Chamber Music English Horn, Oboe SKU: CF.WF229 15 Pieces for Oboe and ...(+)
Chamber Music English
Horn, Oboe
SKU:
CF.WF229
15 Pieces
for Oboe and English
Horn. Composed by
Gustave Vogt. Edited by
Kristin Jean Leitterman.
Collection - Performance.
32+8 pages. Carl Fischer
Music #WF229. Published
by Carl Fischer Music
(CF.WF229).
(Words and Chords to Nearly 1200 Songs 9x12 Spiral Bound). Edited by Annie Patte...(+)
(Words and Chords to
Nearly 1200 Songs 9x12
Spiral Bound). Edited by
Annie Patterson and Peter
Blood. For Vocal. Vocal.
Softcover. 304 pages.
Published by Hal Leonard
(Words and Chords to Nearly 1200 Songs Spiral-Bound). Edited by Annie Patterson ...(+)
(Words and Chords to
Nearly 1200 Songs
Spiral-Bound). Edited by
Annie Patterson and Peter
Blood. For Vocal. Vocal.
Softcover. 304 pages.
Published by Hal Leonard
Chamber Music Bass Clarinet, Bassoon, Clarinet, English Horn, Oboe, alto Saxopho...(+)
Chamber Music Bass
Clarinet, Bassoon,
Clarinet, English Horn,
Oboe, alto Saxophone,
soprano Saxophone
SKU:
PR.114419980
Composed
by Stacy Garrop. Sws. Set
of Score and Parts.
32+16+16+16+16+16 pages.
Duration 16 minutes.
Theodore Presser Company
#114-41998. Published by
Theodore Presser Company
(PR.114419980).
UPC:
680160681723. 9 x 12
inches.
The ancient
Egyptian empire began
around 3100 B.C. and
continued for over 3000
years until Alexander the
Great conquered the
country in 332 B.C. Over
the centuries, the
Egyptian empire grew and
flourished into a highly
developed society. They
invented hieroglyphics,
built towering pyramids
(including the Great
Pyramid of Giza, the
oldest of the Seven
Wonders of the World),
and the created many
household items we still
use today, including
toothbrushes, toothpaste,
eyeliner, black ink, and
the forerunner of
modern-day paper.
Included among their
achievements were a
series of highly
developed funerary
practices and beliefs in
the Afterlife. As the
average lifespan of an
Egyptian hovered around
30 years, living past the
death of oneAs physical
body was a legitimate
concern. Egyptians
believed that upon death,
their souls would
undertake a harrowing
journey through the
Netherworld. If they
survived the horrific
creatures and arduous
trials that awaited them,
then their souls would be
reunified with their
bodies (hence the need to
preserve the body through
mummification) and live
forever in a perfect
version of the life they
had lived in Egypt. To
achieve this, Egyptians
devised around 200
magical spells and
incantations to aid souls
on the path to the
Afterlife. These spells
are collectively called
The Book of the Dead.
Particular spells would
be chosen by the family
of the deceased and
inscribed on the tombAs
walls and scrolls of
papyrus, as well as on a
stone scarab placed over
the deceasedAs heart.
Subsequent collections of
spells and mortuary
texts, such as The Book
of Gates, assisted a soul
in navigating the twelve
stages of the
Netherworld. Not only did
these spells protect and
guide the soul on this
dangerous path, but they
also served as a
safeguard against any
unbecoming behavior an
Egyptian did while alive.
For instance, if a person
had robbed another while
alive, there was a spell
that would prevent the
soulAs heart from
revealing the truth when
in the Hall of Judgment.
Rites for the Afterlife
follows the path of a
soul to the Afterlife. In
Inscriptions from the
Book of the Dead
(movement 1), the soul
leaves the body and
begins the journey,
protected by spells and
incantations written on
the tombAs walls. In
Passage though the
Netherworld (movement 2),
the soul is now on a
funerary barque, being
towed through the
Netherworld by four of
the regionAs inhabitants.
We hear the soul slowly
chanting incantations as
the barque encounters
demons, serpents,
crocodiles, lakes of
fire, and other terrors.
The soul arrives at The
Hall of Judgment in
movement 3. Standing
before forty-two divine
judges, the soul
addresses each by name
and gives a A!negative
confessionA(r) connected
to each judge (i.e. A!I
did not rob,A(r) A!I did
not do violence,A(r) and
so on). Afterwards, the
soulAs heart is put on a
scale to be weighed
against a feather of
MaAat, the goddess of
truth. If the heart
weighs more than the
feather, it will be eaten
by Ammut, a hideous
creature that lies in
wait below the scale, and
the soul will die a
second and permanent
death (this was the worst
fear of the Egyptians).
But if the heart is in
balance with the feather,
the soul proceeds onward.
The final stage of the
journey is the arrival at
The Field of Reeds
(movement 4), which is a
perfect mirror image of
the soulAs life in
ancient Egypt. The soul
reunites with deceased
family members, makes
sacrifices to the
Egyptian gods and
goddess, harvests crops
from plentiful fields of
wheat under a brilliant
blue sky, and lives
forever next to the
abundant and nourishing
waters of the Nile. Rites
for the Afterlife was
commissioned by the
Barlow Endowment on
behalf of the Akropolis
Reed Quintet, Calefax
Reed Quintet, and the
Brigham Young University
Reed Quintet. -S.G.
Complete Lyrics for Over 1000 Songs from Broadway to Rock. By Various. Lyric Lib...(+)
Complete Lyrics for Over
1000 Songs from Broadway
to Rock. By Various.
Lyric Library. Softcover.
Size 8.5x11 inches. 373
pages. Published by Hal
Leonard.
Composed by Harl
Mcdonald. This edition:
Study Score.
Contemporary. Full score.
With Standard notation.
84 pages. Duration 15
minutes. Theodore Presser
Company #466-41177.
Published by Theodore
Presser Company
(PR.466411770).
UPC:
680160640850. 9 x 12
inches.
Mississippi
I. Father of Waters: born
of the Highlands and the
Lakes; the Glaciers, the
Mountains, and the
Prairies. The picture of
your birth is clounded in
the ice and mists of
ancient ages but your
spirit remains our life
stream. II. The Red Man
knew your bountiful gifts
and gave thanks to the
Great Spirit on your
banks. -- The Spanish and
French Fathers brought
the glory of Christianity
to America on
Mississippi. But all men,
white and dark; --
Indian, Spaniard, and
Negro; Bourbon and
Yankee, combined to make
Mississippi the heart of
America. Saga of the
Mississippi Harl McDonald
Born near Boulder,
Colorado, July 27, 1899
Now living in
Philadelphia The original
suggestion for a
symphonic work on the
subject of the
Mississippi came
indirectly from the late
Booth Tarkington who saw
in it color and movement
and atmosphere
translatable into the
terms of music. In the
course of time, by the
mysterious processes of
composers' chemistry, it
took shape as a tone-poem
of two sections, one
representing the rise of
the great stream from its
primeval geologic
sources, the other the
human history of the
river. Mr. McDonald
devised the following
verbal outline of the
general scheme of his
diptych: I. Father of
Waters: born of the
Highlands and the Lakes;
the Glaciers, the
Mountains, and the
Prairies. The picture of
your birth is clounded in
the ice and mists of
ancient ages but your
spirit remains our life
stream. II. The Red Man
knew your bountiful gifts
and gave thanks to the
Great Spirit on your
banks. -- The Spanish and
French Fathers brought
the glory of Christianity
to America on
Mississippi. But all men,
white and dark; --
Indian, Spaniard, and
Negro; Bourbon and
Yankee, combined to make
Mississippi the heart of
America. The first of the
two movements, beginning
molto andante, is vaguel
modal to hint at
antiquity. It is built
upon the conventional two
themes, with an episode,
poco piu mosso,
misterioso, for
prehistoric murk and
muck. There are various
changes of pace and mood.
The second, Allegro ma
vigorosamente, prefigures
an Indian ceremony. A
theme presented by flute,
clarinet and bassoon is a
Canadian Indian fishing
call collected by the
late J.B. Beck. A later
passage of
quasi-Gregorian chant
identifies the French and
Spanish priests who made
the great river their
highway. The fishing-call
is altered in rhythm and
harmony to represent
Negro field hands and
roustabous. A turbulent
close brings all these
elemts together in the
muddy swirling currents
of the Mississippi. The
work was begun in the
summer of 1945, and was
revised and completed in
the summer of 1947. Harl
McDonald, who is the
manager of The
Philadelphia Orchestra,
has concerned himself
with music as an art, as
a science and as a
business in course of his
career. He was born on a
cattle ranch in the
Rockies, but since his
was a musical family, his
up-bringing combined
piano lessons with ranch
life. Years of study and
professional experience
followed in Los Angeles
and in Germany. In 1927
he was appointed lecuter
in composition at the
University of
Pennsylvania and he has
since then made is home
in Philadelphia. In 1933
under a grant of the
Rockefeller FOundation he
collaborated with
physicists in research
dealing with the
measurement of
instrumental and vocal
tone, new scale divisions
and the resultant
harmonies. In that same
year he was named head of
the University's music
faculty and conductor of
its choral organizations.
In 1939, having been a
member of the Board of
Directors for five years,
he was appointed manager
of The Philadelphia
Orchestra. He continus to
write, but otherwise his
entire attention is now
devoted to managerial
duties. Chief items in
the catalogue of his
compositions are four
symphonies, three
orchestra suites, a
half-dozen tone-poems,
three concertos and
considerable quantity of
choral music.
Guitar SKU: M7.DUX-825 Solo Arrangements Noten TAB Leadsheet. ...(+)
Guitar
SKU:
M7.DUX-825
Solo
Arrangements Noten TAB
Leadsheet. Edited by
Beat Scherler. Sheet
music. Performance book.
68 pages. Edition Dux
Verlag #DUX 825.
Published by Edition Dux
Verlag (M7.DUX-825).
ISBN
9783868493184.
Die
neue Serie ist die
leichte Vorstufe zur
Erfolgsreihe ûBest
of Pop and Rock for
Classical Guitarë.
Alle acht Songs sind
für Gitarre solo
in Notenschrift und
Tabulatur arrangiert.
Zusätzlich gibt es
zu jedem Stück ein
Leadsheet mit Strumming-
und
Picking-Vorschläge
n.
Orchestra SKU: PR.416415760 For Really Big Orchestra. Composed by ...(+)
Orchestra
SKU:
PR.416415760
For
Really Big Orchestra.
Composed by PDQ Bach.
Edited by Prof. Peter
Schickele. Study Score.
With Standard notation.
Duration 11 minutes.
Theodore Presser Company
#416-41576. Published by
Theodore Presser Company
(PR.416415760).
UPC:
680160636532. 9 x 12
inches.
The 1712
Overture stands out in
P.D.Q. Bach's oeuvre for
two reasons, among
others: it is by far the
most programmatic
instrumental piece among
those by the minimeister
of Wein-am-Rhein so far
unearthed, and 2) its
discovery has led to a
revelation about the
composer's father, Johann
Sebastian Bach, that has
exploded like a bombshell
on the usually serene
musicological landscape.
The overture is based on
an anecdote told to
P.D.Q. Bach by a cousin,
Peter Ulrich. Since P.U.
Bach lived in Dudeldorf,
only a few miles down the
road from Wein-am-Rhein,
he was P.D.Q.'s closest
relative, and he was, in
fact, one of the few
members of the family who
was on speaking terms
with P.D.Q. The story,
related to P.D.Q.
(fortunately for us
posterity types) in a
letter, may be summarized
thus: The town of
Dudeldorf was founded by
two brothers, Rudi and
Dieter Dudel, early in
the 18th century. Rudi
remained mayor of the
newborn burg for the rest
of his long life, but
Dieter had a dream of
starting a musicians'
colony, an entire city
devoted to music, which
dream, he finally
decided, could be
realized only in the New
World. In 1712, he and
several other bagpipers
sailed to Boston, never
to return to Germany.
(Henceforth, Rudi became
known as der deutscher
Dudel and Dieter as the
Yankee Dudel).
Unfortunately, the head
of the Boston Musicians'
Guild had gotten wind of
Dudel's plans, and
Wilhelm Wiesel (pron.
VEE-zle), known none too
affectionately around
town as Wiesel the
Weasel, was not about to
share what few gigs there
were in colonial America
with more foreigners and
outside agitators. He and
his cronies were on hand
to meet Dudel's boat when
it pulled into Boston
Harbor; they intended to
prevent the newcomers'
disembarkation, but Dudel
and his companions
managed to escape to the
other side of the bay in
a dinghy, landing with
just enough time to rent
a carriage and horses
before hearing the sound
of The Weasel and his
men, who had had to come
around the long way. The
Germans headed West, with
the Bostonians in furious
pursuit. soon the city
had been left far behind,
and by midnight so had
the pursuers; Dieter
Dudel decided that it was
safe for him and his men
to stop and sleep until
daybreak. When they
awoke, they found that
they were in a beautiful
landscape of low,
forested mountains and
pleasant fields, warmed
by the brilliant morning
sun and serenaded by an
entrancing variety of
birds. Here, Dudel
thought, her is where I
will build my colony. The
immigrants continued down
the road at a leisurely
pace until they came upon
a little church, all by
itself in the
countryside, from which
there suddenly emanated
the sounds of a pipe
organ. At this point, the
temptation to quote from
P.U. Bach's letter to
P.D.Q. cannot be
resisted: They went
inside and, after
listening to the glorious
music for a while,
introduced themselves to
the organist. And who do
you think it was? Are you
ready for this -- it was
your old man! Hey, no
kidding -- you know, I'm
sure, that your father
was the guy to get when
it came to testing new
organs, and whoever had
that one in Massachusetts
built offered old
Sebastian a tidy sum to
go over there and check
it out. The unexpected
meeting with J.S. Bach
and his sponsors was
interrupted by the sound
of horse hooves, as the
dreaded Wiesel and his
men thundered on to the
scene. They had been
riding all night,
however, and they were no
spring chickens to start
with, and as soon as they
reached the church they
all dropped, exhausted,
to the ground. The elated
Germans rang the church
bells and offered to buy
everyone a beer at the
nearest tavern. There
they were taught, and
joined in singing, what
might be called the
national anthem of the
New World. The melody of
this pre-revolutionary
patriotic song is still
remembered (P.D.Q. Bach
quotes it, in the bass
instruments, near the end
of the overture), but is
words are now all but
forgotten: Freedom, of
thee we sing, Freedom
e'er is our goal; Death
to the English King, Long
live Rock and Ross. The
striking paucity of
biographical references
to Johann Sebastian Bah
during the year 1712 can
now be explained: he was
abroad for a significant
part of that year,
testing organs in the
British Colonies. That
this revelation has not
been accepted as fact by
the musicological
establishment is no
surprise, since it means
that a lot of books would
have to be rewritten. The
members of that
establishment haven't
even accepted the
existence of P.D.Q. Bach,
one of whose major works
the 1712 Overture
certainly is. It is also
a work that shows
Tchaikowsky up as the
shameless plagiarizer
that some of us have
always known he was. The
discovery of this awesome
opus was made possible by
a Boston Pops Centennial
Research Commission; the
first modern performance
took place at the opening
concert of the 100th
anniversary season of
that orchestra, under the
exciting but authentic
direction of John
Williams.
Orchestra SKU: PR.41641576L For Really Big Orchestra. Composed by ...(+)
Orchestra
SKU:
PR.41641576L
For
Really Big Orchestra.
Composed by PDQ Bach.
Edited by Peter
Schickele. Large Score.
With Standard notation.
Duration 11 minutes.
Theodore Presser Company
#416-41576L. Published by
Theodore Presser Company
(PR.41641576L).
UPC:
680160636549. 11 x 17
inches.
The 1712
Overture stands out in
P.D.Q. Bach's oeuvre for
two reasons, among
others: it is by far the
most programmatic
instrumental piece among
those by the minimeister
of Wein-am-Rhein so far
unearthed, and 2) its
discovery has led to a
revelation about the
composer's father, Johann
Sebastian Bach, that has
exploded like a bombshell
on the usually serene
musicological landscape.
The overture is based on
an anecdote told to
P.D.Q. Bach by a cousin,
Peter Ulrich. Since P.U.
Bach lived in Dudeldorf,
only a few miles down the
road from Wein-am-Rhein,
he was P.D.Q.'s closest
relative, and he was, in
fact, one of the few
members of the family who
was on speaking terms
with P.D.Q. The story,
related to P.D.Q.
(fortunately for us
posterity types) in a
letter, may be summarized
thus: The town of
Dudeldorf was founded by
two brothers, Rudi and
Dieter Dudel, early in
the 18th century. Rudi
remained mayor of the
newborn burg for the rest
of his long life, but
Dieter had a dream of
starting a musicians'
colony, an entire city
devoted to music, which
dream, he finally
decided, could be
realized only in the New
World. In 1712, he and
several other bagpipers
sailed to Boston, never
to return to Germany.
(Henceforth, Rudi became
known as der deutscher
Dudel and Dieter as the
Yankee Dudel).
Unfortunately, the head
of the Boston Musicians'
Guild had gotten wind of
Dudel's plans, and
Wilhelm Wiesel (pron.
VEE-zle), known none too
affectionately around
town as Wiesel the
Weasel, was not about to
share what few gigs there
were in colonial America
with more foreigners and
outside agitators. He and
his cronies were on hand
to meet Dudel's boat when
it pulled into Boston
Harbor; they intended to
prevent the newcomers'
disembarkation, but Dudel
and his companions
managed to escape to the
other side of the bay in
a dinghy, landing with
just enough time to rent
a carriage and horses
before hearing the sound
of The Weasel and his
men, who had had to come
around the long way. The
Germans headed West, with
the Bostonians in furious
pursuit. soon the city
had been left far behind,
and by midnight so had
the pursuers; Dieter
Dudel decided that it was
safe for him and his men
to stop and sleep until
daybreak. When they
awoke, they found that
they were in a beautiful
landscape of low,
forested mountains and
pleasant fields, warmed
by the brilliant morning
sun and serenaded by an
entrancing variety of
birds. Here, Dudel
thought, her is where I
will build my colony. The
immigrants continued down
the road at a leisurely
pace until they came upon
a little church, all by
itself in the
countryside, from which
there suddenly emanated
the sounds of a pipe
organ. At this point, the
temptation to quote from
P.U. Bach's letter to
P.D.Q. cannot be
resisted: They went
inside and, after
listening to the glorious
music for a while,
introduced themselves to
the organist. And who do
you think it was? Are you
ready for this -- it was
your old man! Hey, no
kidding -- you know, I'm
sure, that your father
was the guy to get when
it came to testing new
organs, and whoever had
that one in Massachusetts
built offered old
Sebastian a tidy sum to
go over there and check
it out. The unexpected
meeting with J.S. Bach
and his sponsors was
interrupted by the sound
of horse hooves, as the
dreaded Wiesel and his
men thundered on to the
scene. They had been
riding all night,
however, and they were no
spring chickens to start
with, and as soon as they
reached the church they
all dropped, exhausted,
to the ground. The elated
Germans rang the church
bells and offered to buy
everyone a beer at the
nearest tavern. There
they were taught, and
joined in singing, what
might be called the
national anthem of the
New World. The melody of
this pre-revolutionary
patriotic song is still
remembered (P.D.Q. Bach
quotes it, in the bass
instruments, near the end
of the overture), but is
words are now all but
forgotten: Freedom, of
thee we sing, Freedom
e'er is our goal; Death
to the English King, Long
live Rock and Ross. The
striking paucity of
biographical references
to Johann Sebastian Bah
during the year 1712 can
now be explained: he was
abroad for a significant
part of that year,
testing organs in the
British Colonies. That
this revelation has not
been accepted as fact by
the musicological
establishment is no
surprise, since it means
that a lot of books would
have to be rewritten. The
members of that
establishment haven't
even accepted the
existence of P.D.Q. Bach,
one of whose major works
the 1712 Overture
certainly is. It is also
a work that shows
Tchaikowsky up as the
shameless plagiarizer
that some of us have
always known he was. The
discovery of this awesome
opus was made possible by
a Boston Pops Centennial
Research Commission; the
first modern performance
took place at the opening
concert of the 100th
anniversary season of
that orchestra, under the
exciting but authentic
direction of John
Williams.
(Foreword and Additional Editing by Doris Gazda). By George Frideric Handel Fede...(+)
(Foreword and Additional
Editing by Doris Gazda).
By George Frideric Handel
Federigo Fiorillo. Edited
by Larry Clark, Leopold
Auer, Doris Gazda.
Arranged by William
Strasser. For Violin,
Violin and Piano. Book.
96 pages. Published by
Carl Fischer
My Dearest Ruth Voix Mezzo-Soprano, Piano Theodore Presser Co.
For Mezzo-soprano and Piano. Composed by Stacy Garrop. Sws. Duration 6 minutes...(+)
For Mezzo-soprano and
Piano.
Composed by Stacy Garrop.
Sws. Duration 6 minutes,
40
seconds. Theodore Presser
Company #111-40297.
Published
by Theodore Presser
Company
For Baritone and Piano. Composed by Stacy Garrop. Sws. Duration 6 minutes, 40 ...(+)
For Baritone and Piano.
Composed by Stacy Garrop.
Sws. Duration 6 minutes,
40
seconds. Theodore Presser
Company #111-40298.
Published
by Theodore Presser
Company
Most Wonderful Day Of The Year, Up On The Housetop, I Heard The Bells On Christm...(+)
Most Wonderful Day Of The
Year, Up On The Housetop,
I Heard The Bells On
Christmas Day composed by
Various. Arranged by
Craig Stevens. For easy
piano solo. Solo. Best of
Christmas series.
Christmas. Easy. Sheet
Music. Text Language:
English. 8 pages.
Published by Santorella
Publications
Piano, Vocal and Guitar SKU: BT.MUSAM971531 Book Only. Wise Publications ...(+)
Piano, Vocal and Guitar
SKU:
BT.MUSAM971531
Book
Only. Wise Publications
#MUSAM971531. Published
by Wise Publications
(BT.MUSAM971531).
ISBN
9780711989900.
E
verybody's favourite
Christmas carols and
songs in one wonderfully
practical and convenient
edition
creates The
Best Christmas Songbook
Ever (A5
Format),
featuring 49 songs
arranged for Piano,
VoiceandGuitar.Â
Every member of the
family is catered for,
young and old, with a
selection of favourites
covering the traditional
classics that make the
season special
like Away In A
Manger, We Three Kings
OfOrientAre and O Come, All Ye
Faithful. Not only
this, but more recent pop
tunes are represented
such as I Wish It
Could Be Christmas Every
Day, Last
Christmas and
Santa ClausIsComing
To Town. The
generous selection of
songs from old carols to
new tunes makes this the
perfect book for you this
Christmas, so you can
begin Christmas Eve with
the classic carols and
bring in Christmas Day
with thefuncontemporary
pop.Â
The
accessible arrangements
of lyrics, melody, Piano
and Guitar chords mean
that you don't have to
spend too much time
practising before family
and friends can gather
around the Piano for
aChristmassing-along.
Because this songbook has
everything, you can keep
it as part of your music
collection and dig it out
every year for those
times when the family can
gather around and sing
the songs that get you
into thespirit of
theseason.Â
For
the best and most varied
collection of Christmas
songs ever compiled, from
old to new, classic to
contemporary, pick up
The Best
Christmas Songbook Ever,
and put a
Yuletidesmile on theface
of everyone with these
universally loved
tunes.
You can also
purchase this book in
its larger,
standardsize for abumper-sized
Yuletide.
The Twelve Days Of Christmas composed by Various. Arranged by Craig Stevens. For...(+)
The Twelve Days Of
Christmas composed by
Various. Arranged by
Craig Stevens. For easy
piano solo. Solo. Best of
Christmas series.
Christmas. Easy. Sheet
Music. Text Language:
English. 8 pages.
Published by Santorella
Publications