Volume 1 and 2 - 2 Books and CD. By Jerry Willard. By Gaspar Sanz (1640-1710). E...(+)
Volume 1 and 2 - 2 Books
and CD. By Jerry Willard.
By Gaspar Sanz
(1640-1710). Edited by
Jerry Willard. Arranged
by Jerry Willard. Guitar.
Classical. Softcover
Audio Online. With guitar
tablature. 272 pages.
Amsco Publications
#AM948629. Published by
Amsco Publications
Guitar - Beginning SKU: MB.31103M Third Edition. Bluegrass, Wire b...(+)
Guitar - Beginning
SKU: MB.31103M
Third Edition.
Bluegrass, Wire bound.
World. Book and online
audio. 236 pages. Mel Bay
Publications, Inc
#31103M. Published by Mel
Bay Publications, Inc
(MB.31103M).
ISBN
9781513468792. 8.75x11.75
inches.
Adam Granger
self-published the first
edition of
Grangerâ??s Fiddle
Tunes for Guitar in
1979. A second edition
was published in 1994.
Now Mel Bay Publications
presents the third
edition of the
book.
This 236-page book
is the most extensive and
best-documented
collection of fiddle
tunes for the flatpicking
guitar player in
existence, and includes
reels, hoedowns,
hornpipes, rags,
breakdowns, jigs and
slip-jigs, presented in
Southern, Northern,
Irish, Canadian, Texas
and Old-time
styles.
There are 508
fiddle tunes referenced
under 2500 titles and
alternate titles. The
titles are fully indexed,
making the book doubly
valuable as a reference
book and a source
book.
In this new
edition, all tunes are
typeset, instead of being
handwritten as they were
in the previous editions,
making the tabs easier to
read.
The tunes in
Grangerâ??s Fiddle
Tunes for Guitar are
presented in Easytab, a
streamlined tablature
notation system designed
by Adam specifically for
fiddle
tunes.
The book comes
with a link which gives
access to mp3 recordings
by Adam of all 508 tunes,
each played once at a
moderate tempo, with
rhythm on one channel and
lead on the
other.
Also included in
Grangerâ??s Fiddle
Tunes for Guitar are
instructions for reading
Easytab, descriptions of
tune types presented in
the book, and primers on
traditional flatpicking
and rhythm guitar.
Additionally, there are
sections on timing,
ornamentation, technique,
and fingering, as well as
information on tune
sources and a history of
the
collection.
Mel Bay also
offers The Granger
Collection, by Bill
Nicholson, the same 508
tunes in standard music
notation.
By Dean Sorenson. For Viola. Band Methods. Standard of Excellence Jazz Ensemble ...(+)
By Dean Sorenson. For
Viola. Band Methods.
Standard of Excellence
Jazz Ensemble Method.
Level: Book A,1. Music
Book. Published by Neil
A. Kjos Music Company.
By Antonio Vivaldi. Edited by Antonio Vivaldie, Giovanni Maria Ruggieri. Arrange...(+)
By Antonio Vivaldi.
Edited by Antonio
Vivaldie, Giovanni Maria
Ruggieri. Arranged by
Clayton Westermann. For
Soprano voice and Alto
voice (Soli), Choir /
Piano. (Chorus and
piano). New Issues.
Baroque: Rococco/Gallant;
Sacred/Hymns. Vocal
Score. Text Language:
Latin, English. Composed
c1710. 80 pages. Duration
31 minutes. Published by
Serenissima.
Composed by Percy Aldridge Grainger (1882-1961). Arranged by Richard W. Sargeant...(+)
Composed by Percy
Aldridge Grainger
(1882-1961). Arranged by
Richard W. Sargeant Jr.
Transcriptions, Suites.
Reprint Source:
Edwardsville: Serenissima
Music, Inc., 2013. Plate
40864. 20th Century,
American
Celtic/Irish/Scottish
English. Study score
(paperback). Composed
40864. 64 pages. Duration
17 minutes. Published by
Serenissima (SA.40864).
By Francesco Durante. Edited by Francesco Durante, Giovanni Battista Pergolesi. ...(+)
By Francesco Durante.
Edited by Francesco
Durante, Giovanni
Battista Pergolesi.
Arranged by Clayton
Westermann. For Soprano
voice, Alto voice, Tenor
voice, and Bass voice
(Soli), Choir / Piano.
(Chorus and piano). New
Issues. Baroque:
Rococco/Gallant;
Sacred/Hymns. Vocal
Score. Text Language:
Latin. 52 pages.
Published by Serenissima.
By Franz Schubert. Edited by Franz Schubert. Arranged by Julius Heinrich Spengel...(+)
By Franz Schubert. Edited
by Franz Schubert.
Arranged by Julius
Heinrich Spengel. For
Soprano voice, Alto
voice, Tenor voice, and
Bass voice (Soli), SATB
Choir / Piano. (Chorus
and piano). Classical;
Sacred/Hymns. Vocal
Score. Text Language:
Latin. Composed 1828. 100
pages. Duration 60
minutes. Published by
Serenissima.
By Wolfgang Amadeus Mozart. Edited by Wolfgang Amadeus Mozart. Arranged by Franz...(+)
By Wolfgang Amadeus
Mozart. Edited by
Wolfgang Amadeus Mozart.
Arranged by Franz Xaver
Sussmayr, Friedrich
Ferdinand Brissler. For
Solo voices, Choir /
Piano. (Chorus and
piano). Classical;
Sacred/Hymns; Funerals.
Vocal Score. Text
Language: Latin. Composed
1791. 80 pages. Duration
57 minutes. Published by
Serenissima.
String Quartet SKU: HL.14030964 Composed by Bent Sorensen. Music Sales Am...(+)
String Quartet
SKU:
HL.14030964
Composed
by Bent Sorensen. Music
Sales America. Classical.
Score. 10 pages. Music
Sales #KP00510. Published
by Music Sales
(HL.14030964).
ISBN
9788759861455.
English.
The
Composer writes: 'In
February 1987 I saw in
the Tate Gallery in
London a painting by the
Victorian English painter
John William Waterhouse.
The painting kept
haunting my memory, and
as I at the same time
planned to write a piece
for solo Viola, my ideas
for the music and the
memory of the painting
fused more and more. I
decided, then, to let my
piece borrow the title of
Waterhouse's painting:
The Lady Of Shalott. The
picture of a mad-like,
pale, and perhaps singing
woman alone in a boat
without sculls, which
calmly slips out from the
rush growth of the river
is an illustration for
the ending of Alfred
Tennyson's poem by the
same title, which again
plaits into the old
English legends about
King Arthur. My piece
tries to meander - like
the river at Camelot -
among these sources.' As
suggested above the piece
was originally written
for Viola solo. This
version for String
Quartet is from 1993.
(Study Score) Composed by Claude Debussy (1862-1918), arranged by Andre Caplet (...(+)
(Study Score) Composed by
Claude Debussy
(1862-1918), arranged by
Andre Caplet (1878-1925).
Miniature score for
orchestra. With full
score notation. Composed
1911. 84 pages. Published
by Serenissima.
Stabat Mater, Op. 58 / B. 71 Soli, choeur mixte et accompagnement satb (soli), SATB (chœur), Clavier [Vocal Score] Serenissima
By Antonin Dvorak (1841-1904). Edited by Otakar Sourek. Arranged by Josef Zubay....(+)
By Antonin Dvorak
(1841-1904). Edited by
Otakar Sourek. Arranged
by Josef Zubay. Choir and
piano. For Soprano voice,
Alto voice, Tenor voice,
and Bass voice (Soli),
SATB Choir, Piano. This
edition: Paperback.
Choral, Transcriptions,
Original Works,
Liturgical. Romantic
Period; Sacred/Hymns,
Czech. Vocal Score. 166
pages. Published by
Serenissima
By Antonio Vivaldi (1678-1741). Edited by Antonio Vivaldi. Arranged by Clayton W...(+)
By Antonio Vivaldi
(1678-1741). Edited by
Antonio Vivaldi. Arranged
by Clayton Westermann.
For Soprano voice, Alto
voice, Tenor voice, and
Bass voice (Soli), Choir
/ Piano (Chorus and
piano). New Issues.
Baroque: Rococco/Gallant;
Sacred/Hymns. Vocal
Score. Text Language:
Latin, English. 76 pages
By Antonin Dvorak (1841-1904). Edited by Antonin Dvorak. Arranged by Josef Zubat...(+)
By Antonin Dvorak
(1841-1904). Edited by
Antonin Dvorak. Arranged
by Josef Zubaty. For
Soprano voice, Alto
voice, Tenor voice, and
Bass voice (Soli), SATB
Choir / Piano (Chorus and
piano). New Issues.
Romantic; Sacred/Hymns.
Vocal Score. Text
Language: Latin. Composed
1877/1880. 116 pages.
Duration 95 minutes
Composed by Camille Saint-Saens (1835-1921). Edited by Richard W. Sargeant Jr. O...(+)
Composed by Camille
Saint-Saens (1835-1921).
Edited by Richard W.
Sargeant Jr. Original
Works, Dances, Opera
Excerpts. Reprint Source:
Edwardsville: Serenissima
Music, Inc., 2015. Plate
41588. Romantic, French
Mythology/Legends. Study
score (paperback).
Composed 1877. 46 pages.
Duration 8 minutes.
Published by Serenissima
(SA.41588).
(Bach Gesellschaft Ausgabe). Composed by Johann Sebastian Bach (1685-1750). Edit...(+)
(Bach Gesellschaft
Ausgabe). Composed by
Johann Sebastian Bach
(1685-1750). Edited by
Wilhelm Rust. Arranged by
Gustav Rosler. Choir and
piano. For Soprano voice,
Alto voice, Tenor voice,
and Bass voice (Soli),
SATB Choir, Piano. This
edition: Paperback.
Sacred Cantata, Original
Works, Transcriptions,
Choral. Baroque Period;
Sacred/Hymns, German.
Vocal Score. Text
Language: German.
Composed 1715. 32 pages.
Duration 21 minutes.
Published by Serenissima
Piano SKU: BT.9781408193075 Composed by Karen Marshall. Get Set! Piano. S...(+)
Piano
SKU:
BT.9781408193075
Composed by Karen
Marshall. Get Set! Piano.
Studies & Exercises. Book
Only. 48 pages. Collins
Music Publishing
#9781408193075. Published
by Collins Music
Publishing
(BT.9781408193075).
ISBN 9781408193075.
English.
Get Set! Piano Tutor
Book 2 is the
second volume in an
exciting new series by
Heather Hammond and Karen
Marshall, written
specially for the
twenty-first century
child.
This tried
and tested course
guidesbeginners from
their very first lesson
through to Prep test
level. Note learning is
taught alongside aural
theory, technique and
composing skills,
providing a holistic
approach to music.
Packed with favourites
such asWhat Shall We
Do With A Drunken
Sailor?, In The Hall Of
The Mountain King,
Amazing Grace and
The Entertainer,
Get Set! Piano
Tutor Book 2 is
the perfect tutor for
getting to Grade
1.
Thisbook is
fully compatible with Get
Set! Piano Pieces Book 2
(9781408192788),
providing plenty of
material for
reinforcement, or just
pure musical
enjoyment.
Parts for String Quartet No.3 'Angel's Music' by Bent Sorensen (1988) Premiered ...(+)
Parts for String Quartet
No.3 'Angel's Music' by
Bent Sorensen (1988)
Premiered by the Arditti
String Quartet at the
Danish Radio Concert Hall
16 November 1988. Score
available: KP00250 The
composer writes: 'Even
when I was writing Adieu,
I knew that I wished to
write Angels Music. The
title existed in an
incomplete form in my
mind and gradually more
and more ideas and a few
outlines became clear.
The actual work on Angels
Music was started in
Rome, where I spent the
autumn of 1987 staying at
The Danish Academy.
Whether this stay has
influenced the quartet or
not is impossible to say.
however, it is true to
say that, in the Roman
churches I visited, I saw
countless angels playing
in the top of frescoes
and altars. Without these
angels, together with the
many crackled-gold
paintings in this city
and my general
fascination with the
Italian renaissance
painter Fra Angelico, (in
fact there are only a few
paintings by him in Rome,
but even his name..!) I
am not sure my quartet
would have been what it
is. Anyway I do feel that
there is a bit of Italy
in the piece. The angels
apart there are, in the
short rhythmic agitating
part of the quartet,
reminiscences of the
Italian medieval Trotto
dance, and in the most
expressive part ofthe
piece there are flashes
of Puccini-like music.
From the very beginning
of my work on the
quartet, the distant,
extremely muted sound in
the high register which
opens the piece, was on
my mind. A sound satiated
with a dense heterophonic
and polyphonic texture of
elegiac melody and
vibrating trills. I
imagined that little
songs (maybe angel songs)
could be created in this
density, these songs
constantly echoing
themselves. Gradually as
this sound got a more and
more concrete musical and
instrumental form, I
felt, that not only
should the little songs
be created, played and
die out in an echo, but
also that the general
pattern of the quartet
should give the feeling
of music which, from the
distance, is getting
closer and closer,
culminates and at last
disappears like an echo.
Related to this, the
general pattern of Angels
Music is divided into
three: a pre-echo,
culmination and echo..
The relationship between
the three part is 5: 6:
4. The reason why I can
say this precisely and
prosaically is that it
was necessary to me to
mark the overall
guidelines before I
started to compose. I had
to do this in order to
enable the relationships
to crawl from the small
cells into the general
pattern.'