For voice and C instrument. Format: fakebook. With vocal melody, lyrics and chor...(+)
For voice and C
instrument. Format:
fakebook. With vocal
melody, lyrics and chord
names. Randb and classic
soul. Series: Hal Leonard
Fake Books. 437 pages.
9x12 inches. Published by
Hal Leonard.
Jubilate Agno.
Composed by Z. Randall
Stroope. 16 pages.
Duration 0:03:05. Carl
Fischer Music #CM9735.
Published by Carl Fischer
Music (CF.CM9735).
ISBN 9781491161159.
UPC: 680160919741. Key: A
minor. Latin, English.
Christopher Smart and
ZRS.
Origins of the
Tarantella The tarantella
is a popular southern
Italian dance with
origins in the 11th
century. (There is even
some mention of the
tarantella in ancient
Greek mythology.) Of the
possible sources of the
dance, the most popular
comes from the villages
of Tanto and Tarentum
(little spider), Italy.
During harvest, workers
in the field were
sometimes bitten by the
tarantula spider. To
combat the poison, the
afflicted workers went
into a frenetic, almost
musical exorcism to sweat
the venom out of their
pores. In the millennium
since, the very energetic
nature of the dance has
remained, although the
curative focus of the
dance has given way to
more enjoyable endeavors,
even stately courtship.
Origins of the Text
Christopher Smart
(1722-1771), also known
as Kit Smart or Jack
Smart, was born in Kent,
England and suffered from
what is now believed to
be acute asthma and other
health issues as a child.
As such, he did not work
in the fields, but spent
much time reading and
writing, a passion that
he nurtured for a
lifetime. Well known in
London literary circles,
his career as a writer
floundered due to
mounting debts and his
falling out of favor with
the literary
establishment: Sadly, he
was forced to confinement
at St. Luke's Hospital
for Lunatics, though this
was based on his mounting
debt, and not on
insanity. (Confinement,
or debtor's prison, was
common during this period
if one's debts could not
be paid.) During his
confinement, he worked on
two of his most famous
works, Jubilate Agno and
A Song of David. (Part of
Jubilate Agno [Rejoice in
the Lamb] was set to
music by English
composer, Benjamin
Britten.) Smart's writing
style (which, at times,
bordered on the absurd),
along with his many
obsessions, lead to
frequent misperceptions
of his work and his
lucidity. In this present
work, portions of Smart's
Jubilate Agno were used
in mm. 24-31, 103-110 and
149-156. The remaining
text was gathered by the
composer, including the
rapid, almost
patter-like, delivery of
words from A-Z in the
alphabet. (Christopher
Smart had a preoccupation
with the alphabet.) These
words both rhyme and
accentuate the frenetic
nature of the spider
dance: theraphosa
[teh-rah-fo-sa] a genus
of tarantula spiders
bellicose
[beh-lee-ko-sah] hostile;
aggressive odiosa
[o-dee-o-sa] hateful;
vexation tenebrosa
[teh-neh-bro-sa]
creeping; dark nemorosa
[neh-mo-ro-sa] wooded;
shady lapidosa
[lah-pee-do-sa] stony
area; gritty The
convergence, then, of the
medieval tarantella
(spider dance), the
writings of a brilliant
poet who bordered on the
absurd, and the infusion
of strong, descriptive
and otherwise random,
rhyming words,
synthesizes to make
dramatic lyrics for this
work. About the Composer
Z. Randall Stroope is an
American composer and
conductor. He has served
as Professor of Music at
three universities (an
Endowed Professor at
two), conducted 47
all-state choirs, and
directed over 40 times at
Carnegie Hall, among
other American venues.
Randall guest conducts
full-time, and composes
from his home studios on
Merritt Island, Florida
and in Sandia Park, New
Mexico. Performance Notes
Text: In Latin, the r is
flipped; use s instead of
z on endings such as
phosa, cosa, and so on;
the Latin o is a cross
between oh and aw; in the
transliteration above, I
chose to simply use an o
for consistency. The
director will blend the
oh and aw in the
rehearsals to his/her own
preference. Lastly,
tarantula is pronounced
tah-rah-n-too-lah (avoid
teh-ran-choo-luh) within
the confines of this
text. Stomp: This can be
done by the entire
chorus, or just the first
row. It is as much visual
as it is auditory. The
string quartet is
preferred over piano when
that option affords
itself. I created a piano
score that is a viable
option and included it in
the piano/vocal score if
a performance uses
chorus/piano. The
tarantella is a popular
southern Italian dance
with origins in the 11th
century. (There is even
some mention of the
tarantella in ancient
Greek mythology.) Of the
possible sources of the
dance, the most popular
comes from the villages
of Tanto and Tarentum
(“little
spiderâ€), Italy.
During harvest, workers
in the field were
sometimes bitten by the
tarantula spider. To
combat the
“poison,†the
afflicted workers went
into a frenetic, almost
musical exorcism to sweat
the venom out of their
pores. In the millennium
since, the very energetic
nature of the dance has
remained, although the
curative focus of the
dance has given way to
more enjoyable endeavors,
even stately
courtship.Christopher
Smart (1722-1771), also
known as “Kit
Smart†or
“Jack Smart,â€
was born in Kent, England
and suffered from what is
now believed to be acute
asthma and other health
issues as a child. As
such, he did not work in
the fields, but spent
much time reading and
writing, a passion that
he nurtured for a
lifetime. Well known in
London literary circles,
his career as a writer
floundered due to
mounting debts and his
falling out of favor with
the literary
establishment: Sadly, he
was forced to confinement
at St. Luke’s
Hospital for Lunatics,
though this was based on
his mounting debt, and
not on insanity.
(Confinement, or
debtor’s prison,
was common during this
period if one’s
debts could not be paid.)
During his confinement,
he worked on two of his
most famous works,
Jubilate Agno and A Song
of David. (Part of
Jubilate Agno
[“Rejoice in the
Lambâ€] was set to
music by English
composer, Benjamin
Britten.) Smart’s
writing style (which, at
times, bordered on the
absurd), along with his
many obsessions, lead to
frequent misperceptions
of his work and his
lucidity. In this present
work, portions of
Smart’s Jubilate
Agno were used in mm.
24-31, 103-110 and
149-156. The remaining
text was gathered by the
composer, including the
rapid, almost
patter-like, delivery of
words from A-Z in the
alphabet. (Christopher
Smart had a preoccupation
with the alphabet.) These
words both rhyme and
accentuate the frenetic
nature of the spider
dance:The convergence,
then, of the medieval
tarantella (spider
dance), the writings of a
brilliant poet who
bordered on the absurd,
and the infusion of
strong, descriptive and
otherwise random, rhyming
words, synthesizes to
make dramatic lyrics for
this work.Z. Randall
Stroope is an American
composer and conductor.
He has served as
Professor of Music at
three universities (an
Endowed Professor at
two), conducted 47
all-state choirs, and
directed over 40 times at
Carnegie Hall, among
other American venues.
Randall guest conducts
full-time, and composes
from his home studios on
Merritt Island, Florida
and in Sandia Park, New
Mexico. In Latin, the
“r†is
flipped; use
“s†instead
of “z†on
endings such as
“phosa,â€
“cosa,†and
so on; the Latin
“o†is a
cross between
“oh†and
“awâ€; in the
transliteration above, I
chose to simply use an
“o†for
consistency. The director
will blend the
“oh†and
“aw†in the
rehearsals to his/her own
preference. Lastly,
“tarantulaâ€
is pronounced
“tah-rah-n-too-lah
€ (avoid
“teh-ran-choo-luhâ
€) within the
confines of this
text.Stomp: This can be
done by the entire
chorus, or just the first
row. It is as much visual
as it is auditory. The
string quartet is
preferred over piano when
that option affords
itself. I created a piano
score that is a viable
option and included it in
the piano/vocal score if
a performance uses
chorus/piano. The
tarantella is a popular
southern Italian dance
with origins in the 11th
century. (There is even
some mention of the
tarantella in ancient
Greek mythology.) Of the
possible sources of the
dance, the most popular
comes from the villages
of Tanto and Tarentum
(“little
spiderâ€), Italy.
During harvest, workers
in the field were
sometimes bitten by the
tarantula spider. To
combat the
“poison,†the
afflicted workers went
into a frenetic, almost
musical exorcism to sweat
the venom out of their
pores. In the millennium
since, the very energetic
nature of the dance has
remained, although the
curative focus of the
dance has given way to
more enjoyable endeavors,
even stately
courtship.Christopher
Smart (1722-1771), also
known as “Kit
Smart†or
“Jack Smart,â€
was born in Kent, England
and suffered from what is
now believed to be acute
asthma and other health
issues as a child. As
such, he did not work in
the fields, but spent
much time reading and
writing, a passion that
he nurtured for a
lifetime. Well known in
London literary circles,
his career as a writer
floundered due to
mounting debts and his
falling out of favor with
the literary
establishment: Sadly, he
was forced to confinement
at St. Luke’s
Hospital for Lunatics,
though this was based on
his mounting debt, and
not on insanity.
(Confinement, or
debtor’s prison,
was common during this
period if one’s
debts could not be paid.)
During his confinement,
he worked on two of his
most famous works,
Jubilate Agno and A Song
of David. (Part of
Jubilate Agno
[“Rejoice in the
Lambâ€] was set to
music by English
composer, Benjamin
Britten.) Smart’s
writing style (which, at
times, bordered on the
absurd), along with his
many obsessions, lead to
frequent misperceptions
of his work and his
lucidity. In this present
work, portions of
Smart’s Jubilate
Agno were used in mm.
24-31, 103-110 and
149-156. The remaining
text was gathered by the
composer, including the
rapid, almost
patter-like, delivery of
words from A-Z in the
alphabet. (Christopher
Smart had a preoccupation
with the alphabet.) These
words both rhyme and
accentuate the frenetic
nature of the spider
dance:The convergence,
then, of the medieval
tarantella (spider
dance), the writings of a
brilliant poet who
bordered on the absurd,
and the infusion of
strong, descriptive and
otherwise random, rhyming
words, synthesizes to
make dramatic lyrics for
this work.Z. Randall
Stroope is an American
composer and conductor.
He has served as
Professor of Music at
three universities (an
Endowed Professor at
two), conducted 47
all-state choirs, and
directed over 40 times at
Carnegie Hall, among
other American venues.
Randall guest conducts
full-time, and composes
from his home studios on
Merritt Island, Florida
and in Sandia Park, New
Mexico.In Latin, the
“r†is
flipped; use
“s†instead
of “z†on
endings such as
“phosa,â€
“cosa,†and
so on; the Latin
“o†is a
cross between
“oh†and
“awâ€; in the
transliteration above, I
chose to simply use an
“o†for
consistency. The director
will blend the
“oh†and
“aw†in the
rehearsals to his/her own
preference. Lastly,
“tarantulaâ€
is pronounced
“tah-rah-n-too-lah
€ (avoid
“teh-ran-choo-luhâ
€) within the
confines of this
text.Stomp: This can be
done by the entire
chorus, or just the first
row. It is as much visual
as it is auditory. The
string quartet is
preferred over piano when
that option affords
itself. I created a piano
score that is a viable
option and included it in
the piano/vocal score if
a performance uses
chorus/piano.
Piano/Vocal/Guitar SKU: HL.120772 By Various. Piano/Vocal/Guitar Songbook...(+)
Piano/Vocal/Guitar
SKU: HL.120772
By
Various.
Piano/Vocal/Guitar
Songbook. Music Business,
Pop, Pop Reference.
Softcover. 288 pages.
Published by Hal Leonard
(HL.120772).
ISBN
9781480350519. UPC:
884088917463.
9.0x12.0x0.687
inches.
55 song
highlights from the
history of ASCAP,
celebrating their
representation of some of
the best songwriters of
all time. Songs include:
Ah! Sweet Mystery of Life
* Ain't No Mountain High
Enough * As Time Goes By
* At Last * Before He
Cheats * Bleeding Love *
Blue Skies * Defying
Gravity * Gonna Make You
Sweat (Everybody Dance
Now) * I Will Survive *
Just the Way You Are *
Livin' on a Prayer * Moon
River * My Funny
Valentine * Over the
Rainbow * Raindrops Keep
Fallin' on My Head *
Single Ladies (Put a Ring
on It) * Someone to Watch
over Me * Tenderly * The
Way We Were * We've Only
Just Begun * You Are the
Sunshine of My Life * and
more. Includes an
introduction by ASCAP, a
foreword by Paul
Williams, song notes by
decade, plus photos!
(A Step-by-Step Breakdown of Guitar Styles and Techniques) Written by Dave Rubin...(+)
(A Step-by-Step Breakdown
of Guitar Styles and
Techniques) Written by
Dave Rubin. Instructional
book and examples CD for
guitar and voice. With
standard guitar notation,
guitar tablature, guitar
notation legend,
introductory text,
instructional text, vocal
melody, lyrics and chord
names. Series: Hal
Leonard Guitar Signature
Licks. 64 pages.
Published by Hal Leonard.
Concerto for Violin
and Chamber
Orchestra. Composed
by James Matheson.
Contemporary. Full score.
With Standard notation.
Composed March 15 1997.
95 pages. Duration 25
minutes. Theodore Presser
Company #416-41421.
Published by Theodore
Presser Company
(PR.416414210).
UPC:
680160602049. 8.5 x 11
inches.
Composed
for violinist Baird Dodge
in 1995-97, SLEEP is a
25-minute concerto in
three movements. Thefirst
movement (Twitching) is
dramatic in character,
full of contrasts,
pitting the violin
against the orchestra in
more or less romantic
fashion. The second
(Breathing) is comprised
of overlapping layers of
simple harmonies
accompanying a freely
evolving, lyrical melody
in the violin. In the
third movement
(Sweating), the soloist
and ensemble initially
work together to create a
rising line. They soon
diverge, and an
increasing layering of
multiple lines throughout
the ensemble leads to a
very high point of
density which is then
abruptly cut off by the
virtuosic frenzy in the
violin which ends the
work.
Concerto for Violin
and Chamber
Orchestra. Composed
by James Matheson.
Contemporary. Large
Score. With Standard
notation. Composed March
15 1997. 95 pages.
Duration 25 minutes.
Theodore Presser Company
#416-41421L. Published by
Theodore Presser Company
(PR.41641421L).
UPC:
680160602056. 11 x 17
inches.
Composed
for violinist Baird Dodge
in 1995-97, SLEEP is a
25-minute concerto in
three movements. Thefirst
movement (Twitching) is
dramatic in character,
full of contrasts,
pitting the violin
against the orchestra in
more or less romantic
fashion. The second
(Breathing) is comprised
of overlapping layers of
simple harmonies
accompanying a freely
evolving, lyrical melody
in the violin. In the
third movement
(Sweating), the soloist
and ensemble initially
work together to create a
rising line. They soon
diverge, and an
increasing layering of
multiple lines throughout
the ensemble leads to a
very high point of
density which is then
abruptly cut off by the
virtuosic frenzy in the
violin which ends the
work.
SKU: GI.G-7266 Music, Dreams, and Coming of Age in the Heartland. ...(+)
SKU: GI.G-7266
Music, Dreams, and
Coming of Age in the
Heartland. Composed
by Kristen Laine.
Instructional. 325 pages.
GIA Publications #7266.
Published by GIA
Publications (GI.G-7266).
ISBN 9781592403196.
English.
Every
fall, marching bands take
to the field in a
uniquely American ritual.
From the stands, it looks
easy. You don’t
see them sweat. For
millions of kids, band is
more than a show.
It’s a rite of
passage—a first
foray into leadership and
adult responsibility, and
a chance to learn what it
means to be part of a
community. Nowhere is
band more serious than at
Concord High School in
Elkhart, Indiana, where
the entire town is
involved with the success
of its defending state
champion band, the
Marching Minutemen. In
the place where this
tradition may have
originated, in the city
that became the band
instrument capital of the
world, band is a
religion. But it’s
not the only religion, as
director Max Jones
discovers. After four
decades. Jones’s
single-minded devotion to
musical excellence has
fallen out of step with a
younger generation
increasingly focused on
personal salvation. In
what his students do not
know is his final season
of directing, he has
assembled his most
ambitious show ever, for
the strongest senior
class he has ever
directed. Amid
conflicting notions of
greatness, the band
marches through a season
that starts in hope and
promise, progresses
through uncertainty and
disappointment, and ends,
ultimately, in
redemption. American Band
is an unusually intimate
chronicle of life, in all
its triumph,
disappointment, and
drama, in the kind of
community in which most
of America lives. It is
an especially timely
portrait, capturing as it
does the spirit of the
heartland at a time of
profound change. If you
have ever been— or
yearned to be—
part of something bigger
than yourself, you will
be rooting for the kids
whose voices fill this
book. Kirsten Laine is an
award-winning journalist
whose commentaries can be
heard on Vermont Public
Radio. She lives in New
Hampshire with writer Jim
Collins and their two
children. “American
Band has everything going
for it, from tempo to
heart to the grand
bittersweet finale. What
a gift for readers: a
pitch-perfect tribute to
kids and song and
community.â€
—Madeleine Blais
Pulitzer Prize winner and
author of In These Girls,
Hope is a Muscle.
Sweatshop Protest
Song. Composed by Ed
Kiefer. Young Band (YPS).
Set of Score and Parts.
With Standard notation.
16+4+8+8+4+4+10+4+4+8+8+8
+12+6+6+4+2+4+4+24+4+4
pages. Duration 4
minutes, 14 seconds. Carl
Fischer Music #YPS207.
Published by Carl Fischer
Music (CF.YPS207).
ISBN 9781491152270.
UPC: 680160909773. Key: C
minor.
Factory
Child is a protest
song against child
sweatshops. The piece
depicts the factory life
of children laboring many
hours a day and
manufacturing the shoes
and clothes that end up
in American retail
stores. Young performers
will find this
thought-provoking piece
an excellent way to use
their musical voice to
affect change. Factory
Child is a protest song
against child sweatshops.
Written in memory of Mrs.
Peterson, who loved
children dearly, the
piece depicts the factory
life of children laboring
16+ hours a day,
manufacturing the shoes
and clothes that end up
in American retail
stores.Factory Child
begins with factory
sounds and an oppressive,
repetitive pattern that
supports the melody
carried by the upper
voices. The second
section is composed of
wistful, dream-like
sounds and melodies that
have traces of
children’s songs
that remind us that these
children forced into
labor would love to have
the opportunity to play,
attend school, and dream,
but cannot and
realistically have little
hope for a life we
consider normal. The
middle section gives way
to more sounds from the
factory. The climax is a
raucous circus-like waltz
using themes from both
sections.The percussion
parts can be covered by
six players. Some players
will need to cover two
parts. Use someone from
the wind section if you
do not have six, as some
of the parts, although
important, are not very
difficult. The second
clarinet never goes over
the break and the bass
line is usually doubled
in the euphonium as well
as in the low reeds.This
piece is an excellent way
for young performers to
use their musical voice
to affect change. It is a
great discussion starter
for researching where our
apparel comes from and
why to stay away from
some brands. It can also
make students aware of
the fantastic opportunity
they have to attend
school that children in
other parts of the world
do not. Young students
will find this piece very
thought provoking.Ed
Kiefer .
Volume 126 - Randy Brecker by Jamey Aebersold. For any C, Eb, Bb, bass instrumen...(+)
Volume 126 - Randy
Brecker by Jamey
Aebersold. For any C, Eb,
Bb, bass instrument or
voice. Play-Along series
with accompaniment CD.
Jamey Aebersold
Play-A-Long series.
Advanced. Book and CD. 84
pages. Published by Jamey
Aebersold Jazz
Sweatshop Protest
Song. Composed by Ed
Kiefer. Young Band (YPS).
Full score. With Standard
notation. 24 pages. Carl
Fischer Music #YPS207F.
Published by Carl Fischer
Music (CF.YPS207F).
ISBN 9781491152959.
UPC:
680160910458.
Facto
ry Child is a protest
song against child
sweatshops. The piece
depicts the factory life
of children laboring many
hours a day and
manufacturing the shoes
and clothes that end up
in American retail
stores. Young performers
will find this
thought-provoking piece
an excellent way to use
their musical voice to
affect change. Factory
Child is a protest song
against child sweatshops.
Written in memory of Mrs.
Peterson, who loved
children dearly, the
piece depicts the factory
life of children laboring
16+ hours a day,
manufacturing the shoes
and clothes that end up
in American retail
stores.Factory Child
begins with factory
sounds and an oppressive,
repetitive pattern that
supports the melody
carried by the upper
voices. The second
section is composed of
wistful, dream-like
sounds and melodies that
have traces of
children’s songs
that remind us that these
children forced into
labor would love to have
the opportunity to play,
attend school, and dream,
but cannot and
realistically have little
hope for a life we
consider normal. The
middle section gives way
to more sounds from the
factory. The climax is a
raucous circus-like waltz
using themes from both
sections.The percussion
parts can be covered by
six players. Some players
will need to cover two
parts. Use someone from
the wind section if you
do not have six, as some
of the parts, although
important, are not very
difficult. The second
clarinet never goes over
the break and the bass
line is usually doubled
in the euphonium as well
as in the low reeds.This
piece is an excellent way
for young performers to
use their musical voice
to affect change. It is a
great discussion starter
for researching where our
apparel comes from and
why to stay away from
some brands. It can also
make students aware of
the fantastic opportunity
they have to attend
school that children in
other parts of the world
do not. Young students
will find this piece very
thought provoking.Ed
Kiefer .
(Over 40 Pop Music Favorites). For Guitar; Keyboard; Piano; Voice. This ed...(+)
(Over 40 Pop Music
Favorites). For Guitar;
Keyboard; Piano; Voice.
This
edition:
Piano/Vocal/Guitar.
Artist/Personality; Book;
P/V/C Mixed Folio;
Piano/Vocal/Chords.
Greatest
Hits. Pop; Pop/Rock;
Rock.
264 pages. Published by
Alfred Music
Christmas Carols 4 Contrebasses [Conducteur et Parties séparées] Yorke Edition
Double Bass Quartet - Grade 8 SKU: BT.YE0075 Arranged by Robert Rohe. Cla...(+)
Double Bass Quartet -
Grade 8
SKU:
BT.YE0075
Arranged by
Robert Rohe. Classical.
Set (Score and Parts).
Yorke Edition #YE0075.
Published by Yorke
Edition (BT.YE0075).
Four Double
Basses. Eight well-known
Christmas carols in a new
guise. Score and
parts.
The
Programme of Christmas
Carols was first
performed in New Orleans
in 1976. In its original
version, the players were
required to wear
Dickensian costume and a
seasonal narrative
preceded each of the
carol arrangements. The
texts appear
below.
Duration
without text: c.20
minutes Duration with
text: c.45
minutes
Introduc
tion by Robert
Rohe
The
introductory text,
assembled with the kind
assistance of Father
Peacock of Loyola
University of New
Orleans, was designed for
use where the receptivity
of the audience warrants.
So little is known about
thebeloved Christmas
carols, it is fitting
that a brief sketch of
the carols' past be used
to enhance the familiar
music.
If
desired, the introductory
text may be omitted at
the discretion of the
performers.
The
brief text preceding each
carol should be used to
acquaint the audience
with what to expect, from
a quartet that will be
playing the unexpected.
The text also will pace
the program and will
extend performance time
to around 45
minutes.
In
performance, the bass
viol quartet of New
Orleans wore peaked caps,
and turtle necked
sweaters to simulate the
street performers of
Dickens' time. The choice
of four string basses for
this program was to bring
the closest relatives of
the true viol into
play.
History
and development of the
Christmas
Carol
The
celebration of the birth
of Jesus Christ has been
observed for nearly 2,000
years, through the ritual
of the Christian Church,
with part of that ritual
being devoted to
celebration in song. In
those early days, church
music was sung only, no
musical instruments
taking part in the
service.
The
type of song used by the
church had the name
'plain-song'. It was a
single line of melody,
plain and unadorned, sung
by one or more voices. By
the year 1660 A.D., it
had developed a second
name, 'The Gregorian
Chant', after Pope
Gregory, who encouraged
the use.
James Brown Basse electrique [Partition + CD] Hal Leonard
(A Step-by-Step Breakdown of the Styles and Techniques of James Brown's Bassists...(+)
(A Step-by-Step Breakdown
of the Styles and
Techniques of James
Brown's Bassists). By
Bootsy Collins and James
Brown. Signature Licks
Bass. Softcover with CD.
32 pages
RandB Guitar Method Guitare notes et tablatures [Partition + Accès audio] Hal Leonard
Learn to Play Classic Rhythm and Blues Guitar with Step-by-Step Lessons and 31 G...(+)
Learn to Play Classic
Rhythm and Blues Guitar
with Step-by-Step Lessons
and 31 Great Songs.
Guitar Method. Pop
Instruction, Instruction,
Method. Softcover Audio
Online. With guitar
tablature. 48 pages.
Published by Hal Leonard
(An All-Purpose Marching Band/Pep Band Book for Stands, Time-Outs, Pep Rallies a...(+)
(An All-Purpose Marching
Band/Pep Band Book for
Stands, Time-Outs, Pep
Rallies and a Host of
Other Uses). Arranged by
Victor Lopez. Marching
Band. For Tuba. Book;
Marching Band Collection.
Grade 2.5; Grade 3. 12
pages. Published by
Alfred Music
An All-Purpose Marching Band/Pep Band Book for Stands, Time-Outs, Pep Rallies...(+)
An All-Purpose
Marching Band/Pep Band
Book for Stands,
Time-Outs, Pep Rallies
and a Host of Other
Uses. Arranged by
Victor Lopez.
Collections; Marching
Band Collection;
Performance Music
Ensemble. Book. 60 pages.
Alfred Music #00-42750.
Published by Alfred Music
(AP.42750).
(An All-Purpose Marching Band/Pep Band Book for Stands, Time-Outs, Pep Rallies a...(+)
(An All-Purpose Marching
Band/Pep Band Book for
Stands, Time-Outs, Pep
Rallies and a Host of
Other Uses). Arranged by
Victor Lopez. Marching
Band. For Mallet
Percussion
(Bells/Xylophone). Book;
Marching Band Collection.
Grade 2.5; Grade 3. 12
pages. Published by
Alfred Music
By Robert Fuchs (1847-1927). For organ. This edition: paperbound. Works for Orga...(+)
By Robert Fuchs
(1847-1927). For organ.
This edition: paperbound.
Works for Organ and
Choir. Score. Language:
all languages. Composed
1911. 91. 16 pages.
Published by Carus Verlag