(Songs and Activities for Learning Across the Curriculum). Composed by John Jaco...(+)
(Songs and Activities for
Learning Across the
Curriculum). Composed by
John Jacobson.
Performance/Accompaniment
CD. Expressive Art
(Choral). CD only.
Published by Hal Leonard
Full
Score. Composed by
Per Norgard. Music Sales
America. 20Th Century,
Classical. Softcover. 188
pages. Edition Wilhelm
Hansen #KP00865.
Published by Edition
Wilhelm Hansen
(HL.14032192).
ISBN
9788759858394.
12.0x16.5x0.78 inches.
International (more than
one
language).
Symphony
No. 6 for orchestra,
1997-99. Preface /
Program Note:... with the
Lord a day is like a
thousand years, and a
thousand years is like a
day(New Testament, 2
Peter 3:8)My SYMPHONY NO.
6 was commissioned by the
Danish National Radio
Symphony Orchestra, the
Gteborg Symphony
Orchestra and the Oslo
Philharmonic Orchestra,
to be premiered at the
millenium 2000.The
subtitle AT THE END OF
THE DAY can be understood
literally or it can mean
when all is added up.
However, in my opinion,
nothing ever quite adds
up, there is always
something missing, any
ending will be
provisional ...This
symphony appears to end
only a few minutes into
the first movement, the
first passage, as the
music fades away to
almost-silence, after a
start of flying colours.
But then there is still
something, a small motive
(first heard in the
initial sound-waves)
which reappears,
hesitant, but persistent,
and this embryo is what
leads on the musical
progression. An agitated
section of many
instrumental voices comes
next, until all the
voices become obsessed
with the same phrase, a
see-saw motive based on
thirds. This section
evolves into almost
martial ferocity, when
broken off by a tutti
descent into an extreme
bass-world (a bass-world
which actually permeates
the whole symphony,
emplyoing instruments
that I have never used
before: double-bass tuba,
double-bass trombone,
double-bass clarinet, and
bass flute).The second
movement, the second
passage, apparently takes
off where the first
passage ended, but now
the events are more
ambiguous, and the same
music may be perceived as
fast-moving one moment
and slow-moving the next.
This section is a kind of
passacaglia, the
characteristic baroque
bass-variation.Without a
break follows the third
and last passage, in a
contrasting high
register. The music is
rhythmically knotty as
well as freely flowing.
As in the beginning of
the symphony, a
never-ending descent or
fall breaks off the
events, and at the very
end a delta of new
beginnings, of other
worlds, is revealed
....The symphony is
dedicated to Helle, my
wife. - Per Norgard.
(Broadway Singer's Edition). Composed by Charles Strouse. For Voice, Piano Accom...(+)
(Broadway Singer's
Edition). Composed by
Charles Strouse. For
Voice, Piano
Accompaniment. Vocal
Piano. Softcover with CD.
72 pages. Published by
Hal Leonard
Arranged by John Brimhall. For voice and piano. From the Broadway musical "Annie...(+)
Arranged by John
Brimhall. For voice and
piano. From the Broadway
musical "Annie". Format:
easy piano/vocal/chords
songbook. With vocal
melody, piano
accompaniment, lyrics,
chord names and easy
piano notation. Broadway.
32 pages. 9x12 inches.
Published by Hal Leonard.
Performed by John Mayer. Piano/Vocal/Chords Songbook (Arrangements for piano and...(+)
Performed by John Mayer.
Piano/Vocal/Chords
Songbook (Arrangements
for piano and voice with
guitar chords). Size 9x12
inches. 88 pages.
Published by Cherry Lane
Music.
Piano, Voix et Guitare [Partition] - Intermédiaire Hal Leonard
Composed by Charles Strouse, lyrics by Martin Charnin. For voice, piano and guit...(+)
Composed by Charles
Strouse, lyrics by Martin
Charnin. For voice, piano
and guitar chords. From
the Broadway musical
"Annie". Format:
piano/vocal/chords
songbook. With vocal
melody, piano
accompaniment, lyrics,
chord names, guitar chord
diagrams and color
photos. Broadway. 56
pages. 9x12 inches.
Published by Hal Leonard.
For voice and keyboard (right hand only). From the Broadway musical "Annie". For...(+)
For voice and keyboard
(right hand only). From
the Broadway musical
"Annie". Format: easy
piano/vocal/chords
songbook. With vocal
melody, lyrics, chord
names, big note notation,
introductory text and
color photos. Broadway.
Series: Hal Leonard E-Z
Play Today. 56 pages.
9x12 inches. Published by
Hal Leonard.
By Charles Strouse, Martin Charnin. Piano/Vocal/Chords Vocal Selections (Arrange...(+)
By Charles Strouse,
Martin Charnin.
Piano/Vocal/Chords Vocal
Selections (Arrangements
for piano and voice with
guitar chords). Size 9x12
inches. 82 pages.
Published by Hal Leonard.
Guitar SKU: M7.VOGG-567 Composed by Helmut Zehe and Ulrich Tuerk. Sheet m...(+)
Guitar
SKU:
M7.VOGG-567
Composed
by Helmut Zehe and Ulrich
Tuerk. Sheet music with
CD. 188 pages.
Voggenreiter #VOGG 567.
Published by Voggenreiter
(M7.VOGG-567).
ISBN
9783802405679.
English.
Amongst
the many guitar methods
you can buy today, this
book is something
special. After many years
of teaching and a close
look at available guitar
tutors, the authors of
this method are convinced
that there is something
that has been
missing:That is, a guitar
method that keeps the
students' mind open for
all musical styles and
doesn't limit him to only
one musical direction. A
guitar method that
provides the student with
music he is familiar
with, i.e. pop music. A
guitar method that slowly
and gently introduces the
student to classical
music and offers a
carefully selected choice
of musical pieces in this
field. A guitar method
that introduces staff
notation and music theory
in a simplified way that
is easy to understand. A
guitar method that
includes a CD which does
not only support the
student's practice but is
fun to listen to as
well.
Basso Continuo, Contralto, Strings (Score) SKU: HL.50601159 For Contra...(+)
Basso Continuo,
Contralto, Strings
(Score)
SKU:
HL.50601159
For
Contralto, Strings, and
Basso Continuo Score.
Composed by Antonio
Vivaldi. Edited by
Federico Maria Sardelli.
Ensemble. Baroque,
Classical. Softcover. 48
pages. Ricordi #PR1439.
Published by Ricordi
(HL.50601159).
UPC:
888680739454. 7.75x10.5
inches. Critical edition
by Federico Maria
Sardelli.
Among the
works by Vivaldi
preserved in a state
unsatisfactory for
performance there is a
curious case. It is this
motet written
for“Alto
Solo”, Invicti
bellate, RV 628, which is
already known to the
public through editions,
performances and
recordings united by
acommon shortcoming: a
failure to realize that
four entire pages of
manuscript, amounting to
something like 110-120
bars of music, are
missing. This situation
demands a definitive
clarification: the motet
is not performable in the
state in which it has
come down to us. Standing
apart from a recent,
over-indulgent fashion
tending towards the
reconstruction of damaged
works at all costs, this
edition deliberately
presents the text in its
imperfect state, with the
provision, however, of a
substantial historical
introductionaimed
particularly at
establishing the motet's
date and its position
within the ample
repertory of Vivaldi's
sacred music.
Urtext. Composed
by Wolfgang Amadeus
Mozart. Edited by Henrik
Wiese. Orchestra;
stapled.
Orchester-Bibliothek
(Orchestral Library).
In Cooperation with G.
Henle Verlag
Solo
concerto; Classical.
Part. 8 pages. Duration
16'. Breitkopf and
Haertel #OB 15131-16.
Published by Breitkopf
and Haertel
(BR.OB-15131-16).
ISBN
9790004342657. 10 x 12.5
inches.
Prank or
Color Code?Mozart
composed all of his horn
concertos for Joseph
Leutgeb, a long-standing
friend of his family. In
Salzburg Leutgeb was in
the service of the court
ensemble as horn player
and violinist before
departing for Vienna,
where he became known as
a performer of Mozart's
horn concertos. In 1786
Mozart wrote his fourth
horn concerto in E flat
major, which,
unfortunately, survives
only as an incomplete
fragment. For the present
new edition in Breitkopf
Urtext, a reliable early
print for the missing
sections is used.
Nevertheless, this
autograph is still a very
valuable source, since it
contains Mozart's
notation of the work in
colored ink! The question
as to whether this was
one of Mozart's typical
jokes aimed at Leutgeb or
whether he had something
else in mind, remains
inconclusive to this day.
Whoever is curious can
take a guess as well,
since Breitkopf is
printing (in its new
edition and in autograph
form) the sections in
color that were
originally transmitted as
such.