(The Complete Book and Lyrics of the Broadway Musical). By Jeff Marx and Robert ...(+)
(The Complete Book and
Lyrics of the Broadway
Musical). By Jeff Marx
and Robert Lopez.
Applause Books.
Softcover. 160 pages.
Published by Applause
Books
(A Tragicommodity In One Act). Composed by P.D.Q. Bach. Arranged by Prof. Peter ...(+)
(A Tragicommodity In One
Act). Composed by P.D.Q.
Bach. Arranged by Prof.
Peter Schickele. For
Vocal Ensemble. Opera.
Vocal score. 60 pages.
Theodore Presser Company
#411-41138. Published by
Theodore Presser Company
Piano, Voix et Guitare [Partition] - Intermédiaire Hal Leonard
Piano/Vocal Selections. Piano/Vocal/Chords Vocal Selections (Arrangements for pi...(+)
Piano/Vocal Selections.
Piano/Vocal/Chords Vocal
Selections (Arrangements
for piano and voice with
guitar chords). Size 9x12
inches. 159 pages.
Published by Hal Leonard.
By Buck Clayton. Jazz Ensemble. Jazz Ensemble; Part(s); Score. Essentially Ellin...(+)
By Buck Clayton. Jazz
Ensemble. Jazz Ensemble;
Part(s); Score.
Essentially Ellington:
Jazz at Lincoln Center
Library. Jazz. Grade 4.
64 pages. Published by
Alfred Music
Avenue Q Piano, Voix et Guitare - Intermédiaire Hal Leonard
Vocal Line with Piano Accompaniment. By Robert Lopez, Jeff Marx. Piano/Vocal/Cho...(+)
Vocal Line with Piano
Accompaniment. By Robert
Lopez, Jeff Marx.
Piano/Vocal/Chords Vocal
Selections (Arrangements
for piano and voice with
guitar chords). Size 9x12
inches. 96 pages.
Published by Hal Leonard.
Tippin' on the Q.T. Ensemble Jazz [Conducteur] - Intermédiaire Alfred Publishing
By Buck Clayton. Jazz Ensemble. Jazz Ensemble; Score. Essentially Ellington: Jaz...(+)
By Buck Clayton. Jazz
Ensemble. Jazz Ensemble;
Score. Essentially
Ellington: Jazz at
Lincoln Center Library.
Jazz. Grade 4. Published
by Alfred Music
Publishing
By Martin Norgaard. For Cello. Method. Jazz Wizard. Jazz. Level: Intermediate. B...(+)
By Martin Norgaard. For
Cello. Method. Jazz
Wizard. Jazz. Level:
Intermediate. Book/CD
Set. Size 8.75x11.75. 64
pages. Published by Mel
Bay Publications, Inc.
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.
From A Consort of Choral Christmas Carols. By PDQ Bach. Arranged by Peter Schick...(+)
From A Consort of Choral
Christmas Carols. By PDQ
Bach. Arranged by Peter
Schickele. Text by Peter
Schickele. For SATB. S.
359. Duration 2:30.
Published by Theodore
Presser Company.
(from Avenue Q).
By Avenue Q. By Jeff Marx
and Robert Lopez.
Arranged by Alan
Billingsley. Broadway
Choral. Broadway. Octavo.
12 pages. Published by
Hal Leonard (HL.113070).
UPC: 884088866655.
6.75x10.5
inches.
From the
Tony award-winning
musical Avenue Q,
this sweet and whimsical
song takes an ironic look
at love and friendship
through somewhat
skeptical eyes. An
excellent contemporary
change of pace for a
Broadway concert set,
it's perfect for
featuring one or more
soloists.
The Grand Tetons Orchestre d'harmonie [Conducteur] - Facile Carl Fischer
Band Concert Band - Grade 3 SKU: CF.CPS263F Composed by Carl Strommen. Cp...(+)
Band Concert Band - Grade
3
SKU: CF.CPS263F
Composed by Carl
Strommen. Cps. Full
score. 32 pages. Duration
4 minutes, 38 seconds.
Carl Fischer Music
#CPS263F. Published by
Carl Fischer Music
(CF.CPS263F).
ISBN
9781491161739. UPC:
680160920426.
Notes
The Teton Range is part
of the Rocky Mountain
chain just east of the
Idaho border and south of
Yellowstone National
Park. The name of this
majestic range has its
roots in the Shoshone
teewinet, meaning many
pinnacles. Performance
Suggestions: The opening
measures of The Grand
Tetons should be played
broadly and majestically.
At m. 14, the tempo is
indicated at q = 132 and
is introduced by a light
snare drum figure. The
low brass figures at m.18
are to be played softly
and broadly in contrast
to the lighter and
slightly louder high
woodwinds. This entire
section builds to a
climax at m.44. Note the
dynamic contrasts in the
mixed meter section after
m. 53. at 67, the
trombone and horn figures
should be evident but not
overbearing against the
lightly played trumpet
solo. The 2 measure mixed
meter (6/8) (3/4) theme
introduced at m.88 should
be performed by
exaggerating the dotted
8th-16th rhythm, thereby
creating a slight swing
and dance-like feeling.
At m.109, the 8th notes
become even and the theme
more strident and
energetic, with the
ritard returning Tetons
to the opening theme at
m.129. Notes The Teton
Range is part of the
Rocky Mountain chain just
east of the Idaho border
and south of Yellowstone
National Park. The name
of this majestic range
has its roots in the
Shoshone teewinet,
meaning many pinnacles.
Performance Suggestions:
The opening measures of
The Grand Tetons should
be played broadly and
majestically. At m. 14,
the tempo is indicated at
q = 132 and is introduced
by a light snare drum
figure. The low brass
figures at m.18 are to be
played softly and broadly
in contrast to the
lighter and slightly
louder high woodwinds.
This entire section
builds to a climax at
m.44. Note the dynamic
contrasts in the mixed
meter section after m.
53. at 67, the trombone
and horn figures should
be evident but not
overbearing against the
lightly played trumpet
solo. The 2 measure mixed
meter (6/8) (3/4) theme
introduced at m.88 should
be performed by
exaggerating the dotted
8th-16th rhythm, thereby
creating a slight swing
and dance-like feeling.
At m.109, the 8th notes
become even and the theme
more strident and
energetic, with the
ritard returning Tetons
to the opening theme at
m.129. Notes The
Teton Range is part of
the Rocky Mountain chain
just east of the Idaho
border and south of
Yellowstone National
Park. The name of this
majestic range has its
roots in the Shoshone
“teewinet,â€
meaning “many
pinnacles.â€Â Perf
ormance
Suggestions:Â The
opening measures of The
Grand Tetons should be
played broadly and
majestically. At m. 14,
the tempo is indicated at
q = 132 and is introduced
by a light snare drum
figure. The low brass
figures at m.18 are to be
played softly and broadly
in contrast to the
lighter and slightly
louder high woodwinds.
This entire section
builds to a climax at
m.44. Note the dynamic
contrasts in the mixed
meter section after m.
53. at 67, the trombone
and horn figures should
be evident but not
overbearing against the
lightly played trumpet
solo. The 2 measure
mixed meter (6/8) (3/4)
theme introduced at m.88
should be performed by
exaggerating the dotted
8th-16th rhythm, thereby
creating a slight
“swing†and
dance-like feeling. At
m.109, the 8th notes
become even and the theme
more strident and
energetic, with the
ritard returning Tetons
to the opening theme at
m.129.
Band Concert Band - Grade 3 SKU: CF.CPS263 Composed by Carl Strommen. Cps...(+)
Band Concert Band - Grade
3
SKU: CF.CPS263
Composed by Carl
Strommen. Cps. Set of
Score and Parts.
8+8+4+8+8+8+4+4+4+4+4+4+8
+8+8+4+4+4+4+6+6+6+6+4+8+
1+1+4+5+32 pages.
Duration 4 minutes, 38
seconds. Carl Fischer
Music #CPS263. Published
by Carl Fischer Music
(CF.CPS263).
ISBN
9781491161524. UPC:
680160920150.
Notes
The Teton Range is part
of the Rocky Mountain
chain just east of the
Idaho border and south of
Yellowstone National
Park. The name of this
majestic range has its
roots in the Shoshone
teewinet, meaning many
pinnacles. Performance
Suggestions: The opening
measures of The Grand
Tetons should be played
broadly and majestically.
At m. 14, the tempo is
indicated at q = 132 and
is introduced by a light
snare drum figure. The
low brass figures at m.18
are to be played softly
and broadly in contrast
to the lighter and
slightly louder high
woodwinds. This entire
section builds to a
climax at m.44. Note the
dynamic contrasts in the
mixed meter section after
m. 53. at 67, the
trombone and horn figures
should be evident but not
overbearing against the
lightly played trumpet
solo. The 2 measure mixed
meter (6/8) (3/4) theme
introduced at m.88 should
be performed by
exaggerating the dotted
8th-16th rhythm, thereby
creating a slight swing
and dance-like feeling.
At m.109, the 8th notes
become even and the theme
more strident and
energetic, with the
ritard returning Tetons
to the opening theme at
m.129. Notes The Teton
Range is part of the
Rocky Mountain chain just
east of the Idaho border
and south of Yellowstone
National Park. The name
of this majestic range
has its roots in the
Shoshone teewinet,
meaning many pinnacles.
Performance Suggestions:
The opening measures of
The Grand Tetons should
be played broadly and
majestically. At m. 14,
the tempo is indicated at
q = 132 and is introduced
by a light snare drum
figure. The low brass
figures at m.18 are to be
played softly and broadly
in contrast to the
lighter and slightly
louder high woodwinds.
This entire section
builds to a climax at
m.44. Note the dynamic
contrasts in the mixed
meter section after m.
53. at 67, the trombone
and horn figures should
be evident but not
overbearing against the
lightly played trumpet
solo. The 2 measure mixed
meter (6/8) (3/4) theme
introduced at m.88 should
be performed by
exaggerating the dotted
8th-16th rhythm, thereby
creating a slight swing
and dance-like feeling.
At m.109, the 8th notes
become even and the theme
more strident and
energetic, with the
ritard returning Tetons
to the opening theme at
m.129. Notes The
Teton Range is part of
the Rocky Mountain chain
just east of the Idaho
border and south of
Yellowstone National
Park. The name of this
majestic range has its
roots in the Shoshone
“teewinet,â€
meaning “many
pinnacles.â€Â Perf
ormance
Suggestions:Â The
opening measures of The
Grand Tetons should be
played broadly and
majestically. At m. 14,
the tempo is indicated at
q = 132 and is introduced
by a light snare drum
figure. The low brass
figures at m.18 are to be
played softly and broadly
in contrast to the
lighter and slightly
louder high woodwinds.
This entire section
builds to a climax at
m.44. Note the dynamic
contrasts in the mixed
meter section after m.
53. at 67, the trombone
and horn figures should
be evident but not
overbearing against the
lightly played trumpet
solo. The 2 measure
mixed meter (6/8) (3/4)
theme introduced at m.88
should be performed by
exaggerating the dotted
8th-16th rhythm, thereby
creating a slight
“swing†and
dance-like feeling. At
m.109, the 8th notes
become even and the theme
more strident and
energetic, with the
ritard returning Tetons
to the opening theme at
m.129.
(from Avenue Q). By Avenue Q. By Jeff Marx, Robert Lopez. Arranged by Ala...(+)
(from Avenue Q).
By Avenue Q. By Jeff
Marx, Robert Lopez.
Arranged by Alan
Billingsley. Broadway
Choral. Broadway. Octavo.
12 pages. Published by
Hal Leonard (HL.113071).
((from Avenue Q)). By Avenue Q. By Jeff Marx and Robert Lopez. Arranged by Alan ...(+)
((from Avenue Q)). By
Avenue Q. By Jeff Marx
and Robert Lopez.
Arranged by Alan
Billingsley. For Choral
(SATB). Broadway Choral.
12 pages. Published by
Hal Leonard
SATB chorus - Medium / medium acc. SKU: JK.01306 Composed by Charles Fran...(+)
SATB chorus - Medium /
medium acc.
SKU:
JK.01306
Composed by
Charles Francois Gounod
and Lyall J. Gardner.
Arranged by Alexander
Schreiner and Jane Q.
Strong. Choral SATB,
Difficulty Medium, Piano
Choir, Faith, Jesus
Christ - Savior,
Missionary Work,
Restoration, Service.
Christian, Inspirational.
Duration 5:00. Jackman
Music Corporation #01306.
Published by Jackman
Music Corporation
(JK.01306).
Doctrine
and Covenants 42:6,
Matthew
24:14.
Choral
arrangement for mixed
chorus (SATB), combining
Gounod's Lovely Appear,
which emphasizes
missionary work, with the
hymn Go Forth with Faith,
with a beautiful soprano
descant. Composer:
Charles Francois Gounod
and Lyall J. Gardner
Arranger: Jane Q. Strong
and Alexander
Schreiner Lyricist:
Isaiah 52:7 and Ruth M.
Gardner Difficulty:
Medium / medium acc.
Performance time:
5:00 Reference:
Doctrine and Covenants
42:6, Matthew 24:14.
SKU: HL.1105201 Mackie. Live Sound. Hal Leonard #2051992-00. Published by...(+)
SKU: HL.1105201
Mackie. Live Sound. Hal
Leonard #2051992-00.
Published by Hal Leonard
(HL.1105201).
UPC:
663961058901.
7.5x16.75x16.75
inches.
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project studio or mobile
rig the analog mixer it
deserves. The Mackie
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'60s and '70s. Record
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EQ based on the same
circuit used on classic
mixing consoles from the
'60s and '70s. This
version designed by
Mackie has greater filter
control, minimum phase
shift and allows you to
pinpoint specific
frequency ranges. To
create the Perkins EQ,
Cal Perkins started with
the Wien Bridge circuit
topology inspired by the
hallowed
âBritishâ desks
of the '60s and '70s.
This design essentially
trades boost/cut
capability for a wider,
highly musical Q filter.
After a±mind-numbing
amount of math, Cal was
able to specify capacitor
and resistor values that
would give the EQ an
extra 6dB of control
(±15 dB) without
excessively narrowing the
âQâ or
bandwidth of the filters.
It's what we call a
win-win. Tired of
fumbling with your gear?
We got you covered. Carry
and transport your Mackie
Onyx12 mixer effortlessly
with our QuickGrip side
handles. Whether you're
moving gear around your
home studio or heading to
rehearsal, the rugged
design of our steel
chassis and sealed rotary
will protect your
investment wherever you
go.