| One Hundred Classical Themes: Saxophone Saxophone Music Sales
By Alan Gout (Compiler) ; Martin Frith (Editor). For Saxophone. Classical. Sheet...(+)
By Alan Gout (Compiler) ;
Martin Frith (Editor).
For Saxophone. Classical.
Sheet Music. 64 pages.
Published by Music Sales.
$17.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| For the Mystic Harmony [Conducteur] Theodore Presser Co.
Band Bass Clarinet, Bass Drum, Bassoon 1, Bassoon 2, Bongos, Castanets, Celesta,...(+)
Band Bass Clarinet, Bass
Drum, Bassoon 1, Bassoon
2, Bongos, Castanets,
Celesta, Clarinet,
Clarinet 1, Clarinet 2,
Clarinet 3, Contrabass
Clarinet, Contrabassoon,
English Horn, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Horn 1, Horn 2,
Horn 3 and more. SKU:
PR.16500100F Hymns
for Wind Ensemble.
Composed by Dan Welcher.
Sws. Full score. 48
pages. Duration 10
minutes, 41 seconds.
Theodore Presser Company
#165-00100F. Published by
Theodore Presser Company
(PR.16500100F). ISBN
9781491114421. UPC:
680160669783. 9 x 12
inches. Commissione
d for a consortium of
high school and college
bands in the north Dallas
region, FOR THEMYSTIC
HARMONY is a 10-minute
inspirational work in
homage to Norwood and
Elizabeth Dixon,patrons
of the Fort Worth
Symphony and the Van
Cliburn Competition.
Welcher draws melodic
flavorfrom five American
hymns, spirituals, and
folk tunes of the 19th
century. The last of
these sources toappear is
the hymn tune For the
Beauty of the Earth,
whose third stanza is the
quatrain: “For the
joy of earand eye, For
the heart and
mind’s delight,
For the mystic harmony,
Linking sense to sound
and sight,â€giving
rise to the work’s
title. This work,
commissioned for a
consortium of high school
bands in the north Dallas
area, is my fifteenth
maturework for wind
ensemble (not counting
transcriptions). When I
asked Todd Dixon, the
band director
whospearheaded this
project, what kind of a
work he most wanted, he
first said
“something
that’s basically
slow,†butwanted to
leave the details to me.
During a long subsequent
conversation, he
mentioned that his
grandparents,Norwood and
Elizabeth Dixon, were
prime supporters of the
Fort Worth Symphony,
going so far as to
purchase anumber of high
quality instruments for
that orchestra. This
intrigued me, so I asked
more about his
grandparentsand was
provided an 80-page
biographical sketch.
Reading that article,
including a long section
about theirdevotion to
supporting a young man
through the rigors of the
Van Cliburn International
Piano Competition fora
number of years, moved me
very much. Norwood and
Elizabeth Dixon
weren’t just
supporters of the arts;
theywere passionate
lovers of music and
musicians. I determined
to make this work a
testament to that love,
and tothe religious faith
that sustained them both.
The idea of using extant
hymns was also suggested
by Todd Dixon,and this
10-minute work is the
result.I have employed
existing melodies in
several works, delving
into certain kinds of
religious music more than
a fewtimes. In seeking
new sounds, new ways of
harmonizing old tunes,
and the contrapuntal
overlaying of one
tunewith another, I was
able to make works like
ZION (using 19th-century
Revivalist hymns) and
LABORING SONGS(using
Shaker melodies) reflect
the spirit of the
composers who created
these melodies, without
sounding likepastiches or
medleys. I determined to
do the same with this new
work, with the added
problem of
employingmelodies that
were more familiar. I
chose five tunes from the
19th century: hymns,
spirituals, and
folk-tunes.Some of these
are known by differing
titles, but they all
appear in hymnals of
various Christian
denominations(with
various titles and
texts). My idea was to
employ the tunes without
altering their notes,
instead using aconstantly
modulating sense of
harmony —
sometimes leading to
polytonal harmonizations
of what are
normallysimple four-chord
hymns.The work begins and
ends with a repeated
chime on the note C: a
reminder of steeples,
white clapboard
churchesin the country,
and small church organs.
Beginning with a
Mixolydian folk tune of
Caribbean origin
presentedtwice with
layered entrances, the
work starts with a
feeling of mystery and
gentle sorrow. It
proceeds, after along
transition, into a second
hymn that is sometimes
connected to the sea
(hence the sensation of
water andwaves throughout
it). This tune, by John
B. Dykes (1823-1876), is
a bit more chromatic and
“shifty†than
mosthymn-tunes, so I
chose to play with the
constant sensation of
modulation even more than
the original does. Atthe
climax, the familiar
spiritual “Were you
there?†takes over,
with a double-time
polytonal feeling
propelling itforward at
“Sometimes it
causes me to
tremble.â€Trumpets
in counterpoint raise the
temperature, and the
tempo as well, leading
the music into a third
tune (ofunknown
provenance, though it
appears with different
texts in various hymnals)
that is presented in a
sprightlymanner. Bassoons
introduce the melody, but
it is quickly taken up by
other instruments over
three
“verses,â€cons
tantly growing in
orchestration and volume.
A mysterious second tune,
unrelated to this one,
interrupts it inall three
verses, sending the
melody into unknown
regions.The final melody
is “For the Beauty
of the Earth.†This
tune by Conrad Kocher
(1786-1872) is commonly
sung atThanksgiving
— the perfect
choice to end this work
celebrating two people
known for their
generosity.Keeping the
sense of constant
modulation that has been
present throughout, I
chose to present this
hymn in threegrowing
verses, but with a twist:
every four bars, the
“key†of the
hymn seems to shift
— until the
“Lord of all,
toThee we praiseâ€
melody bursts out in a
surprising compound
meter. This, as it turns
out, was the
“mystery
tuneâ€heard earlier
in the piece. After an
Ivesian, almost polytonal
climax, the Coda begins
over a long B( pedal. At
first,it seems to be a
restatement of the first
two phrases of “For
the Beauty†with
long spaces between them,
but it soonchanges to a
series of
“Amenâ€
cadences, widely
separated by range and
color. These, too, do not
conform to anykey, but
instead overlay each
other in ways that are
unpredictable but
strangely comforting.The
third verse of “For
the Beauty of the
Earth†contains
this quatrain:“For
the joy of ear and eye,
–For the heart and
mind’s delightFor
the mystic harmonyLinking
sense to sound and
sightâ€and it was
from this poetry that I
drew the title for the
present work. It is my
hope that audiences and
performerswill find
within it a sense of
grace: more than a little
familiar, but also quite
new and unexpected. $25.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Mitchell on Trumpet * Book 1 with DVD Trompette [Partition + DVD] Santorella Publications
(82 balanced lessons). By Harold E. Mitchell. For trumpet. This edition: Paperba...(+)
(82 balanced lessons). By
Harold E. Mitchell. For
trumpet. This edition:
Paperback. Instructional.
Method. Method book and
DVD. Text Language:
English. 96 pages.
Published by Santorella
Publications
$18.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Mitchell on Trumpet, Book 3 Trompette [Partition + CD] Santorella Publications
(82 Balanced Lessons). Composed by Harold E. Mitchell. For trumpet. The one ...(+)
(82 Balanced Lessons).
Composed by Harold E.
Mitchell. For trumpet.
The one
and only complete trumpet
method. Method book &
CD. 112
pages. Published by
Santorella
Publications
$18.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Duke Ellington - Trumpet Trompette [Partition + CD] Hal Leonard
Big Band Play-Along Volume 3. By Duke Ellington. Big Band Play-Along. Softcover ...(+)
Big Band Play-Along
Volume 3. By Duke
Ellington. Big Band
Play-Along. Softcover
with CD. 24 pages.
Published by Hal Leonard.
$14.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Chase the Horizon Orchestre d'harmonie - Facile Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Chimes, Clarinet 1, Clarinet 2, Crash Cy...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Chimes,
Clarinet 1, Clarinet 2,
Crash Cymbals, Euphonium,
Euphonium T.C., Flute,
Flute 2, Glockenspiel,
Horn, Mallet Percussion,
Oboe, Percussion 1,
Percussion 2, Snare Drum,
Suspended Cymbal,
Timpani, Trombone and
more. - Grade 2 SKU:
CF.YPS197 Composed by
John Pasternak. Young
Band (YPS). Set of Score
and Parts. With Standard
notation.
16+4+8+8+4+4+10+4+4+8+8+8
+12+6+6+6+2+4+2+20+4
pages. Duration 3
minutes, 57 seconds. Carl
Fischer Music #YPS197.
Published by Carl Fischer
Music (CF.YPS197).
ISBN 9781491152171.
UPC: 680160909674. Key:
Eb major. Chase the
Horizon is a musical
journey depicting a
lonesome cowboy riding on
his horse, chasing the
horizon. Composer John
Pasternak has delivered a
strong and musically
rewarding piece for the
young band. It begins
with a nice legato
section before setting
off on the journey with a
tuneful theme. The piece
develops through several
contrasting sections
finishing in a dramatic
conclusion. This piece
is a story of new
beginnings. While writing
this piece I pictured a
lonely cowboy riding on
his horse, chasing the
horizon. The beginning
for this piece should
have a very legato feel
except for the Xylophone
part, which should use a
very abrupt, staccato
articulation. Measure 9
should take on a staccato
and light feel. The
feeling should remain
light except for the
instruments with the
melody, who should play
their parts with a more
legato feel. Dynamics
throughout this first
section are crucial. All
parts at m. 22 should
play with a legato style
with focus on the
dynamics. The trumpet
interjection at m. 25
should be played very
light. At m. 32 there
should be contrast with
all the different styles
of articulation. Measure
42 should not slow down
too quickly as the group
should not ever get
slower than the tempo
marking at m. 49.The slow
section at m. 49 should
be played soft with a
legato style growing
gradually through m. 61.
The articulation at m. 61
should be short and
staccato, and be careful
not to rush. The sections
with the melody here
should contrast the
staccato of the ensemble
with a legato style. When
the ensemble arrives at
m. 78 the piece should
have a maestoso-style
feel. The rit. at m. 88
should not become slower
than the tempo at m. 92.
At m. 92, let the
horns and saxophones
really shine through. $70.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| 50 Classical Studies for Trumpet Trompette - Intermédiaire Fentone Music
Arranged by Brian Wiggins. For Trumpet. Fentone Instrumental Books. 52 pages. Fe...(+)
Arranged by Brian
Wiggins. For Trumpet.
Fentone Instrumental
Books. 52 pages. Fentone
Music #F555. Published by
Fentone Music
$23.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| One Hundred Classical Themes - Violin Violon Music Sales
For violin. Format: violin solo book (excerpts only). Baroque, Classical Period ...(+)
For violin. Format:
violin solo book
(excerpts only). Baroque,
Classical Period and
Romantic Period. 64
pages. 9x12 inches.
Published by Music Sales.
(MS.AM84153)
A selection of all the
best-known tunes and
themes in the classical
repertoire, carefully
edited for violin solo.
Includes works by Mozart,
Bach, Beethoven, Chopin
and many more great
composers.
(3)$17.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| 3e Symphonie en ut mineur, op. 78 - Avancé Barenreiter
Orchestra, Organ (Fl1, Fl2 , Fl3(Fl-picc), 2 Ob, EnglHn, 2 clarinet, clarinet-B,...(+)
Orchestra, Organ (Fl1,
Fl2 , Fl3(Fl-picc), 2 Ob,
EnglHn, 2 clarinet,
clarinet-B, 2 bassoon,
bassoon-Co, Hn1, Hn2 ,
Hn3(chrom.), Hn4(chrom.),
3Trp, 3trombone, timpani,
Tr-Gr, Tri, Be, Org,
piano-4ms, 2 Violin,
Viola, Cello, Double
Bass) - Level 5 SKU:
BA.BA10303-01
Composed by Camille
Saint-Saens. Edited by
Michael Stegemann. This
edition: Edition of
selected works, Urtext
edition. Linen.
Saint-Saens, Camille.
Oevres instrumentales
completes I/3. Edition of
selected works, Score.
Opus 78. Duration 39
minutes. Baerenreiter
Verlag #BA10303_01.
Published by Baerenreiter
Verlag (BA.BA10303-01).
ISBN 9790006559503. 33
x 26 cm inches. Key: C
minor. Preface: Michael
Stegemann. The
third symphony by Camille
Saint-Saens, known as the
Organ Symphony, is the
first publication in a
complete
historical-critical
edition of the French
composer's instrumental
works.
I gave
everything I was able to
give in this work. [...]
What I have done here I
will never be able to do
again.Camille Saint-Saens
was rightly proud of his
third Symphony in C minor
Op.78, dedicated to the
memory of Franz Liszt.
Called theOrgan
Symphonybecause of its
novel scoring, the work
was a commission from the
Philharmonic Society in
London, as was
Beethoven's Ninth, and
was premiered there on 19
May 1886. The first
performance in Paris
followed on 9 January
1887 and confirmed the
composer's reputation
asprobably the most
significant, and
certainly the most
independent French
symphonistof his time, as
Ludwig Finscher wrote in
MGG. In fact the work
remains the only one in
the history of that genre
in France to the present
day, composed a good half
century after the
Symphonie fantastique by
Hector Berlioz and a good
half century before
Olivier Messiaen's
Turangalila
Symphonie.
You
would think that such a
famous, much-performed
and much recorded opus
could not hold any more
secrets, but far from it:
in the first
historical-critical
edition of the Symphony,
numerous inconsistencies
and mistakes in the
Durand edition in general
use until now, have been
uncovered and corrected.
An examination and
evaluation of the sources
ranged from two early
sketches, now preserved
in Paris and Washington
(in which the Symphony
was still in B minor!)
via the autograph
manuscript and a set of
proofs corrected by
Saint-Saens himself, to
the first and subsequent
editions of the full
score and parts. The
versions for piano duet
(by Leon Roques) and for
two pianos (by the
composer himself) were
also consulted. Further
crucial information was
finally found in his
extensive correspondence,
encompassing thousands of
previously unpublished
letters. The discoveries
made in producing this
edition include the fact
that at its London
premiere, the Symphony
probably looked quite
different from its
present appearance
...
No less
exciting than the work
itself is the history of
its composition and
reception, which are
described in an extensive
foreword. With his
Symphony, Saint-Saens
entered right into the
dispute which divided
French musical life into
pro and contra Wagner in
the 1880s and 1890s. At
the same time, the work
succeeded in preserving
the balance between
tradition and modernism
in masterly fashion, as a
contemporary critic
stated:The C minor
Symphony by Saint-Saens
creates a bridge from the
past into the future,
from immortal richness to
progress, from ideas to
their
implementation.
On
19 March 1886 Saint-Saens
wrote to the London
Philharmonic Society,
which commissioned the
work:
Work on the
symphony is in full
swing. But I warn you, it
will be terrible. Here is
the precise
instrumentation: 3 flutes
/ 2 oboes / 1 cor anglais
/ 2 clarinets / 1 bass
clarinet / 2 bassoons / 1
contrabassoon / 2 natural
horns / [3 trumpets /
Saint-Saens had forgotten
these in his listing.] 2
chromatic horns / 3
trombones / 1 tuba / 3
timpani / organ / 1 piano
duet and the strings, of
course. Fortunately,
there are no harps.
Unfortunately it will be
difficult. I am doing
what I can to mitigate
the
difficulties.
As
in my 4th Concerto [for
piano] and my [1st]
Violin Sonata [in D minor
Op.75] at first glance
there appear to be just
two parts: the first
Allegro and the Adagio,
the Scherzo and the
Finale, each attacca.
This fiendish symphony
has crept up by a
semitone; it did not want
to stay in B minor, and
is now in C
minor.
It would be
a pleasure for me to
conduct this symphony.
Whether it would be a
pleasure for others to
hear it? That is the
question. It is you who
wanted it, I wash my
hands of it. I will bring
the orchestral parts
carefully corrected with
me, and if anyone wants
to give me a nice
rehearsal for the
symphony after the full
rehearsal, everything
will be fine.
When
Saint-Saens hit upon the
idea of adding an organ
and a piano to the usual
orchestral scoring is not
known. The idea of adding
an organ part to a
secular orchestral work
intended for the concert
hall was thoroughly novel
- and not without
controversy. On the other
hand, Franz Liszt, whose
music Saint-Saens'
Symphony is so close to,
had already demonstrated
that the organ could
easily be an orchestral
instrument in his
symphonic poem
Hunnenschlacht (1856/57).
There was also a model
for the piano duet part
which Saint-Saens knew
and may possibly have
used quite consciously as
an exemplar: theFantaisie
sur la Tempetefrom the
lyrical monodrama Lelio,
ou le retour a la Vie op.
14bis (1831) by Berlioz.
The name of the organist
at the premiere ist
unknown, as,
incidentally, was also
the case with many of the
later performances; the
organ part is indeed not
soloistic, but should be
understood as part of the
orchestral
texture.
In fact
the subsequent success of
the symphony seems to
have represented a kind
of breakthrough for the
composer, who was then
over 50 years of age.My
dear composer of a famous
symphony, wrote
Saint-Saens' friend and
pupil Gabriel Faure:You
will never be able to
imagine what a pleasure I
had last Sunday [at the
second performance on 16
January 1887]! And I had
the score and did not
miss a single note of
this Symphony, which will
endure much longer than
we two, even if we were
to join together our two
lifespans!
About
Barenreiter
Urtext
What can I
expect from a Barenreiter
Urtext
edition?<
/p> MUSICOLOGICA
LLY SOUND - A
reliable musical text
based on all available
sources - A
description of the
sources -
Information on the
genesis and history of
the work - Valuable
notes on performance
practice - Includes
an introduction with
critical commentary
explaining source
discrepancies and
editorial decisions
... AND
PRACTICAL -
Page-turns, fold-out
pages, and cues where you
need them - A
well-presented layout and
a user-friendly
format - Excellent
print quality -
Superior paper and
binding
$566.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Buster's Last Stand Big band [Conducteur et Parties séparées] Jazz Lines Publications
By Claude Thornhill. Edited by Jeffrey Sultanof. Arranged by Gil Evans. For jazz...(+)
By Claude Thornhill.
Edited by Jeffrey
Sultanof. Arranged by Gil
Evans. For jazz big band
(2 alto saxophones
(double clarinet), 2
tenor saxophones,
baritone saxophone,
clarinet (optional), 4
trumpets (4th alternate
for horn 1), 2 horns in
F, 3 trombones (3rd
alternate for horn 2),
guitar, piano, bass,
drums, 2 trombones).
Swing. Difficult. Score
and parts. Published by
Jazz Lines Publications
$65.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Pacific Coast Horns, Vol. 3: Bugle Call Rag (Intermediate-Advanced) Trompette [Partition + CD] Music Minus One
Music Minus One 1st Trumpet Deluxe 2-CD Set. By Kurt Curtis, Pacific Coast Horns...(+)
Music Minus One 1st
Trumpet Deluxe 2-CD Set.
By Kurt Curtis, Pacific
Coast Horns. Music Minus
One. Ragtime, Standards.
Softcover with CD. 32
pages. Music Minus One
#MMO6830. Published by
Music Minus One (
$14.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| One Hundred Classical Themes - Clarinet Clarinette - Intermédiaire Music Sales
For clarinet. Format: clarinet solo book (excerpts only). Baroque, Classical Per...(+)
For clarinet. Format:
clarinet solo book
(excerpts only). Baroque,
Classical Period and
Romantic Period. 64
pages. 9x12 inches.
Published by Music Sales.
(MS.AM84161)
A selection of all the
best known tunes and
themes in the classical
repertoire, carefully
edited for clarinet solo.
Includes works by Mozart,
Bach, Beethoven, Chopin,
and many more great
composers.
(1)$17.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| One Hundred Classical Themes - Flute Flûte traversière Music Sales
For flute. Format: flute solo book (excerpts only). Baroque, Classical Period an...(+)
For flute. Format: flute
solo book (excerpts
only). Baroque, Classical
Period and Romantic
Period. 64 pages. 9x12
inches. Published by
Music Sales. (MS.AM84179)
A selection of all the
best-known tunes and
themes in the classical
repertoire, carefully
edited for flute solo.
Includes works by Mozart,
Bach, Beethoven, Chopin,
and many more great
composers.
(1)$17.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Exsultet - Praeconium Paschale (Score and Parts) Chorale 3 parties SSA Peters
Choir Sacred SSA chorus-trumpet-trombonne- piano SKU: PE.EP68524A For ...(+)
Choir Sacred SSA
chorus-trumpet-trombonne-
piano SKU:
PE.EP68524A For
Chorus (Soprano 1,
Soprano 2, Alto) with
Trumpet, Trombone, and
Piano (2014/5).
Composed by Charles
Wuorinen. Choral; Single
Titles. Edition Peters.
Classical; Contemporary;
Easter. Score and
Part(s). 36 pages.
Duration 00:05:30.
Edition Peters
#98-EP68524A. Published
by Edition Peters
(PE.EP68524A). ISBN
9790300759043.
Lat. My Exs
ultet uses the
ancient chant to which
the Easter Proclamation
is declaimed, normally by
a deacon at the start of
the Great Vigil of
Easter. The chant dates
from somewhere between
the fourth and seventh
centuries and consists of
formulaic repetitions of
simple phrases. I have
elaborated these phrases
canonically, melodically,
and harmonically into a
three-part vocal fabric,
accompanied by obbligato
instruments. The full
text of the original goes
on for quite some time.
My choral-instrumental
version is much
shorter. Commission
ed by the Young People's
Chorus of New York City
for Transient Glory and
dedicated to Francisco J.
Núñez. This
product is Printed on
Demand and may take
several weeks to fulfill.
Please order from your
favorite retailer. $39.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| The Duke Ellington Real Book Fake Book [Fake Book] Hal Leonard
| | |
| Flying Colors Orchestre d'harmonie [Conducteur] - Intermédiaire Hal Leonard
Concert Band (Score) - Grade 4 SKU: HL.4004200 Third Movement of A Tri...(+)
Concert Band (Score) -
Grade 4 SKU:
HL.4004200 Third
Movement of A Tribute to
Arthur Delamont.
Composed by Robert
Buckley. Closer.
MusicWorks Grade 4.
Festival. Score Only. 24
pages. Published by Hal
Leonard (HL.4004200).
UPC: 888680053321.
9x12
inches. Imagine a
band far off in the
distance marching towards
you – the music,
soft at first, becomes
louder and louder, the
red capes of the band
swaying in the wind,
getting closer and
closer. It was this image
that inspired Flying
Colors. Famed
bandmaster Arthur
Delamont always
programmed a march in his
concerts and the hallmark
of his band was their red
capes. This work starts
very softly with a
distant snare drum beat.
The trumpets enter
quietly with the melody,
and with each new melodic
entry the music grows and
intensifies to a roaring
finish. This is a fresh,
new take on a march and
is sure to please players
and audiences alike!
Duration: 3:10. $7.50 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Pacific Coast Horns Vol. 3: Where Trombone Reigns Trombone [Partition + CD] Music Minus One
For trombone. Dixieland. Book and accompaniment CD. Published by Music Minus...(+)
For trombone. Dixieland.
Book
and accompaniment CD.
Published by Music Minus
One
$14.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Concerto in D Trompette, Piano Novello & Co Ltd.
(Trumpet and Piano). Composed by Johann Stamitz (1717-1757). Edited by Alan Bous...(+)
(Trumpet and Piano).
Composed by Johann
Stamitz (1717-1757).
Edited by Alan Boustead.
For Trumpet, Piano
Accompaniment. Music
Sales America. Classical.
Novello and Co Ltd.
#NOV950520. Published by
Novello and Co Ltd.
$23.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| On with the Snow! Orchestre d'harmonie [Conducteur] - Intermédiaire Belwin
Concert Band - Grade 3.5 SKU: AP.24791S Vocal Solo (Featuring: Sleigh ...(+)
Concert Band - Grade 3.5
SKU: AP.24791S
Vocal Solo (Featuring:
Sleigh Ride / Winter
Wonderland / Let It Snow!
Let It Snow! Let It
Snow!). Arranged by
Douglas E. Wagner.
Concert Band; Performance
Music Ensemble; Single
Titles. Belwin Concert
Band. Christmas; Secular;
Winter. Score. 20 pages.
Belwin Music #00-24791S.
Published by Belwin Music
(AP.24791S). UPC:
038081280196.
English. Three
Christmas pop classics
are seamlessly woven
together in a delightful
musical change of pace
for your winter concert
by Douglas E. Wagner.
Featuring Sleigh Ride,
Winter Wonderland and Let
It Snow! Let It Snow! Let
It Snow, the arrangement
is designed to highlight
your vocal soloist (or
with optional
instrumental solo for
trumpet or alto
saxophone). Not
technically difficult,
and a guaranteed audience
pleaser. You'll also want
to take a look at Doug's
similarly scored setting
of Have Yourself a Merry
Little Christmas
(CBM05001) to complete
your holiday program. $9.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
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