(Baritone/Bass Voice). Edited by Lisa DeSpain. For Voice (Bass voice). Vocal Col...(+)
(Baritone/Bass Voice).
Edited by Lisa DeSpain.
For Voice (Bass voice).
Vocal Collection.
Singer's Library of
Musical Theatre.
Broadway. Book and CD.
188 pages
Improvisation - Style - Special effects. Composed by John O'Neill. This edition:...(+)
Improvisation - Style -
Special effects. Composed
by John O'Neill. This
edition: Paperback/Soft
Cover. Sheet music with
CD. Edition Schott.
Following on from the
best-selling Jazz Method
for Saxophone, Developing
Jazz Technique for
Saxophone will help
intermediate players take
their jazz skills to a
new level. The 22 pieces
are written in a variety
of jazz styles, including
reggae, jazz waltz.
Instruction, Jazz,
Contemporary, Classical.
Edition/Softcover with
CD. 12640. 88 pages.
Schott Music #ED12640.
Published by Schott Music
Jazz Alto Sax Tunes.
(Level/Grade 3). ABRSM
Jazz. 24 pages. ABRSM
(Associated Board of the
Royal Schools of Music)
#D3064. Published by
ABRSM (Associated Board
of the Royal Schools of
Music)
Just Jazz Real Book - Bb Edition. (B-Flat Edition). For Bb instrument and voice....(+)
Just Jazz Real Book - Bb
Edition. (B-Flat
Edition). For Bb
instrument and voice.
This edition: B-Flat
Edition. Fake Book. Just
Real Books Series. Jazz.
Difficulty: easy-medium
to medium. Fakebook
(spiral bound).
Introductory text, vocal
melody, lyrics, chord
names, discography and
black and white photos.
400 pages. Published by
Alfred Music Publishing
(An Innovative Method for Adults Returning to Play). Arranged by Larry Clark. Fo...(+)
(An Innovative Method for
Adults Returning to
Play). Arranged by Larry
Clark. For viola. I Used
to Play. Method book and
CD. 48 pages. Published
by Carl Fischer
Chamber Music Cello, Piano, Violin SKU: PR.114423360 Composed by Stacy Ga...(+)
Chamber Music Cello,
Piano, Violin
SKU:
PR.114423360
Composed
by Stacy Garrop. Set of
Score and Parts. 24+12+12
pages. Duration 8:30.
Theodore Presser Company
#114-42336. Published by
Theodore Presser Company
(PR.114423360).
UPC:
680160686285.
When
the Newport Music
Festival commissioned me
for a piano trio in honor
of their 2021 season, I
looked for a topic that
would celebrate an aspect
of the Newport community.
While researching the
area, I was struck by the
nine lighthouses situated
around the island. The
dual nature of
lighthouses was
particularly appealing to
me: not only do they
serve a vital role in the
navigation of ships
around rocks and land,
but they are also a
beautiful sight,
particularly at night
when their blinking
beacons are clearly
visible to the eye. It
occurred to me that
lighthouses link the past
with the present, and
will endure long into the
future, with their
beacons serving the same
purpose for every
generation.I became
fascinated with the
lighthouse on the
property of Castle Hill
Inn, located at the
opening of the East
Passage of the
Narragansett Bay. This
squat thirty-four foot
granite structure was
erected in 1890 on a very
picturesque spot, right
at the water’s
edge. Its
“characteristic,â
the nautical term
for each
lighthouse’s
unique light sequence
that allows ships to
identify the lighthouse,
is to alternate on for
three seconds, then off
for three seconds. The
lighthouse has also
served as the starting
and finish line for
numerous high profile
yacht races, as well as
survived a massive
hurricane in 1938, though
the lighthouse
keeper’s nearby
residence wasn’t
so lucky. American
novelist Thornton Wilder
wrote much of his 1973
novel Theophilus North
while staying at the
Castle Hill Inn; a
passage from the book
perfectly captures the
dual nature of
lighthouses:“At a
later visit I was able to
engage the pentagonal
room in a turret above
the house; from that
magical room I could see
at night the beacons of
six lighthouses and hear
the booming and chiming
of as many sea
buoys.â€In Beacon of
the Bay, we first hear
the lighthouse’s
characteristic as its
ruby light blinks on and
off. This is followed by
a simple theme that
represents the lighthouse
performing its solitary
duty. As the piece
progresses, we hear waves
playfully lapping around
its base, then yachts
gracefully floating by;
this is followed by a
violent storm that churns
the waves with so much
force that they crash
against the
lighthouse’s
granite body. But the
steadfast lighthouse
holds firm to the rocks,
grandly blinking its ruby
light. The music quiets
back down to its simple
theme, with yachts
sailing by once more as
the piece concludes.
(Over 150 Standards with Professionally Altered Chords). Arranged by Frank Manto...(+)
(Over 150 Standards with
Professionally Altered
Chords). Arranged by
Frank Mantooth. For C
Instruments. Lead Sheets:
Melody line, lyrics and
chord symbols. Softcover.
320 pages. Published by
Hal Leonard
Instruments en Do [Fake Book] - Intermédiaire Hal Leonard
C Edition. Composed by Various. Fake Book. Jazz. Fakebook (softcover). With voca...(+)
C Edition. Composed by
Various. Fake Book. Jazz.
Fakebook (softcover).
With vocal melody,
lyrics, chord names,
black and white photos,
discography and
introductory text. 400
pages. Hal Leonard
#FBM0003. Published by
Hal Leonard
(Revised Women's Edition Volume 2). For voice, piano and guitar (chords only). V...(+)
(Revised Women's Edition
Volume 2). For voice,
piano and guitar (chords
only). Vocal Collection.
Broadway. Difficulty:
medium. Songbook. Vocal
melody, lyrics, piano
accompaniment and chord
names. 247 pages.
Published by Hal Leonard
Chamber Music Violin SKU: CF.BF131 Composed by Roland Vamos. With Standar...(+)
Chamber Music Violin
SKU: CF.BF131
Composed by Roland Vamos.
With Standard notation.
168 pages. Carl Fischer
Music #BF131. Published
by Carl Fischer Music
(CF.BF131).
ISBN
9781491153765. UPC:
680160911264. 9 x 12
inches.
Inspired by
Clarence Cameron
White’s book The
Violinist’s Daily
Dozen, The
Violinist’s Daily
Sixteen is a collection
of daily exercises
compiled by Roland Vamos.
Intended for student and
professional violinists,
the collection provides
the performer with a
variety of exercises for
daily warm-ups. Mr. Vamos
also focuses on
developing dexterity and
flexibility in the
fingers and joints, the
first and fourth fingers
in particular. Each of
the sixteen exercises is
notated for each of the
four strings, and Vamos
recommends that the
exercises be practiced as
warm-ups, choosing a
different string for each
day of practice.Also
included with the Daily
Sixteen is a
comprehensive set of
studies for developing
fluency with scales and
arpeggios. Mr.
Vamos’ unique
methodology is to begin
with major scales and
arpeggios, followed by
minor scales and
arpeggios, all of which
are notated in two, three
and four octaves.
Alternate fingers are
provided, as well as a
variety of slurred and
mixed bowings using the
three parts of the bow
whenever feasible. It is
a remarkably systematic
approach to performing
scales and arpeggios on
the violin and will
surely benefit students
and professionals
alike. ForewordThis
short hand-setting set of
exercises was inspired by
a book entitled The
Violinist’s Daily
Dozen, conceived by
Clarence Cameron White, a
prominent
African-American
violinist, composer and
arranger who enjoyed the
bulk of his career in the
first half of the
twentieth century.I have
practiced this set of
exercises since I was
twelve years old. It has
served me as a superb
warm-up and hand setting
tool. Over the years, I
have found that there are
some aspects of this
warm-up routine that were
not given sufficient
attention or not
addressed at all.
Consequently, I have
expanded the Daily Dozen
to create a new work
entitled The
Violinist’s Daily
Sixteen.I have also paid
particular attention in
this work as to how these
exercises are to be
practiced. In exercises
one and two, I have
indicated some notes to
be played before the
actual written exercises.
This is to ensure that
the fourth finger will be
over the string in a
position ready to strike
even though it is not
being used. Before
playing exercises three,
four, nine, ten, eleven
and twelve, I have
indicated silent fingers
to be placed on the notes
they would be playing if
they were being used.I
have replaced Mr.
White’s grace
notes with notes of
specific value and have
slowed down the exercises
so that the first joint
(the joint nearest the
string) of each finger
can move with flexibility
and strength. At no time
should the first joint
buckle.In Mr.
White’s version,
the last exercise gave
the first finger some
very valuable backward
extensions. In this
exercise (number 14 in
this book), I caution the
student not to move the
hand along with the first
finger. The hand should
remain in position while
the first finger
independently moves back
and forth.It became
obvious to me that if the
first finger were given
the opportunity to
develop the dexterity
that Mr. White’s
twelfth exercise
emphasizes, the fourth
finger could benefit from
an exercise that gives it
a forward extension.
Consequently, I added
another exercise to
create a Baker’s
Dozen (thirteen).Several
years later, I felt that
the second and third
fingers should also have
an exercise to further
develop their
dexterity…hence
exercise fourteen was
added to create a
“Vamos
Dozen.â€Because the
first finger did not have
sufficient practice in
the development of the
first joint in the
original version, I have
added two exercises to
precede White’s
fifth exercise. After
re-working and
re-numbering these
exercises, I have come up
with a total of sixteen
exercises. It is my
suggestion that these be
practiced as a warm-up,
choosing a different
string each
day.—Roland
VamosEvanston, Illinois
2017Â PrefaceScales are
a means of teaching a
person the fingerboard on
his or her instrument.
The fingers move across
the strings and are
required to make shifts,
all in highly organized
patterns. Scales and
arpeggios are the
foundation upon which our
repertoire is built. Many
scale books have been
written; each one being
organized in its own
specific way. The Flesch
Scale System has been a
standard for many
decades. It is very
comprehensive and
systematic. From the
point of view of
establishing similar
patterns, it has one
drawback: it is organized
by starting with a major
key, followed by its
relative minor, going
through the circle of
fifths. I believe that it
is more profitable to do
only major scales with
their arpeggios first,
going up chromatically,
and then follow them in a
similar way with the
minor scales. In using
this approach, the
similarities in
fingerings between the
various scales are more
apparent. It is also
profitable to have
alternate fingerings
whenever possible. My
approach to scales and
arpeggios includes a
variety of slurred and
mixed bowings using the
three parts of the bow
whenever feasible. These
bowings are not
all-inclusive. Whenever a
particularly awkward
bowing pattern is
encountered in the
repertoire, it can be
practiced as an
additional bowing
variation in the scales
and arpeggios. Â Â I
have chosen to introduce
the three and four octave
scales by teaching two
octave scales across the
strings in one position
going up chromatically
through seven positions;
starting on the first,
second, third, and
finally fourth fingers in
major and melodic
minor.—Roland
VamosEvanston, Illinois
2017.
Children's Choir; Unison with optional 2-part and 3-part choir SKU: LP.765762...(+)
Children's Choir; Unison
with optional 2-part and
3-part choir
SKU:
LP.765762148208
A
Kids' Musical about
Storing Up Treasures in
Heaven. Composed by
Jeff Smith & C. Barny
Robertson. This edition:
Loose-Leaf. Musical.
Multicultural and Sacred.
Bulletin blanks.
Published by Lillenas
Publishing Company
(LP.765762148208).
UPC:
765762148208.
Jeff
Smith's children's
musical, Pirates of the I
Don't Care-ibbean, is
sure to be a big hit
especially if your kids
love the hilarious silly
songs from VeggieTales,
the Pirates of the
Caribbean Disney movies
and Pirates Who Don't Do
Anything: A VeggieTales
Movie. The musical will
reach not only kids, but
your congregation with a
great message of the
Gospel. The story is set
inside Pirate Park, home
of the Plattsburg Pirates
(not to be confused with
the Pittsburgh Pirates,
Jeff's favorite baseball
team!). It is a pirate
night at the stadium and
families are in the
bleachers dressed as
pirates to support their
woefully bad team.
Similar to Dorothy
traveling back to the
Land of Oz, the story
starts with a dream
sequence where a young
fan named Andy gets hit
in the head with a
baseball and travels to a
fantastical island in the
Caribbean called Johnny
Bay. As the story
unfolds, you learn that
the pirates don't
remember anything about
their past or how they
came to Johnny Bay. All
they know is that they
are required to guard the
captain's treasure from
anyone who may want to
steal it away. Creator
Jeff Smith wants kids to
learn that, You are not
created to be on a
deserted island, guarding
someone else's treasure.
Your real treasure is in
heaven, not on earth.
Avarice is a tool of the
enemy to keep you from
becoming all God created
you to be on earth. In
the story, Andy exposes
the lies of the evil
captain and helps the
pirates assume their
rightful place on the
sea. During a time when
pirate movies are
popular, this musical
will connect with kids as
well as adults and draw
them in to something that
is both fun and
spiritually
educational.
Package
of one hundred service
folders (bulletins.) 5
1/2 x 8 1/2 when folded.
Packaged unfolded for
easy printing. Front
cover features artwork
found on choral book
cover. Insides and back
are blank.
E-Z Play Today (Easy big-note right-hand-only arrangements for piano, organ, and...(+)
E-Z Play Today (Easy
big-note right-hand-only
arrangements for piano,
organ, and electronic
keyboard). Size 9x12
inches. 296 pages.
Published by Hal Leonard.
Piano, Voix et Guitare [Partition] - Intermédiaire Hal Leonard
The Largest Collection of Piano/Vocal/Guitar Arrangements. Performed by Various....(+)
The Largest Collection of
Piano/Vocal/Guitar
Arrangements. Performed
by Various.
Piano/Vocal/Chords
Songbook (Arrangements
for piano and voice with
guitar chords). Published
by Hal Leonard.