(Piano/Vocal/Guitar). For Guitar; Keyboard; Piano; Voice. This edition: Piano/Vo...(+)
(Piano/Vocal/Guitar). For
Guitar; Keyboard; Piano;
Voice. This edition:
Piano/Vocal/Guitar. Book;
P/V/C Mixed Folio;
Piano/Vocal/Chords. The
Giant Sheet Music
Collection. Pop; Rock.
272 pages. Published by
Alfred Music Publishing
(60 Favorites for Guitar-driven Worship). Composed by Ed Hogan. String ensemble....(+)
(60 Favorites for
Guitar-driven Worship).
Composed by Ed Hogan.
String ensemble. For
guitar, medium voice.
Easy. Published by
Lillenas Publishing
Company
Soprano voice, mezzo-soprano voice, or tenor voice and piano - Intermediate SK...(+)
Soprano voice,
mezzo-soprano
voice, or tenor voice and
piano - Intermediate
SKU: EC.9229
Composed by Juliana Hall.
E.C.
Schirmer Publishing
#9229.
Published by E.C.
Schirmer
Publishing
E-Z Play Today (Easy big-note right-hand-only arrangements for piano, organ, an...(+)
E-Z Play Today (Easy
big-note right-hand-only
arrangements for piano,
organ, and electronic
keyboard). Size 9x12
inches. 64 pages.
Published by Hal Leonard.
Concert band (BL/BSCHL) SKU: HL.49021121 For the first cooperation...(+)
Concert band (BL/BSCHL)
SKU: HL.49021121
For the first
cooperation. Composed
by Georg Abraham
Schneider. Edited by
Willy Schneider. This
edition: Folding. Sheet
music. Blaserkreis.
Individual part. 4 pages.
Schott Music #BLK 101-19.
Published by Schott Music
(HL.49021121).
ISBN
9790001119214.
Flot
e in C (Oboe oder
Klarinette in C),
Klarinette in Es,
Klarinette I und II in B,
Flugelhorn I und II in B,
Horn I und II in Es,
Trompete I und II in B,
Tenorhorn I, II und III
in B, Posaune
(Bassschlussel), Posaune
(Violinschlussel),
Bariton (Bassschlussel),
Bariton
(Violinschlussel), Tuba
(Bassschlussel), Tuba
(Violinschlussel),
Schlagzeug.
With companion recordings of Piano Accompaniments Low Voice, Book/Audio. Arrange...(+)
With companion recordings
of Piano Accompaniments
Low Voice, Book/Audio.
Arranged by Harry T.
Burleigh. Vocal
Collection. Sacred,
Spirituals. Softcover
Audio Online. 88 pages.
Published by Hal Leonard
Pop Ballads Piano, Voix et Guitare [Partition] - Facile Hal Leonard
By Various. Arranged by Phillip Keveren. Easy Piano Songbook (Easy arrangements ...(+)
By Various. Arranged by
Phillip Keveren. Easy
Piano Songbook (Easy
arrangements for piano
and voice). Size 9x12
inches. 88 pages.
Published by Hal Leonard.
Piano, Voix et Guitare [Partition] - Intermédiaire/avancé Hal Leonard
Performed by Elton John. Piano/Vocal/Chords Songbook (Arrangements for piano and...(+)
Performed by Elton John.
Piano/Vocal/Chords
Songbook (Arrangements
for piano and voice with
guitar chords). Size 9x12
inches. 176 pages.
Published by Hal Leonard.
Piano - difficult SKU: HL.49045477 Solo Piano. Composed by Han Las...(+)
Piano - difficult
SKU:
HL.49045477
Solo
Piano. Composed by
Han Lash. This edition:
Saddle stitching. Sheet
music. Piano. Classical.
Softcover. Composed 2015.
64 pages. Duration 25'.
Schott Music #ED30168.
Published by Schott Music
(HL.49045477).
ISBN
9781495090219. UPC:
888680671648.
9.0x12.0x0.165
inches.
Pianist
Lisa Moore has an
extraordinary charisma
and energy at her
instrument, with a kind
of musical laser focus
that I find tremendously
inspiring. I wanted to
write her a set of pieces
that would play to her
wonderful range and
character as a performer.
So I decided to write
pieces in the spirit of
etudes: each focuses on a
different type of playing
or technique or pianistic
color. There is one odd
piece out: the 'dream,'
which is in no way an
etude. This 'dream' came
about when I was looking
after Lisa's petunias
while she was away from
home. Unfortunately, her
petunias languished and
died. Feeling very bad, I
wrote a piece to
commemorate the poor
flowers that had perished
in my care. The set of
pieces as a whole is
playful, energetic, and
sometimes dark and
contemplative. It is a
work which reflects my
deep admiration for
Lisa's musicianship and
playing. -Han Lash.
Piano, Voix et Guitare [Partition] - Intermédiaire Hal Leonard
Performed by The Doors. For voice, piano and guitar chords. Format: piano/vocal/...(+)
Performed by The Doors.
For voice, piano and
guitar chords. Format:
piano/vocal/chords
songbook. With vocal
melody, piano
accompaniment, lyrics,
chord names, guitar chord
diagrams, introductory
text and black and white
photos. Classic rock and
psychedelic rock. 412
pages. 9x12 inches.
Published by Hal Leonard.
Piano, Voix et Guitare [Partition] - Intermédiaire Hal Leonard
Piano/Vocal/Guitar Edition. Piano/Vocal/Chords Songbook (Arrangements for piano ...(+)
Piano/Vocal/Guitar
Edition.
Piano/Vocal/Chords
Songbook (Arrangements
for piano and voice with
guitar chords). Size 9x12
inches. 435 pages.
Published by Hal Leonard.
Bassoon SKU: SU.94010764 For Bassoon. Composed by James Lee III. W...(+)
Bassoon
SKU:
SU.94010764
For
Bassoon. Composed by
James Lee III. Woodwinds,
Bassoon. Score. Subito
Music Corporation
#94010764. Published by
Subito Music Corporation
(SU.94010764).
Dedicated to
Bryan Young, Principal
Bassoon, Baltimore
Chamber OrchestraBassoon
Duration: 5'3 Composed:
2020 Published by: Subito
Music Publishing PROGRAM
NOTE: The year 2020
has definitely been a
very challenging year
with many upheavals.
During this time of the
COVID-19 health crisis,
wearing masks, and high
racial tensions, I
decided to compose four
short solo woodwind works
for flute, oboe,
clarinet, and bassoon,
which represent the core
woodwind section in an
orchestra. I was inspired
to compose these short
pieces after I first
heard Igor Stravinsky's
three short pieces for
clarinet, which totals a
little more than four
minutes in duration. I
thought that it would be
nice to highlight and
honor my African-American
male colleagues in the
orchestral music world. I
wanted to celebrate the
fact that they are the
principal player in the
section of their
respective orchestras.
The short pieces are as
follows: Principal
Brother No. 1 for flute
solo for Demarre McGill,
Principal Flute of the
Seattle Symphony
Orchestra, Principal
Brother No. 2 for oboe
solo for Titus Underwood,
Principal Oboe of the
Nashville Symphony
Orchestra, Principal
Brother No. 3 for
clarinet solo for Anthony
McGill, Principal
Clarinet of the New York
Philharmonic, and
Principal Brother No. 4
for bassoon solo for
Bryan Young, Principal
Bassoon of the Baltimore
Chamber Orchestra. These
works all begin with
notes that are
representative of their
name; D for Demarre, B
for Titus (ti in
solfège starting on
C), A for Anthony, and Bb
for Bryan. There is also
a rhythmic figure in the
opening measures of each
piece, which represent
the utterance of their
names. All four of these
works are rhapsodic in
nature with elements of
improvisation. - James
Lee III.
Easy Instrumental Duets. By The Beatles. Arranged by Mark Phillips. Easy Instr...(+)
Easy Instrumental Duets.
By
The Beatles. Arranged by
Mark
Phillips. Easy
Instrumental
Duets. Duet, Classic
Rock,
Pop, Rock. Softcover. 48
pages. Published by Hal
Leonard
Band Concert Band - Grade 2 SKU: CF.YPS105 Warm-Ups and Fundamentals(+)
Band Concert Band - Grade
2
SKU: CF.YPS105
Warm-Ups and
Fundamentals.
Composed by Larry Clark.
Collate - FS SWS - spine:
3/4 or .75. Young
Performance Series. Set
of Score and Parts. With
Standard notation.
16+4+8+8+4+10+4+4+8+8+8+1
2+4+6+2+2+4+2+20 pages.
Duration 2 minutes, 53
seconds. Carl Fischer
Music #YPS105. Published
by Carl Fischer Music
(CF.YPS105).
ISBN
9780825884870. UPC:
798408084875. 9 x 12
inches. Key: Bb
major.
Based on our
popular New Bennett Band
Book series, we have
compiled march-style
warm-ups in a separate
publication so they may
be used by all bands
wishing to learn from
them. These innovative
warm-ups and fundamental
drills are the ultimate
method of teaching and
reinforcing the March
style. How To Use the
March Warm-upsPlaying in
a march style can present
difficulties for young
students. The most
prevalent problem is that
students have a tendency
to play every note too
short. Conversely,
accented notes are
usually played
incorrectly with too much
tongue. Do marches
contain short notes?
Absolutely, but these
shortest of notes should
be reserved for notes
that precede an accent or
notes that are
specifically marked with
a staccato. Think of
unmarked notes as being
separated, but not short
and certainly not clipped
or stopped with the
tongue. Accented notes
should be played with
more weight using air and
more length, and not just
a harder tongue. Accents
are given to show
emphasis to a note and
should be thought of in
this manner.The warm-up
exercises provided in
this collection should
give you many
opportunities to stress
the above-mentioned
comments on march
performance style. The
following gives an
explanation on the
purpose and use of each
of these exercises.No. 1
– Basic Chords and
ModulationsOne of the
challenges of playing
marches with young
students is successfully
performing the key change
at the Trio. This
exercise presents the
three basic chords
(tonic, subdominant and
dominant) in each of the
three keys in this
collection of marches.
You can also use this
exercise to teach and
reinforce the style of
accented notes. You may
want to have your band
play major scales in
succession by fourths to
reinforce the concept of
modulation to the
subdominant that occurs
at the Trio (i.e. the
B≤-major scale,
then the E≤-major
scale, then the
A≤-major scale). I
might suggest getting the
students to try
continuing the pattern
all the way around the
circle of fourths.No. 2
– March Style in
B≤ MajorThis
exercise contains many
opportunities to teach
and reinforce the
difference between
staccato and accented
notes. The melody voices
move up and down the
B≤-major scale,
while other instruments
play chords commonly
found in the marches in
this collection. These
include diminished
chords, secondary
dominant chords (i.e. the
V of the V) and other
common chromatic chords
that Fillmore often
used.No. 3 –
Cakewalk Rhythm in
B≤ MajorThe simple
syncopated rhythm in this
exercise is common to
many marches. This drill
gives you the opportunity
to teach/ reinforce the
standard ar-ticulation
and natural accent of
this rhythmic pattern.
Again, this exercise uses
an ascending and
descending major-scale
pattern as the melodic
basis, accompanied by
chords commonly found in
American- style
marches.No. 4 –
The March Scale in
B≤ MajorI call this
exercise “The March
Scale,†because
often in marches (and
especially in these
marches) the descending
half-step is part of the
melodic material. These
chromatic figures give
the melodies of many
marches their charm and
flow. Thus, I devised
this exercise and others
like it in E≤ major
and A≤ major to
familiarize students with
these patterns. I would
suggest playing the
pattern in a variety of
ways different from what
is written. Here are some
other
possibilities:•
Tongue one, slur
three• Slur two,
tongue two• Tongue
two, slur two•
Tongue one, slur two,
tongue oneGradually
increase the tempo to the
march tempo and the
articulation style will
fall right into
place.Another important
consideration is the
performance of the bass
line and the bass-drum
part. Too often, the bass
drum and bass instruments
play their parts with
equal emphasis on both
beats in the measure.
This is incorrect, and
frequently makes the
marchNo. 5 – March
Style in E≤
MajorThis is a similar to
exercise No. 2, but with
a different rhythmic
pattern. Emphasize the
difference between
accented and unaccented
notes. Also, play the
exercise with line
direction moving the
musical line forward.
Experiment and play the
exercise with different
dynamic choices and with
hairpins up and down in
different ways.No. 6
– More March Style
in E≤ MajorExercise
No. 6 comprises more
rhythmic patterns and
harmonic materials in
E≤ major to teach
and reinforce the march
style. This exercise
em-phasizes the
sixteenth-note rhythm, as
notated in the third
measure of the exercise.
Young stu- dents have a
tendency to
“crush†the
sixteenths; consequently,
they lack clarity. It
would be a good idea to
work this rhythmic figure
on a scale pattern with
all of the instruments in
the band as an additional
warm-up exercise.No. 7
– The March Scale
in E≤ MajorSee the
information for No. 4 and
apply it to this
exercise. Use all of the
various articulations
described above as
well.No. 8 – March
Style in A≤
MajorSee the information
for No. 2 and apply it to
this exercise.No. 9
– Cakewalk Rhythm
in A≤ MajorSee the
information for No. 3 and
apply it to this
exercise.No. 10 –
The March Scale in
A≤ MajorSee the
information for No. 4 and
apply it to this
exercise.Other Ideas for
March PerformanceA
rehearsal practice that
has worked very well for
me is to start out by
having the band play the
march very slowly at
about Å’ = 60 in a
chorale/legato style. The
slow tempo is a fine
opportunity to work on
clarity of harmonic move-
ment and to work on the
balance and blend of the
tutti band sound. This
will pay great dividends
toward improving the
sound of your band.
Gradually increase the
tempo to the march tempo
and the articulation
style will fall right
into place.Another
important consideration
is the performance of the
bass line and the
bass-drum part. Too
often, the bass drum and
bass instruments play
their parts with equal
emphasis on both beats in
the measure. This is
incorrect, and frequently
makes the march.