366 More Great Songs for Better Living. Arranged by Jim Beloff, Liz Belof...(+)
366 More Great Songs
for Better Living.
Arranged by Jim Beloff,
Liz Beloff. Fake Book.
Country, Pop,
Standards. Softcover. 416
pages. Published by Hal
Leonard (HL.212971).
Scott Joplin Reconsidered. Composed by Scott Joplin (1868-1917). Edited by L...(+)
Scott Joplin
Reconsidered.
Composed by Scott Joplin
(1868-1917). Edited by
Lara
Downes. Collection.
Theodore
Presser Company
#440-40028.
Published by Theodore
Presser
Company
SATB choir, divisi &
piano (SATB) - Moderately
Difficult
SKU:
OU.9780193529007
Composed by Connor J.
Koppin. Secular Choral -
Mixed Voices. New
Horizons. Vocal score. 16
pages. Duration 4.5'.
Oxford University Press
#9780193529007. Published
by Oxford University
Press (OU.9780193529007).
ISBN 9780193529007. 10
x 7 inches.
For
SATB (with divisions) and
piano This imaginative
through-composed setting
of a poem by 13th-century
Persian poet Jalal ad-Din
Muhammad Rumi is rich in
dramatic potential. The
composer creates a
mysterious and evocative
soundworld that is
fitting for the realm
'where everything is
music' that this ecstatic
poem describes.
About Oxford
New
Horizons
N
ew Horizons showcases the
wealth of exciting,
innovative, and
occasionally challenging
choral music being
written today. It
encompasses the whole
gamut of small-scale
choral genres, both
secular and sacred, and
includes pieces for
upper-voice and mixed
choirs. With titles by
some of the most
accomplished choral
composers active in Great
Britain and abroad, the
series introduces new
repertoire and fresh
talent to a broad
spectrum of choirs. New
Horizons features
composers with growing
reputations for quality
composition reflecting a
strong individual voice.
The series is continually
expanding and should be
the first place to look
for attractive and
performable contemporary
choral music.
By Bob Dylan. By Bob Dylan. Arranged by Don Giller and Ed Lozano. Music Sales Am...(+)
By Bob Dylan. By Bob
Dylan. Arranged by Don
Giller and Ed Lozano.
Music Sales America.
Folk, Pop, Rock.
Softcover. Composed 2016.
788 pages. Music Sales
#AM978923. Published by
Music Sale
Piano/Keyboard - Early to Later Elementary SKU: HL.1329691 Composed by Va...(+)
Piano/Keyboard - Early to
Later Elementary
SKU:
HL.1329691
Composed
by Various. Arranged by
Eric Baumgartner. Willis.
Disney, Pop. Softcover.
32 pages. Published by
Willis Music
(HL.1329691).
ISBN
9798350112993. UPC:
196288184997. 8.5x11.0
inches.
10 of the
biggest Disney hits
arranged for the youngest
pianists among us! These
great tunes are perfect
to both sing and play and
will make learning piano
the most fun it has ever
been. Illustrations
included so everyone can
remember their favorite
part of the movie!
Titles: Beauty and the
Beast • Cruella de
Vil • Heigh-Ho
• How Far I'll Go
• Let It Go •
Remember Me (Lullaby)
• Try Everything
• Under the Sea
• When Will My Life
Begin? • When You
Wish Upon a Star.
Rhythm Workshop Formation musicale - Solfège [Partition + CD] Alfred Publishing
(575 Reproducible Exercises Designed to Improve Rhythmic Reading Skills). By Sal...(+)
(575 Reproducible
Exercises Designed to
Improve Rhythmic Reading
Skills). By Sally K.
Albrecht. This edition:
CD Kit (100%
Reproducible). Book; CD;
Classroom/Pre-School;
General Music and
Classroom Publications;
Reproducible. 128 pages.
Published by Alfred Music
Publishing
Chamber Music trombone SKU: CF.WF231 20 Original Etudes in a Variety o...(+)
Chamber Music trombone
SKU: CF.WF231
20 Original Etudes in
a Variety of Styles.
Composed by Tom Brantley.
Collection - Performance.
With Standard notation.
48 pages. Carl Fischer
Music #WF231. Published
by Carl Fischer Music
(CF.WF231).
ISBN
9781491153314. UPC:
680160910816.
Styli
stic Etudes for Trombone
was written for
intermediateto advanced
level trombonists,
seeking to meet
thedemands of the modern
marketplace for
performers. AsI often
tell my students,
it’s simply not
enough to mastera single
style and fake the rest.
To make a living as
aperformer, trombonists
are expected to play
many, manydifferent
styles authentically.
Classical performers
studyhard and devote
themselves to mastering
the stylisticnuances of
various eras, various
composers, variousforms;
jazz musicians seek to
accurately reflect the
stylesof everything from
bar-room burlesque to
Coltrane; hornbands in
the funk, rock, ska and
hip-hop idioms
mustreflect attention to
the details of their
influences even asthey
create new paths through
popular music.This etude
collection is an attempt
to help studentsand their
teachers work on the
details associated
withmastering each of
these various styles.In
order to perform with the
correct feel,
articulationand sound,
trombonists must first
get these concepts
intheir head through
diligent listening and
then disciplinedpractice
playing in every single
style. The same
wayorchestral players
study the symphonic
literature andexcerpts,
or the way a professional
jazz musician mightwork
on chord changes in
excruciating detail, a
wellroundedtrombone
player must master styles
by listeningto and
playing with great
recordings. Most of the
etudesin this book are
based on styles from
specific
orchestralliterature,
jazz standards and other
styles such as
NewOrleans’ funk
music (Meters) or the
music of JamesBrown and
Tower of Power.One final
note: some of these are
hard. On purpose.
Theseare not warm-ups
that you can play through
mindlesslyto get your
face going. These are
“study
pieces†in the
oldfashionedsense. They
are designed to challenge
you asa player, to make
you a little
uncomfortable. Some
aretougher than others,
of course, but none of
them are easy.If you can
play through each of
these well, with
greatmusicianship and
impeccable technique, you
will be anincredibly
versatile instrumentalist
and be able to
secureperformance
opportunities that are
outside the comfortzone
of many
trombonists.Thanks for
buying this book. I hope
you enjoy workingthrough
these, whether
you’re a teacher,
student,performer, or
weekend warrior. I
learned a lot by
puttingthese together and
I hope you find them
useful and
helpful. Stylistic
Etudes for Trombone was
written for intermediate
to advanced level
trombonists, seeking to
meet the demands of the
modern marketplace for
performers. As I often
tell my students,
it’s simply not
enough to master a single
style and fake the rest.
To make a living as a
performer, trombonists
are expected to play
many, many different
styles authentically.
Classical performers
study hard and devote
themselves to mastering
the stylistic nuances of
various eras, various
composers, various forms;
jazz musicians seek to
accurately reflect the
styles of everything from
bar-room burlesque to
Coltrane; horn bands in
the funk, rock, ska and
hip-hop idioms must
reflect attention to the
details of their
influences even as they
create new paths through
popular music.This etude
collection is an attempt
to help students and
their teachers work on
the details associated
with mastering each of
these various styles.In
order to perform with the
correct feel,
articulation and sound,
trombonists must first
get these concepts in
their head through
diligent listening and
then disciplined practice
playing in every single
style. The same way
orchestral players study
the symphonic literature
and excerpts, or the way
a professional jazz
musician might work on
chord changes in
excruciating detail, a
well-rounded trombone
player must master styles
by listening to and
playing with great
recordings. Most of the
etudes in this book are
based on styles from
specific orchestral
literature, jazz
standards and other
styles such as New
Orleans’ funk
music (Meters) or the
music of James Brown and
Tower of Power.How these
etudes were conceived,
composed and transcribed:
The style or concept of
the etude was thought out
in my head and ear. I
then improvised in that
style and concept on my
trombone, recording my
efforts until I was
satisfied with the etude.
All along, my goal was to
play the range of the
instrument while
emphasizing certain
articulations, rhythms,
range and, fundamentally,
the intended style of the
etude. The resulting
etude was then
transcribed by a terrific
graduate student named
Zach Bornheimer, who also
works with many other
classical and jazz
composers as a
copyist/arranger.Tips for
working on the etudes:
Seek out professional
recordings that match the
style of each etude to
get a good idea of what
the etude should sound
like musically. My
recording of each of
these etudes is available
for download and can be
purchased online for a
modest fee. Search for
“Brantley
Etudes†at either
iTunes or CDBaby.
Practice each etude very
slowly and in segments as
needed, using a
metronome. Record
yourself and listen for
good technique,
musicianship and
authenticity of style
with your sound, feel and
articulations. Compare
your own efforts to the
sounds you’ve
heard on recordings.
Would you fit in that
ensemble or band? If
range is an issue, take
certain notes or passages
down or up an octave.
Work on your fundamentals
every day, including the
techniques and skills
needed for these etudes.
Be patient! Small
improvements every day
result in big success
over time. Always play
with a wide dynamic
range. Always play with
line and direction.
Always play with
impeccable time as well
as rhythm. Use a
metronome to help with
this. Always play in
tune. You can work on
this with a tuner as well
as with drones. Play
these for teachers,
friends, peers and
colleagues not only for
their feedback but also
for the experience of
informal performance. An
audience changes
everything. Make music,
listen to music, record
yourself, play in public
and have fun!One final
note: some of these are
hard. On purpose. These
are not warm-ups that you
can play through
mindlessly to get your
face going. These are
“study
pieces†in the
old-fashioned sense. They
are designed to challenge
you as a player, to make
you a little
uncomfortable. Some are
tougher than others, of
course, but none of them
are easy. If you can play
through each of these
well, with great
musicianship and
impeccable technique, you
will be an incredibly
versatile instrumentalist
and be able to secure
performance opportunities
that are outside the
comfort zone of many
trombonists.Thanks for
buying this book. I hope
you enjoy working through
these, whether
you’re a teacher,
student, performer, or
weekend warrior. I
learned a lot by putting
these together and I hope
you find them useful and
helpful.Best
wishes,—Tom
Brantley.
(Everything Is Awesome * Best Day of My Life * Everything I Didn't Say * Clouds)...(+)
(Everything Is Awesome *
Best Day of My Life *
Everything I Didn't Say *
Clouds). Arranged by
Carol Matz. For Piano.
This edition: Big Note
Piano. Book; Piano
Collection; Piano
Supplemental. Pop Hits
for Piano. Movie; Pop.
Big Note. 24 pages.
Published by Alfred Music
(Everything Is Awesome * Best Day of My Life * Everything I Didn't Say * Clouds)...(+)
(Everything Is Awesome *
Best Day of My Life *
Everything I Didn't Say *
Clouds). Arranged by Dan
Coates. For Piano. This
edition: Easy Piano.
Book; Piano - Easy Piano
Collection; Piano
Supplemental. Pop Hits
for Piano. Movie; Pop.
Easy Piano. 24 pages.
Published by Alfred Music
Concert Band (optional solo piano) - intermediate SKU: AI.AMC-WB-003SSC C...(+)
Concert Band (optional
solo piano) -
intermediate
SKU:
AI.AMC-WB-003SSC
Composed by Francis
Johnson. Arranged by
Kenneth Amis. Music of
Black Composers and
Artists. Study score
only. Amis Musical Circle
#AMC-WB-003SSC. Published
by Amis Musical Circle
(AI.AMC-WB-003SSC).
8.5 x 11
inches.
The 1818
publication of Francis
Johnson's A Collection of
New Cotillions marks the
first known publication
of original music by a
black composer in the
United States. A prolific
composer,
instrumentalist, teacher
and conductor, Johnson
led a varied and
successful career in an
era in U.S. history that
was not inviting to black
professionals. His
musical interests ranged
from the contemporary
works of Johann Strauss
Jr. to traditional,
popular
dances.
The
cotillion is a French
country dance that was
popular in Europe and
America in the 18th
century. It was
originally danced by four
couples in square
formation and was an
important influence in
the development of the
square dance in the
United States. Francis
Johnson composed two sets
of six piano
accompaniments for this
dance. The original 1818
publication even included
movement instructions for
the eight dancers. The
short and charming
melodies that he composed
are a fitting example of
popular dance music of
the time.
This
transcription may be
performed as a piano
solo, with the piano as a
non-solistic instrument
within the ensemble or
without piano at all. If
it is to be a piano solo,
the other instruments
should not play the
passages marked
“opt. tacet
(optional tacet). If the
piano will not be treated
soloistically, the
conductor can have some
or all of the “opt.
tacet passages played at
their discretion. When
there is no piano
involved in the
performance ,all
instrumentalists should
ignore the “opt.
tacet instruction and
play everything.
Concert Band (optional solo piano) - intermediate SKU: AI.AMC-WB-003 Comp...(+)
Concert Band (optional
solo piano) -
intermediate
SKU:
AI.AMC-WB-003
Composed by Francis
Johnson. Arranged by
Kenneth Amis. Music of
Black Composers and
Artists. Score and Parts.
Amis Musical Circle
#AMC-WB-003. Published by
Amis Musical Circle
(AI.AMC-WB-003).
The 1818
publication of Francis
Johnson's A Collection of
New Cotillions marks the
first known publication
of original music by a
black composer in the
United States. A prolific
composer,
instrumentalist, teacher
and conductor, Johnson
led a varied and
successful career in an
era in U.S. history that
was not inviting to black
professionals. His
musical interests ranged
from the contemporary
works of Johann Strauss
Jr. to traditional,
popular
dances.
The
cotillion is a French
country dance that was
popular in Europe and
America in the 18th
century. It was
originally danced by four
couples in square
formation and was an
important influence in
the development of the
square dance in the
United States. Francis
Johnson composed two sets
of six piano
accompaniments for this
dance. The original 1818
publication even included
movement instructions for
the eight dancers. The
short and charming
melodies that he composed
are a fitting example of
popular dance music of
the time.
This
transcription may be
performed as a piano
solo, with the piano as a
non-solistic instrument
within the ensemble or
without piano at all. If
it is to be a piano solo,
the other instruments
should not play the
passages marked
“opt. tacet
(optional tacet). If the
piano will not be treated
soloistically, the
conductor can have some
or all of the “opt.
tacet passages played at
their discretion. When
there is no piano
involved in the
performance ,all
instrumentalists should
ignore the “opt.
tacet instruction and
play everything.
Concert Band (optional solo piano) - intermediate SKU: AI.AMC-WB-003SCO C...(+)
Concert Band (optional
solo piano) -
intermediate
SKU:
AI.AMC-WB-003SCO
Composed by Francis
Johnson. Arranged by
Kenneth Amis. Music of
Black Composers and
Artists. Conductor score.
Amis Musical Circle
#AMC-WB-003SCO. Published
by Amis Musical Circle
(AI.AMC-WB-003SCO).
11
x 17 inches.
The
1818 publication of
Francis Johnson's A
Collection of New
Cotillions marks the
first known publication
of original music by a
black composer in the
United States. A prolific
composer,
instrumentalist, teacher
and conductor, Johnson
led a varied and
successful career in an
era in U.S. history that
was not inviting to black
professionals. His
musical interests ranged
from the contemporary
works of Johann Strauss
Jr. to traditional,
popular
dances.
The
cotillion is a French
country dance that was
popular in Europe and
America in the 18th
century. It was
originally danced by four
couples in square
formation and was an
important influence in
the development of the
square dance in the
United States. Francis
Johnson composed two sets
of six piano
accompaniments for this
dance. The original 1818
publication even included
movement instructions for
the eight dancers. The
short and charming
melodies that he composed
are a fitting example of
popular dance music of
the time.
This
transcription may be
performed as a piano
solo, with the piano as a
non-solistic instrument
within the ensemble or
without piano at all. If
it is to be a piano solo,
the other instruments
should not play the
passages marked
“opt. tacet
(optional tacet). If the
piano will not be treated
soloistically, the
conductor can have some
or all of the “opt.
tacet passages played at
their discretion. When
there is no piano
involved in the
performance ,all
instrumentalists should
ignore the “opt.
tacet instruction and
play everything.