensive, but
also as material that I
used as connective
musical tissue between
statements of the folk
song. After this
introduction, the folk
song is presented by a
solo violin (or clarinet)
with orchestral
accompaniment in a simple
straight forward
presentation of the song.
This is followed by a
woodwind section
statement of the folk
song accompanied by muted
trumpets. During this
presentation the harmony
starts to expand with
more color notes in the
chords. The low brass are
added half way through
this statement to add
depth and lushness.The
introductory material
returns, but with some
angry hits in the lower
voices. This leads to a
full ensemble state of
new material that is used
to transition to the
climax of the piece, and
to build tension. After
the build, the piece
modulates to a shortened
statement of the folk
song with more advanced
harmonies and an active
counter line in the
violas, horns, saxes and
first clarinets to
further build the
tension. This tension
is released at the
fermata in m. 57, as
mentioned above. After a
thoughtful pause, the
piece concludes with a
completion of the folk
song again with a solo
violin (or clarinet)
followed by a return of
the introductory material
to tie the piece
together. The piece ends
hopeful, with a solo
trumpet (Kevin’s
instrument) that is
dissonant at first, but
then resolves as if to
say - everything will be
OK! It has been my
distinct honor to have
been asked to write this
piece in Kevin’s
memory! I hope that in
some small way the piece
helps to bring comfort to
his family, students,
colleagues and to all
those that knew
him!–Larry
ClarkLakeland, FLÂ
2017.
Sleep, My Child Orchestre d'harmonie [Conducteur] - Facile Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bell Tree, Bells, Clarinet 1, Clarinet 2...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bell Tree,
Bells, Clarinet 1,
Clarinet 2, Crash
Cymbals, Euphonium,
Euphonium T.C., Flute,
Flute 2, Horn, Mallet
Percussion, Oboe,
Percussion 1, Percussion
2, Snare Drum, Suspended
Cymbal, Tam-tam, Timpani
and more. - Grade 2
SKU: CF.YPS208F
Shlof, Mayn Kind.
Composed by Larry Clark.
Young Band (YPS). Full
score. With Standard
notation. 12 pages. Carl
Fischer Music #YPS208F.
Published by Carl Fischer
Music (CF.YPS208F).
ISBN 9781491152966.
UPC:
680160910465.
A
stunning and
heart-wrenching
composition based on the
Jewish folk son Shlof,
Mayn Kind. You can
hear the emotional
content pour out of this
piece written in memory
of an outstanding
orchestra director. The
piece beginnings with
original material to set
the tone, followed by
a clarinet solo on the
song. It then develops
through a variety of
different harmonic
presentation before
building to a nice key
change and climatic
moment. The piece ends as
it began, but with a more
hopeful tone. An amazing
piece. Sleep, My Child
was commissioned by the
Madison Middle School
Band and Orchestra in
Tampa, Florida, and is
dedicated to the memory
of their Director of
Orchestras Kevin Frye.
Director of Bands Chris
Shultz championed the
commissioning of this
piece to honor Kevin
after he passed away in
December 2016. Mr. Frye
was a beloved member of
the staff at Madison
Middle as well as the
music community of Tampa
and the state of
Florida. I was a
personal friend of
Kevin’s. We were
in several musical groups
together when we were
young that were formative
to both of our musical
careers. I also guest
conducted his Madison
Middle School Orchestra
several times over the
past four years. His
musicianship, teaching
skills and love for his
students were
exemplary.When taking on
the challenge of writing
a piece to honor
Kevin’s legacy,
Mr. Shultz and I decided
to try and include
several important aspects
of Kevin’s life
into the piece. Kevin was
proudly Jewish, a
fantastic trumpet player
and loved Jazz. With that
in mind, and after a lot
of research, a Jewish
folk song Shlof, Mayn
Kind was selected as the
basis for the piece, not
to be religious, but to
honor his faith and
heritage. Plus it is a
beautiful song, and I
felt the title reflected
the sentiment I was
looking to express, which
is of someone taking rest
after a long battle with
illness. Thus, a lullaby
seemed appropriate.I also
wanted to incorporate
Jazz into the piece, but
in a concert setting, so
you will hear as the
piece develops, the
harmonies of the folk
song expand into ones
found more commonly in
Jazz compositions. Not
in a far out way, but in
a subtle way to again
honor this part of his
life. For example the
climactic moment of the
piece at the fermata in
m. 57 is a Dbmaj9#11
chord. It appropriately
give the piece the angst
that I was looking for at
this moment in the piece,
while honoring the
importance of Jazz in
Kevin’s musical
life.The piece was also
conceived to include both
the Madison band and
orchestra in the
performance at the
premiere. I wanted the
pieces to work separately
by the band and
separately by the
orchestra, but I also
wanted them to be able to
play the piece together
to honor Kevin.The piece
begins with original
material designed to set
the mood of the piece
with a tempo/style
marking of pensive, but
also as material that I
used as connective
musical tissue between
statements of the folk
song. After this
introduction, the folk
song is presented by a
solo violin (or clarinet)
with orchestral
accompaniment in a simple
straight forward
presentation of the song.
This is followed by a
woodwind section
statement of the folk
song accompanied by muted
trumpets. During this
presentation the harmony
starts to expand with
more color notes in the
chords. The low brass are
added half way through
this statement to add
depth and lushness.The
introductory material
returns, but with some
angry hits in the lower
voices. This leads to a
full ensemble state of
new material that is used
to transition to the
climax of the piece, and
to build tension. After
the build, the piece
modulates to a shortened
statement of the folk
song with more advanced
harmonies and an active
counter line in the
violas, horns, saxes and
first clarinets to
further build the
tension. This tension
is released at the
fermata in m. 57, as
mentioned above. After a
thoughtful pause, the
piece concludes with a
completion of the folk
song again with a solo
violin (or clarinet)
followed by a return of
the introductory material
to tie the piece
together. The piece ends
hopeful, with a solo
trumpet (Kevin’s
instrument) that is
dissonant at first, but
then resolves as if to
say - everything will be
OK! It has been my
distinct honor to have
been asked to write this
piece in Kevin’s
memory! I hope that in
some small way the piece
helps to bring comfort to
his family, students,
colleagues and to all
those that knew
him!–Larry
ClarkLakeland, FLÂ
2017.