By Bradley Cooper; Lady Gaga. By Lukas Nelson; Various. Easy Piano Songbook. Movies, Musicals. Softcover. 112 pages. Published by Hal Leonard

E-Z Play Today Volume 116. Composed by Various. E-Z Play Today. Movies, Musicals. Softcover. 96 pages. Published by Hal Leonard

By Bradley Cooper and Lady Gaga. By Lukas Nelson and Various. Easy Guitar. Movies, Musicals. Softcover. 80 pages. Published by Hal Leonard

Choral TBB chorus

SKU: CF.CM9588

Composed by Tomas Luis de Victoria. Arranged by Jeb Mueller. Fold. Performance Score. 8 pages. Duration 1 minute, 59 seconds. Carl Fischer Music #CM9588. Published by Carl Fischer Music (CF.CM9588).

ISBN 9781491154106. UPC: 680160912605. 6.875 x 10.5 inches. Key: Eb major. Latin. Traditional Latin.

Tomas Luis de Victoria (15481611) is widely considered the greatest Spanish Renaissance composer and one of the most influential musicians of his time. Included in his oeuvre are two settings of the Pange lingua, both produced in 1581. This motet is excerpted from the first of those and incorporates the original Roman melody, or cantus firmus. (He composed his second Pange lingua based on a Spanish melody.) The baritones anchor the motet by singing the tune in augmentation. This line should be intoned with a flowing, legato articulation that incorporates subtle phrasing and text stresses. The more rhythmic tenor and bass lines complement the melody and illustrate the hopeful nature of its text. Singing this piece with two pulses per measure will encourage a steady and vital performance. Composers provided minimal performance details in their scores during this period in music history, so I added a time signature, bar lines, dynamics, and metronome markings in order to facilitate performances that musicologists believe mimic those of Victorias time. It should be noted that dynamics are largely subjective, so performers may make alternative choices. Each tenuto indicates word stress; the most musical performances will incorporate gentle crescendos and decrescendos before and after each of them. Lastly, using minimal vibrato, especially at cadences, will imbue this wonderful motet with style and clarity. PRONUNCIATION GUIDE Victoria received much of his training in Italy, therefore making Italianate Latin most appropriate. Pure vowels are critical to correct pronunciation, and those phonemes remain constant without exceptions. The most problematic of the vowels is o, which sounds similar to the English words bought and got. The letter t should be produced dentally: lift the tongue to the top of the mouth as in English, but aspirate less on the release. All occurrences of s should be soft and never hardened to [z], such as in praise. Verbum caro, panem verum, [v??bum k??? p?n?m v?rum] verbo carnem efficit: fitque sanguis Christi merum. [v??b? k??n?m ??fit?it fitkw? s??gwis k?isti m??um] Et si sensus deficit, ad firmandum cor sin cerum. [?t si s?nsus ?d?fit?it, ?d fi??m?ndum k?? sin t???um] Jeb Mueller.
TomA!s Luis de Victoria (1548a1611) is widely considered the greatest Spanish Renaissance composer and one of the most influential musicians of his time. Included in his oeuvre are two settings of the Pange lingua, both produced in 1581. This motet is excerpted from the first of those and incorporates the original Roman melody, or cantus firmus. (He composed his second Pange lingua based on a Spanish melody.) The baritones anchor the motet by singing the tune in augmentation. This line should be intoned with a flowing, legato articulation that incorporates subtle phrasing and text stresses. The more rhythmic tenor and bass lines complement the melody and illustrate the hopeful nature of its text. Singing this piece with two pulses per measure will encourage a steady and vital performance. Composers provided minimal performance details in their scores during this period in music history, so I added a time signature, bar lines, dynamics, and metronome markings in order to facilitate performances that musicologists believe mimic those of Victoriaas time. It should be noted that dynamics are largely subjective, so performers may make alternative choices. Each tenuto indicates word stress; the most musical performances will incorporate gentle crescendos and decrescendos before and after each of them. Lastly, using minimal vibrato, especially at cadences, will imbue this wonderful motet with style and clarity. PRONUNCIATION GUIDE Victoria received much of his training in Italy, therefore making Italianate Latin most appropriate. Pure vowels are critical to correct pronunciation, and those phonemes remain constant without exceptions. The most problematic of the vowels is ao,a which sounds similar to the English words bought and got. The letter ata should be produced dentally: lift the tongue to the top of the mouth as in English, but aspirate less on the release. All occurrences of asa should be soft and never hardened to [z], such as in praise. Verbum caro, panem verum, [vEE 3/4 bum kEE 3/4 E pEnEm vErum] verbo carnem efficit: fitque sanguis Christi merum. [vEE 3/4 bE kEE 3/4 nEm EEfitEit fitkwE sEAgwis kE 3/4 isti mEE 3/4 um] Et si sensus deficit, ad firmandum cor sin cerum. [Et si sEnsus EdEfitEit, Ed fiE 3/4 EmEndum kEE 3/4 sin tEEE 3/4 um] Jeb Mueller.
Tomas Luis de Victoria (1548-1611) is widely considered the greatest Spanish Renaissance composer and one of the most influential musicians of his time. Included in his oeuvre are two settings of the Pange lingua, both produced in 1581. This motet is excerpted from the first of those and incorporates the original Roman melody, or cantus firmus. (He composed his second Pange lingua based on a Spanish melody.) The baritones anchor the motet by singing the tune in augmentation. This line should be intoned with a flowing, legato articulation that incorporates subtle phrasing and text stresses. The more rhythmic tenor and bass lines complement the melody and illustrate the hopeful nature of its text. Singing this piece with two pulses per measure will encourage a steady and vital performance. Composers provided minimal performance details in their scores during this period in music history, so I added a time signature, bar lines, dynamics, and metronome markings in order to facilitate performances that musicologists believe mimic those of Victoria's time. It should be noted that dynamics are largely subjective, so performers may make alternative choices. Each tenuto indicates word stress; the most musical performances will incorporate gentle crescendos and decrescendos before and after each of them. Lastly, using minimal vibrato, especially at cadences, will imbue this wonderful motet with style and clarity. PRONUNCIATION GUIDE Victoria received much of his training in Italy, therefore making Italianate Latin most appropriate. Pure vowels are critical to correct pronunciation, and those phonemes remain constant without exceptions. The most problematic of the vowels is o, which sounds similar to the English words bought and got. The letter t should be produced dentally: lift the tongue to the top of the mouth as in English, but aspirate less on the release. All occurrences of s should be soft and never hardened to [z], such as in praise. Verbum caro, panem verum, [verbum karo panem verum] verbo carnem efficit: fitque sanguis Christi merum. [verbo karnem 'efitSit fitkwe saNGgwis kristi merum] Et si sensus deficit, ad firmandum cor sin cerum. [et si sensus 'defitSit, ad fir'mandum kor sin tSerum] Jeb Mueller.
Tomas Luis de Victoria (1548-1611) is widely considered the greatest Spanish Renaissance composer and one of the most influential musicians of his time. Included in his oeuvre are two settings of the Pange lingua, both produced in 1581. This motet is excerpted from the first of those and incorporates the original Roman melody, or cantus firmus. (He composed his second Pange lingua based on a Spanish melody.) The baritones anchor the motet by singing the tune in augmentation. This line should be intoned with a flowing, legato articulation that incorporates subtle phrasing and text stresses. The more rhythmic tenor and bass lines complement the melody and illustrate the hopeful nature of its text. Singing this piece with two pulses per measure will encourage a steady and vital performance. Composers provided minimal performance details in their scores during this period in music history, so I added a time signature, bar lines, dynamics, and metronome markings in order to facilitate performances that musicologists believe mimic those of Victoria's time. It should be noted that dynamics are largely subjective, so performers may make alternative choices. Each tenuto indicates word stress; the most musical performances will incorporate gentle crescendos and decrescendos before and after each of them. Lastly, using minimal vibrato, especially at cadences, will imbue this wonderful motet with style and clarity. PRONUNCIATION GUIDE Victoria received much of his training in Italy, therefore making Italianate Latin most appropriate. Pure vowels are critical to correct pronunciation, and those phonemes remain constant without exceptions. The most problematic of the vowels is o, which sounds similar to the English words bought and got. The letter t should be produced dentally: lift the tongue to the top of the mouth as in English, but aspirate less on the release. All occurrences of s should be soft and never hardened to [z], such as in praise. Verbum caro, panem verum, [verbum karo panem verum] verbo carnem efficit: fitque sanguis Christi merum. [verbo karnem 'efitSit fitkwe saNGgwis kristi merum] Et si sensus deficit, ad firmandum cor sin cerum. [et si sensus 'defitSit, ad fir'mandum kor sin tSerum] Jeb Mueller.
Tomas Luis de Victoria (1548-1611) is widely considered the greatest Spanish Renaissance composer and one of the most influential musicians of his time. Included in his oeuvre are two settings of the Pange lingua, both produced in 1581. This motet is excerpted from Pange lingua more hisapano. The baritones anchor the motet by singing the tune in augmentation. This line should be intoned with a flowing, legato articulation that incorporates subtle phrasing and text stresses. The more rhythmic tenor and bass lines complement the melody and illustrate the hopeful nature of its text. Singing this piece with two pulses per measure will encourage a steady and vital performance. Composers provided minimal performance details in their scores during this period in music history, so I added a time signature, bar lines, dynamics, and metronome markings in order to facilitate performances that musicologists believe mimic those of Victoria's time. It should be noted that dynamics are largely subjective, so performers may make alternative choices. Each tenuto indicates word stress; the most musical performances will incorporate gentle crescendos and decrescendos before and after each of them. Lastly, using minimal vibrato, especially at cadences, will imbue this wonderful motet with style and clarity. PRONUNCIATION GUIDE Victoria received much of his training in Italy, therefore making Italianate Latin most appropriate. Pure vowels are critical to correct pronunciation, and those phonemes remain constant without exceptions. The most problematic of the vowels is o, which sounds similar to the English words bought and got. The letter t should be produced dentally: lift the tongue to the top of the mouth as in English, but aspirate less on the release. All occurrences of s should be soft and never hardened to [z], such as in praise. Verbum caro, panem verum, [verbum karo panem verum] verbo carnem efficit: fitque sanguis Christi merum. [verbo karnem 'efitSit fitkwe saNGgwis kristi merum] Et si sensus deficit, ad firmandum cor sin cerum. [et si sensus 'defitSit, ad fir'mandum kor sin tSerum] Jeb Mueller.
Tomás Luis de Victoria (1548–1611) is widely considered the greatest Spanish Renaissance composer and one of the most influential musicians of his time. Included in his oeuvre are two settings of the Pange lingua, both produced in 1581. This motet is excerpted from Pange lingua more hisapano.The baritones anchor the motet by singing the tune in augmentation. This line should be intoned with a flowing, legato articulation that incorporates subtle phrasing and text stresses. The more rhythmic tenor and bass lines complement the melody and illustrate the hopeful nature of its text. Singing this piece with two pulses per measure will encourage a steady and vital performance.Composers provided minimal performance details in their scores during this period in music history, so I added a time signature, bar lines, dynamics, and metronome markings in order to facilitate performances that musicologists believe mimic those of Victoria’s time. It should be noted that dynamics are largely subjective, so performers may make alternative choices. Each tenuto indicates word stress; the most musical performances will incorporate gentle crescendos and decrescendos before and after each of them. Lastly, using minimal vibrato, especially at cadences, will imbue this wonderful motet with style and clarity.PRONUNCIATION GUIDEVictoria received much of his training in Italy, therefore making Italianate Latin most appropriate. Pure vowels are critical to correct pronunciation, and those phonemes remain constant without exceptions. The most problematic of the vowels is “o,” which sounds similar to the English words bought and got. The letter “t” should be produced dentally: lift the tongue to the top of the mouth as in English, but aspirate less on the release. All occurrences of “s” should be soft and never hardened to [z], such as in praise.Verbum caro, panem verum,[vɛɾbum kɑɾɔ pɑnɛm vɛrum]verbo carnem efficit: fitque sanguis Christi merum.[vɛɾbɔ kɑɾnɛm ˈɛfitʃit fitkwɛ sɑŋgwis kɾisti mɛɾum]Et si sensus deficit, ad firmandum cor sin cerum.[ɛt si sɛnsus ˈdɛfitʃit, ɑd fiɾˈmɑndum kɔɾ sin tʃɛɾum]Jeb Mueller.

Voice (soprano, mezzo, tenor, bass), Continuo

SKU: FZ.2573

Composed by Sebastien de Brossard. Edited by Philippe Lescat, Jean Saint-Arroman. This edition: Facsimile. La Musique Francaise Classique de 1650 a 1800. Sacred. Published by Anne Fuzeau Productions - France (FZ.2573).

ISBN 9790230625739. 24.00 x 33.00 cm inches.

This facsimile of an original by Sebastien de Brossard is part of our French classical music collection. Edition : Paris, C. Ballard, 1702. In his table of contents the composer states that the first six motets may be sung by either a soprano or a tenor. Preface by: Philippe Lescat: Italian terminology,Jean Saint-Arroman: the figures of the continuo bass.
Collection supervised by the musicologist Jean Saint-Arroman, professor at the Conservatoire National Superieur de Musique et de Danse of Paris and at the CEFEDEM Ile de France (Training Centre for Music Teachers). He is the author of the majority of our prefaces and has also been involved in library searches.
Facsimile of a copy in the Inguimbertine Library of Carpentras (Vaucluse - France). Anne Fuzeau Classique propose period copies of classical music scores.

Jazz Ensemble - Grade 1.5

SKU: PE.HX104SC

Composed by Josh Weirich and Ryan Fraley. 5 or More; Improvisation; Jazz Ensemble Method; Jazz Resources; Method/Instruction; Solo Small Ensembles. HXmusic. Jazz. Book. HXmusic #98-HX104SC. Published by HXmusic (PE.HX104SC).

ISBN 9781619283343.

An attractive first introduction to the art of improvised jazz. Simple strategies are provided for young musicians to experience success learning to perform blues, swing, Latin, and rock music, all delivered in a stylish comic book format. Featuring online play-along tracks, four flexible band charts in contrasting styles, transcribed demonstration solos, and a limited number of scales to learn. Through exercises geared to foster confidence, increase vocabulary, set historical context, and introduce multiple styles of improvisation, your students will be excited to Play Jazz.

Jazz Ensemble - Grade 2.5

SKU: PE.HX9028S

Composed by Camille Saint-Saens. Arranged by Ryan Fraley. Jazz Ensemble Conductor Score; Performance Music Ensemble; Single Titles. HXmusic. Masterwork Arrangement. Score. HXmusic #98-HX9028S. Published by HXmusic (PE.HX9028S).

UPC: 659675479316.

Ryan Fraley's arrangement of Camille Saint-Saëns' Danse Macabre transforms the iconic nineteenth-century supernatural tone poem into a dynamic 1930s hot-jazz piece reminiscent of Django Reinhardt's swing style. The work brings the haunting themes to life, set against compelling backbeats. It features skillfully written solos for plunger trumpet and trombone, an open solo section for improvisation (transcribed solos provided), and a sizzling sax soli, inviting musicians to delve into a fusion of classical sophistication and the exuberant spirit of early jazz. Top trumpet note: F-sharp 5.

Jazz Ensemble Other Woodwinds - Grade 1.5

SKU: PE.HX104BCL

Composed by Josh Weirich and Ryan Fraley. 5 or More; Improvisation; Jazz Ensemble Method; Jazz Resources; Method/Instruction; Solo Small Ensembles. HXmusic. Jazz. Book. HXmusic #98-HX104BCL. Published by HXmusic (PE.HX104BCL).

ISBN 9781619283213. UPC: 241444426494.

An attractive first introduction to the art of improvised jazz. Simple strategies are provided for young musicians to experience success learning to perform blues, swing, Latin, and rock music, all delivered in a stylish comic book format. Featuring online play-along tracks, four flexible band charts in contrasting styles, transcribed demonstration solos, and a limited number of scales to learn. Through exercises geared to foster confidence, increase vocabulary, set historical context, and introduce multiple styles of improvisation, your students will be excited to Play Jazz.

Jazz Ensemble Guitar - Grade 1.5

SKU: PE.HX104GTR

Composed by Josh Weirich and Ryan Fraley. 5 or More; Improvisation; Jazz Ensemble Method; Jazz Resources; Method/Instruction; Solo Small Ensembles. HXmusic. Jazz. Book. HXmusic #98-HX104GTR. Published by HXmusic (PE.HX104GTR).

ISBN 9781619283305. UPC: 241444427316.

An attractive first introduction to the art of improvised jazz. Simple strategies are provided for young musicians to experience success learning to perform blues, swing, Latin, and rock music, all delivered in a stylish comic book format. Featuring online play-along tracks, four flexible band charts in contrasting styles, transcribed demonstration solos, and a limited number of scales to learn. Through exercises geared to foster confidence, increase vocabulary, set historical context, and introduce multiple styles of improvisation, your students will be excited to Play Jazz.

(Vocal Score). Composed by Richard Wagner (1813-1883). Edited by Egon Voss. For Vocal, Piano Accompaniment (Vocal Score). This edition: Urtext edition. Vocal Score. Vocal score. 672 pages. Schott Music #ED20410. Published by Schott Music

Fanfare Band - Grade 2

SKU: BT.CMP-0025-95-020

Composed by James Curnow. Essentials of Musicianship Series. Educational Tool. Set (Score & Parts). Composed 1995. Curnow Music #CMP 0025-95-020. Published by Curnow Music (BT.CMP-0025-95-020).

Zowel muzikanten als dirigenten weten hoe saai en oninteressant inspelen soms kan zijn, maar ze weten ook dat oefeningen voor de toonvorming van belang zijn om het niveau van een orkest op peil te houden en te laten stijgen. ToneStudies for Band maakt deel uit van de serie Essentials of Musicianship, met perfect oefenmateriaal voor elk blazersensemble. De oefeningen zijn allemaal geschreven door de bekende componist en muziekdocent James Curnow,die zijn schat van ervaring met blazersorkesten heeft doen spreken. Beide delen zijn oplopend in moeilijkheidsgraad - en het zal verre van saai zijn om ermee te werken!

Musiker und Dirigenten kennen das Problem, wie langweilig und uninteressant das Einspielen einerseits manchmal sein kann, wie wichtig tonbildende Übungen andererseits aber sind, um das Niveau eines Orchesters stetig zu steigern. Tone Studies for Band ist Teil der Reihe Essentials of Musicianships, dem idealen Übungsmaterial für jede Art von Bläserensembles. Die Übungen wurden alle vom bekannten Komponisten und Musikdozenten James Curnow geschrieben, der seine umfassenden Erfahrungen in dieses Orchestertraining einfließen ließ. In Tone Studies for Band steckt wertvolles Übungsmaterial, angeordnet in ansteigendem Schwierigkeitsgrad, und dabei alles andereals langweilig. So verhindern Sie, dass Ihren Musikern beim Üben und Spielen die Luft ausgeht!