Sor In Tablature Guitare notes et tablatures [Partition + Accès audio] - Intermédiaire Mel Bay
Composed by F. Sor and Ben Bolt. Guitar: Fingerpicking,Style,Class ical ,Solos...(+)
Composed by F. Sor and
Ben
Bolt. Guitar:
Fingerpicking,Style,Class
ical
,Solos. Book and Online
Audio. 144 pages.
Published
by Mel Bay Publications,
Inc
Selections from the Student Repertoire. By Barbara Barber and Trudi Post. String...(+)
Selections from the
Student Repertoire. By
Barbara Barber and Trudi
Post. String - Violin
Studies or Collection;
Suzuki. Solos for Young
Violinists. CD. Alfred
Music #00-8011. Published
by Alfred Music
I Got Plenty O' Nuttin' Ensemble Jazz [Conducteur et Parties séparées] - Intermédiaire Sierra Music
By George Gershwin (1898-1937). Arranged by Bill Potts. Jazz Ensemble / Jazz Ban...(+)
By George Gershwin
(1898-1937). Arranged by
Bill Potts. Jazz Ensemble
/ Jazz Band. Jazz Masters
Series; Bill Potts
Series. Swing. Grade 4-5.
Score and set of parts
(Bass Recorded Versions) Performed by Stanley Clarke. For bass. Format: bass sol...(+)
(Bass Recorded Versions)
Performed by Stanley
Clarke. For bass. Format:
bass solo songbook (with
tablature). With standard
bass notation, bass
tablature and
introductory text. Jazz
fusion and jazz. Series:
Hal Leonard Bass Recorded
Versions. 96 pages. 9x12
inches. Published by Hal
Leonard.
Composed by Jeb Patton. Jazz, Jazz Instruction. Introduction to Jazz Piano: A ...(+)
Composed by Jeb Patton.
Jazz,
Jazz Instruction.
Introduction
to Jazz Piano: A Deep
Dive.
Softcover Book. 250
pages.
Sher Music Company
#9780997661750. Published
by
Sher Music Company
Studio City Contre Basse [Partition + CD] Music Minus One
For Double Bass. Includes a high-quality music book featuring solo parts for eac...(+)
For Double Bass. Includes
a high-quality music book
featuring solo parts for
each tune; and a compact
disc featuring a complete
digital stereo reference
recording, followed by
recordings of the
accompaniments minus the
soloist. Published by
Music Minus One.
The
Cuckoo and the
Nightingale - Urtext.
Composed by George
Frideric Handel. Edited
by Ton Koopman. Stapled.
Orchester-Bibliothek
(Orchestral Library). I
want to make an edition
that is not a Koopman
interpretation, but
contains only that which
Handel really wrote. '
(Ton Koopman). Solo
concerto; Baroque. Part.
4 pages. Duration 13'.
Breitkopf and Haertel #OB
5250-16. Published by
Breitkopf and Haertel
(BR.OB-5250-16).
ISBN
9790004332382. 10 x 12.5
inches.
Ton
Koopman's new edition of
all 16 organ concertos by
Handel has drawn to a
close. The quality of
this edition has been
highly praised from all
quarters. Source-critical
responsibility goes hand
in hand with a high level
of performance practice
when Koopman provides
interpretative tips for
the ad libitum passages
in the organ part without
restricting the
creativity of the
interpreter who is
interested in stylistic
matters and prefers to
work out his own
solutions. I want to make
an edition that is not a
Koopman interpretation,
but contains only that
which Handel really
wrote. Nevertheless,
there are occasional
performance suggestions
in small print which are
elucidated in the
Critical Commentary. (Ton
Koopman in Concerto)
Koopman offers a
basically unmarked text,
thus leaving the
performance details up to
the performer. Especially
note-worthy is the clear
printing, extensive
preface and detailed
Critical Notes.
(Katholische
Kirchenmusik) Whoever
wishes to hear the entire
Koopman edition on CD can
look forward to the new
recording by Christian
Schmitt and the
Stuttgarter
Kammerorchester
(Brilliant Classics).
This is the first
recording for which all
16 new Koopman editions
were used as the basis
for the
performance.
,I
want to make an edition
that is not a Koopman
interpretation, but
contains only that which
Handel really wrote.'
(Ton Koopman).
Choral (Performance/Accompanimen t CD) SKU: HL.35031226 A Musical Revu...(+)
Choral
(Performance/Accompanimen
t CD)
SKU:
HL.35031226
A
Musical Revue for Young
Voices. Composed by
Jill Gallina. Musicals.
Elementary, Musicals. CD.
Published by Shawnee
Press (HL.35031226).
ISBN 9781495074073.
UPC: 888680642129.
5.0x5.0x0.2
inches.
New edition
of this popular musical
from Jill Gallina!
Feelin' Good is a
creative musical
experience that will
encourage children to
take good care of their
minds and bodies, and
help them develop a
positive self-image. This
revue includes ten
original rock-style songs
that incorporate
movement, creative
dramatization and a sing
a-long. The songs are
arranged in unison with
an optional second part
and a complete piano
accompaniment. The short
dialog that precedes each
song offers speaking
parts for 12 and requires
little memorization. If a
shorter performance is
desired, any song can be
eliminated without losing
continuity. Helpful
performance suggestions,
props, staging and
costume ideas are also
included. PDFs of singer
songsheets and dialog are
available via digital
access. To perform with
recordings, there are 2
options. A
Performance/Accompaniment
CD is available
separately. For
cost-saving value, the
Performance Kit/Audio
Access includes the
Teacher Book with student
PDFs and
performance/accompaniment
audio recordings via
digital access. Songs
include: Feelin- Good,
Exercisin' Is Energizin',
Shake a Leg, We're All
Special People, Use Your
Head, The Magic Machine,
You Are What You Eat,
Good Friends, Let's Wash,
Sweet Dreams My Friend.
About 35 minutes.
Suggested for grades
1-3.
Composed by Andrew D. Gordon. Arranged by Andrew D. Gordon. Latin Solo Series...(+)
Composed by Andrew D.
Gordon. Arranged by
Andrew
D. Gordon. Latin Solo
Series. Latin.
Book/digital
audio. ADG Productions
#ADG179. Published by ADG
Productions
Urtext. Composed
by George Frideric
Handel. Edited by Ton
Koopman. Folder.
Orchester-Bibliothek
(Orchestral Library).
,I want to make an
edition that is not a
Koopman interpretation,
but contains only that
which Handel really
wrote.' (Ton Koopman)
Solo concerto; Baroque.
Set of parts. 12 pages.
Duration 18'. Breitkopf
and Haertel #OB 5212-30.
Published by Breitkopf
and Haertel
(BR.OB-5212-30).
ISBN
9790004330951. 9 x 12
inches.
Ton
Koopman's new edition of
all 16 organ concertos by
Handel has drawn to a
close. The quality of
this edition has been
highly praised from all
quarters. Source-critical
responsibility goes hand
in hand with a high level
of performance practice
when Koopman provides
interpretative tips for
the ad libitum passages
in the organ part without
restricting the
creativity of the
interpreter who is
interested in stylistic
matters and prefers to
work out his own
solutions. I want to make
an edition that is not a
Koopman interpretation,
but contains only that
which Handel really
wrote. Nevertheless,
there are occasional
performance suggestions
in small print which are
elucidated in the
Critical Commentary. (Ton
Koopman in Concerto)
Koopman offers a
basically unmarked text,
thus leaving the
performance details up to
the performer. Especially
note-worthy is the clear
printing, extensive
preface and detailed
Critical Notes.
(Katholische
Kirchenmusik) Whoever
wishes to hear the entire
Koopman edition on CD can
look forward to the new
recording by Christian
Schmitt and the
Stuttgarter
Kammerorchester
(Brilliant Classics).
This is the first
recording for which all
16 new Koopman editions
were used as the basis
for the performance.
Chamber Music Cello, Recording, Viola, Violin SKU: CF.BE10F For String...(+)
Chamber Music Cello,
Recording, Viola, Violin
SKU: CF.BE10F
For String Trio and
Recording. Composed
by Paul Lansky. Full
score. With Standard
notation. 32 pages.
Duration 19:37. Carl
Fischer Music #BE10F.
Published by Carl Fischer
Music (CF.BE10F).
ISBN
9780825891175. UPC:
798408091170. 8.5 x 11
inches. Key: G
major.
Commissioned
by the Princeton-Columbia
Electronic Music Center
for Speculum Musicae in
1981. The first movement,
In Preparation, is a
study in tuning and
intonation and is based
on the open strings in
perfectly tuned fifths,
with the violins D string
tuned 294 hertz. The
first moments of the
piece provide opportunity
to tune to the tape part.
(This tuning probably
differs imperceptibly
from a tempered tuning
since the E string of the
violin is only 1/33 of a
semitone sharper then in
a tempered system and the
C strings of the viola
and cello 1/33 of a
semitone flatter.) Most
subsequent pitches in the
movement are either the
open strings or major and
minor thirds above and
below the open strings.
The minor thirds will be
slightly sharp with
respect to equal tempered
tuning about 15 cents or
1/6 of a semitone and the
major thirds will be
slightly flat about 14
cents, or one seventh of
a semitone. Listen to the
tape part as a guide. All
harmonics in this
movement are to be played
as natural harmonics and
open strings are to be
used whenever possible.
In the second movement,
At a Distance, the tape
part largely doubles
selected pitches in the
string parts and should
be thought of as a
backdrop rather then
counterpart. In this and
the remaining movements
equal tempered tuning is
used though it will
probably not be necessary
to retune the instruments
for this reason alone.
The third movement, In
Practice, is a study in
modes of performance
particularly with respect
to rhythmic rigidity and
flexibility. While the
tape part may seem to
bend and sway a great
deal, the string parts
are to be played with as
much rhythmic precision
as possible. At many
points it may be
necessary to delay or
anticipate beats in order
to coincide with the
arrival of beats in the
tape part, though in
general the quarter
equals 120 is accurate.
In the fourth movement,
In Distinction, different
kinds of musical
conceptions are
counter-pointed and
counter-posed. Here the
beat is quite accurate
although the notation of
the synthetic saxophone
part is only approximate.
All the tape parts are
based on computer
reprocessed violin except
for parts of the fourth
movement in which
synthetic saxophone is
used. The tape part was
synthesized on the IBM
3033 and 3081 computers
at Princeton University
and converted at the
Winham Laboratory. The
violin source was
performed by Cyrus
Stevens. Commissioned
by the Princeton-Columbia
Electronic Music Center
for Speculum Musicae in
1981. The first movement,
In Preparation, is a
study in tuning and
intonation and is based
on the open strings in
perfectly tuned fifths,
with the violinas D
string tuned 294 hertz.
The first moments of the
piece provide opportunity
to tune to the tape part.
(This tuning probably
differs imperceptibly
from a tempered tuning
since the E string of the
violin is only 1/33 of a
semitone sharper then in
a tempered system and the
C strings of the viola
and acello 1/33 of a
semitone flatter.) Most
subsequent pitches in the
movement are either the
open strings or major and
minor thirds above and
below the open strings.
The minor thirds will be
slightly sharp with
respect to equal tempered
tuning about 15 cents or
1/6 of a semitone and the
major thirds will be
slightly flat about 14
cents, or one seventh of
a semitone. Listen to the
tape part as a guide. All
harmonics in this
movement are to be played
as natural harmonics and
open strings are to be
used whenever possible.
In the second movement,
At a Distance, the tape
part largely doubles
selected pitches in the
string parts and should
be thought of as a
backdrop rather then
counterpart. In this and
the remaining movements
equal tempered tuning is
used though it will
probably not be necessary
to retune the instruments
for this reason alone.
The third movement, In
Practice, is a study in
modes of performance
particularly with respect
to rhythmic rigidity and
flexibility. While the
tape part may seem to
bend and sway a great
deal, the string parts
are to be played with as
much rhythmic precision
as possible. At many
points it may be
necessary to delay or
anticipate beats in order
to coincide with the
arrival of beats in the
tape part, though in
general the quarter
equals 120 is accurate.
In the fourth movement,
In Distinction, different
kinds of musical
conceptions are
counter-pointed and
counter-posed. Here the
beat is quite accurate
although the notation of
the synthetic saxophone
part is only approximate.
All the tape parts are
based on computer
reprocessed violin except
for parts of the fourth
movement in which
synthetic saxophone is
used. The tape part was
synthesized on the IBM
3033 and 3081 computers
at Princeton University
and converted at the
Winham Laboratory. The
violin source was
performed by Cyrus
Stevens. Commissioned
by the Princeton-Columbia
Electronic Music Center
for Speculum Musicae in
1981. The first movement,
In Preparation, is a
study in tuning and
intonation and is based
on the open strings in
perfectly tuned fifths,
with the violin's D
string tuned 294 hertz.
The first moments of the
piece provide opportunity
to tune to the tape part.
(This tuning probably
differs imperceptibly
from a tempered tuning
since the E string of the
violin is only 1/33 of a
semitone sharper then in
a tempered system and the
C strings of the viola
and 'cello 1/33 of a
semitone flatter.) Most
subsequent pitches in the
movement are either the
open strings or major and
minor thirds above and
below the open strings.
The minor thirds will be
slightly sharp with
respect to equal tempered
tuning about 15 cents or
1/6 of a semitone and the
major thirds will be
slightly flat about 14
cents, or one seventh of
a semitone. Listen to the
tape part as a guide. All
harmonics in this
movement are to be played
as natural harmonics and
open strings are to be
used whenever possible.
In the second movement,
At a Distance, the tape
part largely doubles
selected pitches in the
string parts and should
be thought of as a
backdrop rather then
counterpart. In this and
the remaining movements
equal tempered tuning is
used though it will
probably not be necessary
to retune the instruments
for this reason alone.
The third movement, In
Practice, is a study in
modes of performance
particularly with respect
to rhythmic rigidity and
flexibility. While the
tape part may seem to
bend and sway a great
deal, the string parts
are to be played with as
much rhythmic precision
as possible. At many
points it may be
necessary to delay or
anticipate beats in order
to coincide with the
arrival of beats in the
tape part, though in
general the quarter
equals 120 is accurate.
In the fourth movement,
In Distinction, different
kinds of musical
conceptions are
counter-pointed and
counter-posed. Here the
beat is quite accurate
although the notation of
the synthetic saxophone
part is only approximate.
All the tape parts are
based on computer
reprocessed violin except
for parts of the fourth
movement in which
synthetic saxophone is
used. The tape part was
synthesized on the IBM
3033 and 3081 computers
at Princeton University
and converted at the
Winham Laboratory. The
violin source was
performed by Cyrus
Stevens. Commissioned
by the Princeton-Columbia
Electronic Music Center
for SpeculumMusicae in
1981.The first movement,
In Preparation, is a
study in tuning and
intonation and isbased on
the open strings in
perfectly tuned fifths,
with the violin’s
D stringtuned 294 hertz.
The first moments of the
piece provide opportunity
to tuneto the tape part.
(This tuning probably
differs imperceptibly
from a temperedtuning
since the E string of the
violin is only 1/33 of a
semitone sharper then ina
tempered system and the C
strings of the viola and
‘cello 1/33 of a
semitoneflatter.) Most
subsequent pitches in the
movement are either the
open stringsor major and
minor thirds above and
below the open strings.
The minor thirdswill be
slightly sharp with
respect to equal tempered
tuning about 15 cents
or1/6 of a semitone and
the major thirds will be
slightly flat about 14
cents, or oneseventh of a
semitone. Listen to the
tape part as a guide. All
harmonics in thismovement
are to be played as
natural harmonics and
open strings are to be
usedwhenever possible.In
the second movement, At a
Distance, the tape part
largely doubles
selectedpitches in the
string parts and should
be thought of as a
backdrop rather
thencounterpart. In this
and the remaining
movements equal tempered
tuning is usedthough it
will probably not be
necessary to retune the
instruments for this
reasonalone.The third
movement, In Practice, is
a study in modes of
performance
particularlywith respect
to rhythmic rigidity and
flexibility. While the
tape part may seemto bend
and sway a great deal,
the string parts are to
be played with as
muchrhythmic precision as
possible. At many points
it may be necessary to
delay oranticipate beats
in order to coincide with
the arrival of beats in
the tape part,though in
general the quarter
equals 120 is accurate.In
the fourth movement, In
Distinction, different
kinds of musical
conceptions
arecounter-pointed and
counter-posed. Here the
beat is quite accurate
although thenotation of
the synthetic saxophone
part is only
approximate.All the tape
parts are based on
computer reprocessed
violin except for parts
ofthe fourth movement in
which synthetic saxophone
is used. The tape part
wassynthesized on the IBM
3033 and 3081 computers
at Princeton University
andconverted at the
Winham Laboratory. The
violin source was
performed by
CyrusStevens.
Studio City Batterie [Partition + CD] Music Minus One
For Drums. Includes a high-quality music book featuring charts for each tune; an...(+)
For Drums. Includes a
high-quality music book
featuring charts for each
tune; and a compact disc
featuring a complete
digital stereo reference
recording, followed by
recordings of the
accompaniments minus the
soloist. Published by
Music Minus One.
One Song Chorale SSAA SSAA, Piano Alfred Publishing
Composed by Alan and Marilyn Bergman, music by Marvin Hamlisch. Arranged by Mark...(+)
Composed by Alan and
Marilyn Bergman, music by
Marvin Hamlisch. Arranged
by Mark Hayes. Choir
Secular. Women's Choir.
Choral Octavo. Pop
Choral. Classic Pop;
Secular. 12 pages.
Published by Alfred Music
Crazy in Love Fanfare [Conducteur et Parties séparées] - Facile Alfred Publishing
By Beyonce Knowles, Rich Harrison, Shawn Carter And Eugene Record. Arranged by R...(+)
By Beyonce Knowles, Rich
Harrison, Shawn Carter
And Eugene Record.
Arranged by Ralph Ford,
Percussion Arr. Bryden
Atwater. Words and music
by Beyonce Knowles, Rich
Harrison, Shawn Carter
and Eugene Record / arr.
Ralph Ford, percussion
arr. Bryden Atwater. For
Marching Band. Marching
Band. Warner Bros.
Marching Band. Level: 2.5
(Medium Easy) (grade
2.5). Conductor Score and
Parts. Published by
Alfred Publishing.
Orchestra SKU: SU.28120010 For Orchestra. Composed by Alla Pavlova...(+)
Orchestra
SKU:
SU.28120010
For
Orchestra. Composed
by Alla Pavlova.
Orchestra. Study Score.
Subito Music Corporation
#28120010. Published by
Subito Music Corporation
(SU.28120010).
Ballet Suite in
5 movements (revised
version)3222; 4331; timp,
perc, hp, pno; stgs
Duration: 24' Composed:
2008 Published by: Alla
Pavlova Music Although it
maintains the charm of
the original Hans
Christian Andersen tale,
Alla Pavlova's Thumbelina
is a considerable
musical, visual and
narrative expansion of
the story to make it
suitable as a full-length
ballet and
family-programming
alternative to The
Nutcracker. Musically, it
is scored for full
symphony orchestra
([3,2,2,2]-[4,3,3,1]-[tim
p.,perc.]-[Hp]-[Strings],
Percussion: Bass dr.,
Snare dr., Wooden Block,
Tambourine, Triangle,
Glock., Vibraphone,
Celesta) and contains not
only many beautiful,
lyrical and moving
waltzes and other
classical themes, but
also rhythms such as
tango, boogie-woogie and
ragtime. Narratively, the
story has been adapted to
include a varied and
colorful cast of
characters. The
Thumbelina Suite (which
has been recorded by the
Tchaikovsky Symphony
Orchestra for Naxos) can
be heard at
http://www.allapavlova.co
m/listen.html or by
clicking on the image
below. She has created a
synopsis of the ballet,
which is of course based
on the Andersen fairy
tale. We’ll gladly
send this synopsis on
request. Recording: 21st
Century Classics –
Naxos 8.579003
Performance materials
available on rental
only:.
Organ and orchestra (solo: org - 0.2.0.1 - 0.0.0.0 - str - bc) SKU: BR.PB-538...(+)
Organ and orchestra
(solo: org - 0.2.0.1 -
0.0.0.0 - str - bc)
SKU: BR.PB-5383
Urtext. Composed
by George Frideric
Handel. Edited by Ton
Koopman. Orchestra;
stapled.
Partitur-Bibliothek
(Score Library). I want
to make an edition that
is not a Koopman
interpretation, but
contains only that which
Handel really wrote.'
(Ton Koopman). Solo
concerto; Baroque. Full
score. 24 pages. Duration
12'. Breitkopf and
Haertel #PB 5383.
Published by Breitkopf
and Haertel (BR.PB-5383).
ISBN 9790004209998. 9
x 12 inches.
Ton
Koopman's new edition of
all 16 organ concertos by
Handel has drawn to a
close. The quality of
this edition has been
highly praised from all
quarters. Source-critical
responsibility goes hand
in hand with a high level
of performance practice
when Koopman provides
interpretative tips for
the ad libitum passages
in the organ part without
restricting the
creativity of the
interpreter who is
interested in stylistic
matters and prefers to
work out his own
solutions. I want to make
an edition that is not a
Koopman interpretation,
but contains only that
which Handel really
wrote. Nevertheless,
there are occasional
performance suggestions
in small print which are
elucidated in the
Critical Commentary. (Ton
Koopman in Concerto)
Koopman offers a
basically unmarked text,
thus leaving the
performance details up to
the performer. Especially
note-worthy is the clear
printing, extensive
preface and detailed
Critical Notes.
(Katholische
Kirchenmusik) Whoever
wishes to hear the entire
Koopman edition on CD can
look forward to the new
recording by Christian
Schmitt and the
Stuttgarter
Kammerorchester
(Brilliant Classics).
This is the first
recording for which all
16 new Koopman editions
were used as the basis
for the
performance.
,I
want to make an edition
that is not a Koopman
interpretation, but
contains only that which
Handel really wrote.'
(Ton Koopman).
Urtext. Composed
by George Frideric
Handel. Edited by Ton
Koopman. Softcover.
Orchester-Bibliothek
(Orchestral Library).
,I want to make an
edition that is not a
Koopman interpretation,
but contains only that
which Handel really
wrote.' (Ton Koopman)
Solo concerto; Baroque.
Part. 2 pages. Duration
13'. Breitkopf and
Haertel #OB 5216-17.
Published by Breitkopf
and Haertel
(BR.OB-5216-17).
ISBN
9790004332078. 9 x 12
inches.
Ton
Koopman's new edition of
all 16 organ concertos by
Handel has drawn to a
close. The quality of
this edition has been
highly praised from all
quarters. Source-critical
responsibility goes hand
in hand with a high level
of performance practice
when Koopman provides
interpretative tips for
the ad libitum passages
in the organ part without
restricting the
creativity of the
interpreter who is
interested in stylistic
matters and prefers to
work out his own
solutions. I want to make
an edition that is not a
Koopman interpretation,
but contains only that
which Handel really
wrote. Nevertheless,
there are occasional
performance suggestions
in small print which are
elucidated in the
Critical Commentary. (Ton
Koopman in Concerto)
Koopman offers a
basically unmarked text,
thus leaving the
performance details up to
the performer. Especially
note-worthy is the clear
printing, extensive
preface and detailed
Critical Notes.
(Katholische
Kirchenmusik) Whoever
wishes to hear the entire
Koopman edition on CD can
look forward to the new
recording by Christian
Schmitt and the
Stuttgarter
Kammerorchester
(Brilliant Classics).
This is the first
recording for which all
16 new Koopman editions
were used as the basis
for the
performance.
,I
want to make an edition
that is not a Koopman
interpretation, but
contains only that which
Handel really wrote.'
(Ton Koopman).