| The Ultimate Fake Book - C Instruments (3rd Edition)
Fake Book [Fake Book] Hal Leonard
C Edition. Fake Book (Includes melody line and chords). Size 9x12 inches. 816 pa...(+)
C Edition. Fake Book
(Includes melody line and
chords). Size 9x12
inches. 816 pages.
Published by Hal Leonard.
(31)$55.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Ultimate Fake Book - Third Edition (Bb version)
Instruments en Sib [Fake Book] Hal Leonard
Bb Edition. Fake Book (Includes melody line and chords). Size 9x12 inches. 816 p...(+)
Bb Edition. Fake Book
(Includes melody line and
chords). Size 9x12
inches. 816 pages.
Published by Hal Leonard.
(8)$49.95 - Voir plus => AcheterDélais: 3 to 5 business days | | |
| Rise Again Songbook Paroles et Accords Hal Leonard
(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
$39.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Rise Again Songbook 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
$34.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Concerto - Piano And Orchestra - Solo Part Schott
Piano and orchestra - difficult SKU: HL.49046544 For piano and orchest...(+)
Piano and orchestra -
difficult SKU:
HL.49046544 For
piano and orchestra.
Composed by Gyorgy
Ligeti. This edition:
Saddle stitching. Sheet
music. Edition Schott.
Softcover. Composed
1985-1988. Duration 24'.
Schott Music #ED23178.
Published by Schott Music
(HL.49046544). ISBN
9781705122655. UPC:
842819108726.
9.0x12.0x0.224
inches. I composed
the Piano Concerto in two
stages: the first three
movements during the
years 1985-86, the next
two in 1987, the final
autograph of the last
movement was ready by
January, 1988. The
concerto is dedicated to
the American conductor
Mario di Bonaventura. The
markings of the movements
are the following: 1.
Vivace molto ritmico e
preciso 2. Lento e
deserto 3. Vivace
cantabile 4. Allegro
risoluto 5. Presto
luminoso.The first
performance of the
three-movement Concerto
was on October 23rd, 1986
in Graz. Mario di
Bonaventura conducted
while his brother,
Anthony di Bonaventura,
was the soloist. Two days
later the performance was
repeated in the Vienna
Konzerthaus. After
hearing the work twice, I
came to the conclusion
that the third movement
is not an adequate
finale; my feeling of
form demanded
continuation, a
supplement. That led to
the composing of the next
two movements. The
premiere of the whole
cycle took place on
February 29th, 1988, in
the Vienna Konzerthaus
with the same conductor
and the same pianist. The
orchestra consisted of
the following: flute,
oboe, clarinet, bassoon,
horn, trumpet, tenor
trombone, percussion and
strings. The flautist
also plays the piccoIo,
the clarinetist, the alto
ocarina. The percussion
is made up of diverse
instruments, which one
musician-virtuoso can
play. It is more
practical, however, if
two or three musicians
share the instruments.
Besides traditional
instruments the
percussion part calls
also for two simple wind
instruments: the swanee
whistle and the
harmonica. The string
instrument parts (two
violins, viola, cello and
doubles bass) can be
performed soloistic since
they do not contain
divisi. For balance,
however, the ensemble
playing is recommended,
for example 6-8 first
violins, 6-8 second, 4-6
violas, 4-6 cellos, 3-4
double basses. In the
Piano Concerto I realized
new concepts of harmony
and rhythm. The first
movement is entirely
written in bimetry:
simultaneously 12/8 and
4/4 (8/8). This relates
to the known triplet on a
doule relation and in
itself is nothing new.
Because, however, I
articulate 12 triola and
8 duola pulses, an
entangled, up till now
unheard kind of polymetry
is created. The rhythm is
additionally complicated
because of asymmetric
groupings inside two
speed layers, which means
accents are
asymmetrically
distributed. These
groups, as in the talea
technique, have a fixed,
continuously repeating
rhythmic structures of
varying lengths in speed
layers of 12/8 and 4/4.
This means that the
repeating pattern in the
12/8 level and the
pattern in the 4/4 level
do not coincide and
continuously give a
kaleidoscope of renewing
combinations. In our
perception we quickly
resign from following
particular rhythmical
successions and that what
is going on in time
appears for us as
something static,
resting. This music, if
it is played properly, in
the right tempo and with
the right accents inside
particular layers, after
a certain time 'rises, as
it were, as a plane after
taking off: the rhythmic
action, too complex to be
able to follow in detail,
begins flying. This
diffusion of individual
structures into a
different global
structure is one of my
basic compositional
concepts: from the end of
the fifties, from the
orchestral works
Apparitions and
Atmospheres I
continuously have been
looking for new ways of
resolving this basic
question. The harmony of
the first movement is
based on mixtures, hence
on the parallel leading
of voices. This technique
is used here in a rather
simple form; later in the
fourth movement it will
be considerably
developed. The second
movement (the only slow
one amongst five
movements) also has a
talea type of structure,
it is however much
simpler rhythmically,
because it contains only
one speed layer. The
melody is consisted in
the development of a
rigorous interval mode in
which two minor seconds
and one major second
alternate therefore nine
notes inside an octave.
This mode is transposed
into different degrees
and it also determines
the harmony of the
movement; however, in
closing episode in the
piano part there is a
combination of diatonics
(white keys) and
pentatonics (black keys)
led in brilliant,
sparkling quasimixtures,
while the orchestra
continues to play in the
nine tone mode. In this
movement I used isolated
sounds and extreme
registers (piccolo in a
very low register,
bassoon in a very high
register, canons played
by the swanee whistle,
the alto ocarina and
brass with a harmon-mute'
damper, cutting sound
combinations of the
piccolo, clarinet and
oboe in an extremely high
register, also
alternating of a
whistle-siren and
xylophone). The third
movement also has one
speed layer and because
of this it appears as
simpler than the first,
but actually the rhythm
is very complicated in a
different way here. Above
the uninterrupted, fast
and regular basic pulse,
thanks to the asymmetric
distribution of accents,
different types of
hemiolas and inherent
melodical patterns appear
(the term was coined by
Gerhard Kubik in relation
to central African
music). If this movement
is played with the
adequate speed and with
very clear accentuation,
illusory
rhythmic-melodical
figures appear. These
figures are not played
directly; they do not
appear in the score, but
exist only in our
perception as a result of
co-operation of different
voices. Already earlier I
had experimented with
illusory rhythmics,
namely in Poeme
symphonique for 100
metronomes (1962), in
Continuum for harpsichord
(1968), in Monument for
two pianos (1976), and
especially in the first
and sixth piano etude
Desordre and Automne a
Varsovie (1985). The
third movement of the
Piano Concerto is up to
now the clearest example
of illusory rhythmics and
illusory melody. In
intervallic and chordal
structure this movement
is based on alternation,
and also inter-relation
of various modal and
quasi-equidistant harmony
spaces. The tempered
twelve-part division of
the octave allows for
diatonical and other
modal interval
successions, which are
not equidistant, but are
based on the alternation
of major and minor
seconds in different
groups. The tempered
system also allows for
the use of the
anhemitonic pentatonic
scale (the black keys of
the piano). From
equidistant scales,
therefore interval
formations which are
based on the division of
an octave in equal
distances, the
twelve-tone tempered
system allows only
chromatics (only minor
seconds) and the six-tone
scale (the whole-tone:
only major seconds).
Moreover, the division of
the octave into four
parts only minor thirds)
and three parts (three
major thirds) is
possible. In several
music cultures different
equidistant divisions of
an octave are accepted,
for example, in the
Javanese slendro into
five parts, in Melanesia
into seven parts, popular
also in southeastern
Asia, and apart from
this, in southern Africa.
This does not mean an
exact equidistance: there
is a certain tolerance
for the inaccurateness of
the interval tuning.
These exotic for us,
Europeans, harmony and
melody have attracted me
for several years.
However I did not want to
re-tune the piano
(microtone deviations
appear in the concerto
only in a few places in
the horn and trombone
parts led in natural
tones). After the period
of experimenting, I got
to pseudo- or
quasiequidistant
intervals, which is
neither whole-tone nor
chromatic: in the
twelve-tone system, two
whole-tone scales are
possible, shifted a minor
second apart from each
other. Therefore, I
connect these two scales
(or sound resources), and
for example, places occur
where the melodies and
figurations in the piano
part are created from
both whole tone scales;
in one band one six-tone
sound resource is
utilized, and in the
other hand, the
complementary. In this
way whole-tonality and
chromaticism mutually
reduce themselves: a type
of deformed
equidistancism is formed,
strangely brilliant and
at the same time
slanting; illusory
harmony, indeed being
created inside the
tempered twelve-tone
system, but in sound
quality not belonging to
it anymore. The
appearance of such
slantedequidistant
harmony fields
alternating with modal
fields and based on
chords built on fifths
(mainly in the piano
part), complemented with
mixtures built on fifths
in the orchestra, gives
this movement an
individual, soft-metallic
colour (a metallic sound
resulting from
harmonics). The fourth
movement was meant to be
the central movement of
the Concerto. Its
melodc-rhythmic elements
(embryos or fragments of
motives) in themselves
are simple. The movement
also begins simply, with
a succession of
overlapping of these
elements in the mixture
type structures. Also
here a kaleidoscope is
created, due to a limited
number of these elements
- of these pebbles in the
kaleidoscope - which
continuously return in
augmentations and
diminutions. Step by
step, however, so that in
the beginning we cannot
hear it, a compiled
rhythmic organization of
the talea type gradually
comes into daylight,
based on the simultaneity
of two mutually shifted
to each other speed
layers (also triplet and
duoles, however, with
different asymmetric
structures than in the
first movement). While
longer rests are
gradually filled in with
motive fragments, we
slowly come to the
conclusion that we have
found ourselves inside a
rhythmic-melodical whirl:
without change in tempo,
only through increasing
the density of the
musical events, a
rotation is created in
the stream of successive
and compiled, augmented
and diminished motive
fragments, and increasing
the density suggests
acceleration. Thanks to
the periodical structure
of the composition,
always new but however of
the same (all the motivic
cells are similar to
earlier ones but none of
them are exactly
repeated; the general
structure is therefore
self-similar), an
impression is created of
a gigantic, indissoluble
network. Also, rhythmic
structures at first
hidden gradually begin to
emerge, two independent
speed layers with their
various internal
accentuations. This
great, self-similar whirl
in a very indirect way
relates to musical
associations, which came
to my mind while watching
the graphic projection of
the mathematical sets of
Julia and of Mandelbrot
made with the help of a
computer. I saw these
wonderful pictures of
fractal creations, made
by scientists from Brema,
Peitgen and Richter, for
the first time in 1984.
From that time they have
played a great role in my
musical concepts. This
does not mean, however,
that composing the fourth
movement I used
mathematical methods or
iterative calculus;
indeed, I did use
constructions which,
however, are not based on
mathematical thinking,
but are rather craftman's
constructions (in this
respect, my attitude
towards mathematics is
similar to that of the
graphic artist Maurits
Escher). I am concerned
rather with intuitional,
poetic, synesthetic
correspondence, not on
the scientific, but on
the poetic level of
thinking. The fifth, very
short Presto movement is
harmonically very simple,
but all the more
complicated in its
rhythmic structure: it is
based on the further
development of ''inherent
patterns of the third
movement. The
quasi-equidistance system
dominates harmonically
and melodically in this
movement, as in the
third, alternating with
harmonic fields, which
are based on the division
of the chromatic whole
into diatonics and
anhemitonic pentatonics.
Polyrhythms and harmonic
mixtures reach their
greatest density, and at
the same time this
movement is strikingly
light, enlightened with
very bright colours: at
first it seems chaotic,
but after listening to it
for a few times it is
easy to grasp its
content: many autonomous
but self-similar figures
which crossing
themselves. I present my
artistic credo in the
Piano Concerto: I
demonstrate my
independence from
criteria of the
traditional avantgarde,
as well as the
fashionable
postmodernism. Musical
illusions which I
consider to be also so
important are not a goal
in itself for me, but a
foundation for my
aesthetical attitude. I
prefer musical forms
which have a more
object-like than
processual character.
Music as frozen time, as
an object in imaginary
space evoked by music in
our imagination, as a
creation which really
develops in time, but in
imagination it exists
simultaneously in all its
moments. The spell of
time, the enduring its
passing by, closing it in
a moment of the present
is my main intention as a
composer. (Gyorgy
Ligeti). $34.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Ultimate Country Fake Book - 4th Edition
Fake Book [Fake Book] Hal Leonard
Fake Book (Includes melody line and chords). Size 9x12 inches. 568 pages. Publis...(+)
Fake Book (Includes
melody line and chords).
Size 9x12 inches. 568
pages. Published by Hal
Leonard.
(8)$55.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Best Fake Book Ever - 5th Edition Instruments en Do [Fake Book] Hal Leonard
C Edition. Composed by Various. Fake Book. Broadway, Country, Jazz, Pop, Stand...(+)
C Edition. Composed by
Various. Fake Book.
Broadway,
Country, Jazz, Pop,
Standards.
Softcover. 802 pages.
Published by Hal Leonard
$49.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Real Book - Volume V Instruments en Mib Hal Leonard
E-flat Edition. Composed by Various. Fake Book. Jazz. Softcover. 504 page...(+)
E-flat Edition.
Composed by Various. Fake
Book. Jazz. Softcover.
504 pages. Published by
Hal Leonard (HL.175279).
$49.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Real Book - Volume V
Instruments en Sib Hal Leonard
B-flat Edition. Composed by Various. Fake Book. Softcover. 504 pages. Publish...(+)
B-flat Edition. Composed
by
Various. Fake Book.
Softcover. 504 pages.
Published by Hal Leonard
$49.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Real Book - Volume V
Instruments en Do [Fake Book] Hal Leonard
(C Edition). By Various. By Various. For C Instruments. Fake Book. Softcover. 46...(+)
(C Edition). By Various.
By Various. For C
Instruments. Fake Book.
Softcover. 464 pages.
Published by Hal Leonard
$49.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Best Rock Pop Fake Book Instruments en Do [Fake Book] Hal Leonard
(For C Instruments). By Various. For C Instruments. Fake Book. Softcover. 576 pa...(+)
(For C Instruments). By
Various. For C
Instruments. Fake Book.
Softcover. 576 pages.
Published by Hal Leonard
$39.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| It's How You Play the Game Shawnee Press
(Performance/Accompanimen t CD) SKU: HL.35029497 A Musical Play About ...(+)
(Performance/Accompanimen
t CD) SKU:
HL.35029497 A
Musical Play About Being
a Good Sport.
Composed by Jill Gallina
and Michael Gallina.
Musicals. Elementary,
Musicals. CD only.
Published by Shawnee
Press (HL.35029497).
ISBN 9781480367579.
UPC: 884088965075. 5x5
inches. Jill and Michael
Gallina. This
2-part, reproducible
mini-musical is a Rise
and Shine musical
specifically designed to
be performed on choral
risers. This format
enables directors to
provide their students
with a valuable
performance opportunity
while putting the
rehearsal process on the
fast track to
success.
The
emphasis in this musical
is on being a good sport.
A number of elements that
contribute to athletic
success are also
included. Helpful
suggestions are
incorporated into the
rhyming script and the
lyrics of each song. With
good sportsmanship as the
main theme, students are
reminded to follow the
rules, keep their ego in
check, play fair and
square, eat right,
exercise, use
self-control, play to the
best of their ability,
and have a positive
attitude. At the end of
the musical, the coach
reminds the players that
“it's not whether
you win or lose, it's
how you play the
game!”
W
ith an easy-to-memorize
rhyming script and
reproducible singer pages
available on the CD-ROM
that comes with the
Teacher Book, this
musical is perfect for
your kids in Grades 2-5.
Performance time: approx.
20 mins. $49.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Exercises for the Cello in Various Combinations of Double-Stops Carl Fischer
Chamber Music Cello SKU: CF.BF126 Composed by Roland Vamos. Edited by Hor...(+)
Chamber Music Cello
SKU: CF.BF126
Composed by Roland Vamos.
Edited by Horacio
Contreras. SWS. Book.
With Standard notation.
64 pages. Carl Fischer
Music #BF126. Published
by Carl Fischer Music
(CF.BF126). ISBN
9781491150009. UPC:
680160907502. 9x12
inches. Written by
world renown pedagogue,
Roland Vamos, this
collection of double-stop
exercises fill a void in
the literature of
technical exercises for
cellists. These etudes
feature a systematic
series of fixed
double-stops that enables
the player to practice
and master every possible
combination of finger
patterns across two
strings without shifting.
Mr. Vamos says of the
book, The most important
accomplishment is the
development of a strong
left handà These
exercises, when practiced
slowly and carefully,
will help to develop a
keen sense of pitch and
intonation. Adapted for
cello by Horacio
Contreras, teacher,
chamber musician, and
recitalist. When I
first became familiar
with Roland Vamos’
Exercises, I was
impressed with itsclarity
and effectiveness. The
book focuses on a few
important fundamentals of
string playing,and it is
accessible to students of
every age. Moreover, its
tonal organization in C
major makesit simple and
easy to understand. I
recognized the potential
this book could have for
cellists,and after
spending several months
working on an adaptation,
I witnessed its results
in buildingand
maintaining important
fundamentals of
technique.Mr.
Vamos’ Exercises
is comprised of simple
patterns of double-stops
in sevenpositions. There
are two basic groups of
variations: seven
double-stop variations in
differentcombined rhythms
that develop finger
coordination and
independence of the left
hand, andnine bowing
variations that use
détaché at the
frog, middle and tip of
the bow to work onstring
crossings, coordination,
and balance of the bow.
The whole work provides
training thatimproves
intonation, sound, and
ease of playing in all
positions and all parts
of the bow.In order to
adapt Mr. Vamos’
book for cello, I needed
to make some
modifications tothe
original. To address the
different needs of the
neck and the thumb
positions, I chose to
writetwo separate books.
I kept the original
ascending stepwise motion
for subsequent
variationsin Book I by
following a diatonic
scale on the top line of
the patterns. However, I
modifiedthe tonal
framework to adjust to
the more limited range of
the cello. Therefore,
unlike in
Mr.Vamos’ book,
variations in Book I do
not ascend through the
positions in a uniform
pattern.I also switched
the order of patterns to
create a gradual increase
in difficulty. In Book
II, Iadded options that
work on the fourth finger
and an extended left hand
frame, and at the end,
Iincluded five sets of
variations with different
bowing alternatives.Mr.
Vamos provides a number
of specific instructions
regarding left hand
techniquein his
exercises. For his
original version, two
fingers must remain down
for almost the entireset
of variations, providing
a solid reference for the
frame of the hand. In
variations H and I,he
instructs students to
lift these fingers when
they are not being used.
In the case of
thumbposition on cello,
lifting the thumb could
make the hand unstable;
therefore, I suggested
thatthe thumb remains
down while the other
fingers are lifted
alternately in H and I. I
have foundthis exercise
quite useful to work on
thumb independence and
relaxing the thumb while
usingother fingers.Mr.
Vamos gives precise
instructions for the
bowing exercises as well.
Following hisdirections,
the exercises should be
performed with a relaxed
hand and flexible
fingers. Thenotes should
be consistently connected
even when crossing
strings. The bowing
patterns shouldbe
performed at the frog,
the middle and the tip of
the bow in every
position. $19.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| First 50 Theater Songs You Should Play on Piano Piano Facile - Facile Hal Leonard
Composed by Various. Easy Piano Songbook. Broadway, Musicals. Softcover. Publi...(+)
Composed by Various. Easy
Piano Songbook. Broadway,
Musicals. Softcover.
Published
by Hal Leonard
$25.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Easy Primary Songs for Piano Piano seul - Facile Jackman Music Corporation
Piano - easy to medium easy SKU: JK.01966 Composed by Various. Arranged b...(+)
Piano - easy to medium
easy SKU: JK.01966
Composed by Various.
Arranged by Paralee Miles
Eckman. Piano Beginner,
Piano Preludes, Piano
Solos, Special Events
Baptism and Confirmation,
Special Events Primary
Program, Children.
Christian, Inspirational.
Jackman Music Corporation
#01966. Published by
Jackman Music Corporation
(JK.01966). UPC:
093285019669. Mosiah
2:22, Doctrine and
Covenants
59:23. Easy Primary
Songs for Piano is the
perfect book for
beginning pianists who
can play hands together.
You'll find many of the
most well-loved primary
songs in this book,
arranged in a simple but
beautiful way.
In an effort to make this
book simple and
approachable, every song
has been arranged in the
keys of C, G, or F. Each
song displays a keyboard
chart above, showing the
beginning hand positions
and the sharps/flats
included in the piece.
Songs have been ordered
by level of difficulty
(Beginner: Level 1 to
Level 2). Watch for
helpful tips above each
song and don't be afraid
to refer to the pages in
the front which contain
helpful tools and basic
piano/music theory. *
While this book is
perfect for developing
pianists, it could also
be used in a primary
setting as a simplified
songook for the
accompanist. This
book was originally
titled Simplified
Favorites (#80095)
Contents: A Happy
Family Baptism
Book of Mormon
Stories Dare to Do
Right Families Can Be
Together Forever Give
Said the Little
Stream Happy, Happy
Birthday Have a Very,
Merry Christmas He
Sent His Son I Am a
Child of God I
Believe in Being
Honest I Feel My
Savior's Love I Hope
They Call Me on a
Mission I Lived in
Heaven I Love to See
the Temple I Want to
Be a Missionary Now I
Will Be Valiant In
the Leafy Treetops
Pioneer Children Sang as
They Walked It's
Autumn-time Keep the
Commandments Mother
Dear My Dad My
Heavenly Father Loves
Me Oh, What do You Do
in the Summertime?
Once There Was a
Snowman Quickly I'll
Obey Search, Ponder
and Pray Seek the
Lord Early Smiles
Teach Me to Walk in the
Light Thank Thee for
Everything The Golden
Plates We'll Bring
the World His Truth
When Joseph Went to
Bethlehem When He
Comes Again
Composers: various
Arranger: Paralee Miles
Eckman Lyricist:
various Difficulty:
easy to medium easy
Reference: Mosiah 2:22,
Doctrine and Covenants
59:23. $13.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Ukuleles on Board! Hal Leonard
Collection (with digital access to lesson slides) Choral (Collection) SKU: HL...(+)
Collection (with digital
access to lesson slides)
Choral (Collection)
SKU: HL.261481
Play and Sing Songs in
the Music Class with
Step-by-Step Projectable
Lesson Slides.
Composed by Marty Gross
and Sally Haines.
ExpressiveArts.
Collection, Elementary.
Softcover Media Online.
72 pages. Published by
Hal Leonard (HL.261481).
ISBN 9781540020376.
UPC: 888680727437.
8.5x11.0x0.208 inches. By
Marty Gross and Sally
Haines. Get on
board! Using ukuleles in
an elementary general
music class can open new
experiences for your
students. These fun,
accessible instruments
encourage singing while
promoting confidence and
musical independence.
Ukuleles also provide an
additional way for you to
observe student progress
and assess musical
understanding. UKULELES
ON BOARD is a collection
of sequential lessons
that illustrate how
teachers can use ukuleles
along with other common
classroom resources to
create engaging, robust
musical activities for
students. Examples are
provided for using
ukuleles together with
Orff instruments,
recorders, a variety of
percussion and even jug
band instruments. Each
unit includes digital
access to step-by-step
projectable lesson slides
so you can project all
the visual cues your
students will need. In
addition to being easy to
learn and fun, the folk
songs used throughout the
book provide students
with cultural and
historical connections.
The activities and
concepts found in
UKULELES ON BOARD are
based on the National
Standards for Music
Education. The material
has been field-tested in
grades 2-4, but is also
appropriate for fifth
grade students new to the
ukulele. This is a
valuable guide to using
ukuleles to support and
enhance the music
curriculum in your
school. Songs include:
Are You Sleeping? (Frere
Jacques!), Michael
Finnegan, Buffalo Gals,
Joe Turner Blues, Shalom
Chaverim, I Love the
Mountains, Little 'Liza
Jane, Hambone, One Bottle
of Pop, Pay Me My Money
Down, Let Us Chase the
Squirrel, Go Tell Aunt
Rhody, Old Joe Clark.
Suggested for grades
2-5. $39.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Moon Bass Orchestre [Conducteur] - Facile Highland/Etling
Orchestra - Grade 2 SKU: AP.35968S Bass Section Feature. Composed ...(+)
Orchestra - Grade 2
SKU: AP.35968S
Bass Section
Feature. Composed by
Todd Parrish. Performance
Music Ensemble; Single
Titles; String Orchestra.
Highland/Etling String
Orchestra. Blues;
Jazz/Fusion; Light
Concert; Swing. Score. 8
pages. Duration 2:52.
Highland/Etling
#00-35968S. Published by
Highland/Etling
(AP.35968S). UPC:
038081417233.
English. Let your
string bass section swing
in this easy-to-play
blues piece as they build
skills and enjoy the
motivation of being in
the spotlight. Basses
carry the melody much of
the time, while also
accompanying the melody
as it weaves through
other sections. All parts
stay in first position,
while the bass shifts
briefly to third
position. Educational
objectives include
playing accidentals,
contrasting between
staccato and legato, and
learning to play in a
swing style. (2:52). $7.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Basic Keyboard Chord Chart Piano Facile - Débutant Santorella Publications
Keyboard - beginning SKU: SP.TS237 Reference; Chords. Chart. Santorella P...(+)
Keyboard - beginning
SKU: SP.TS237
Reference; Chords. Chart.
Santorella Publications
#TS237. Published by
Santorella Publications
(SP.TS237). ISBN
9781585607389. Our
All-New Basic Keyboard
Chord Chart is a complete
and concise resource,
while being exceptionally
easy to read and
understand. We've
included Major, Minor,
Augmented, Diminished,
Dominant Seventh, Major
Seventh, Minor Seventh,
Added 6th, Added 9th, and
even 13th chords in a
convenient fold-out chart
printed on extra-heavy
stock to last for many
years. This comprehensive
chart contains a total of
120 chords with shaded
key diagrams indicating
how to play each one.
Additionally, using our
Chord Building Chart,
you'll not only learn to
play each chord, but
you'll also understand
why and how they are
constructed. The Basic
Keyboard Chord Chart is
portable and affordable,
and the perfect
at-a-glance reference for
musicians of all skill
levels. $4.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Dirt Simple Harmonica Harmonica [Partition + Accès audio] - Débutant Mel Bay
Composed by Phil Duncan. For harmonica. Saddle-stitched. Dirt Simple. Beginning....(+)
Composed by Phil Duncan.
For harmonica.
Saddle-stitched. Dirt
Simple. Beginning. Book
and online audio.
Published by Mel Bay
Publications, Inc
$14.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Studio Ghibli 77 Selections [Japanese/English/Chinese] Piano seul - Facile Yamaha
Piano - Easy to Intermediate Levels SKU: YM.GTP01101652 The Ultimate S...(+)
Piano - Easy to
Intermediate Levels
SKU:
YM.GTP01101652 The
Ultimate Studio Ghibli
Piano Solo
Collection. Composed
by Joe Hisaishi. Studio
Ghibli. Anime Song;
J-Pop. Book. Yamaha Music
Media #GTP01101652.
Published by Yamaha Music
Media (YM.GTP01101652).
ISBN 9784636113334.
8.75 x 12
inches. Here is the
ultimate, official,
complete edition of
Studio Ghibli Piano Solo
Collection, featuring 77
of Studio Ghibli's
essential musical
masterpieces, fully
supported in three
languages: Japanese,
English and Simplified
Chinese! From 20 of
Studio Ghibli's most
beloved films, including
My Neighbor Totoro,
Princess Mononoke,
Spirited Away, and more,
comes a piano solo
collection featuring 77
iconic songs. In addition
to timeless favorites,
songs from popular
soundtracks such as
Kiki's Delivery Service
and Porco Rosso are
included. Featuring
Studio Ghibli's musical
masterpieces in solo
piano arrangements, this
collection includes the
film's theme songs as
well as fan-favorite
instrumental music. The
difficulty levels range
from easy to
intermediate, making them
accessible to a wide
range of players, and the
simpler arrangements can
be fully enjoyed by
players who can feel the
essence and atmosphere.
The book cover features
official Studio Ghibli
artwork. The book is
supported in Japanese,
English and Chinese. This
single volume offers a
comprehensive, special
collector's edition for
enjoying the music of
Studio Ghibli. Studio
Ghibli 77 Selections is
sure to take you on a
musical journey through
20 Studio Ghibli
films! $26.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Fiddle Tunes for Banjo Made Easy Banjo [Partition + Accès audio] - Débutant Mel Bay
Banjo (5-string) - Beginning SKU: MB.21028M Composed by Ross Nickerson. S...(+)
Banjo (5-string) -
Beginning SKU:
MB.21028M Composed by
Ross Nickerson.
Saddle-stitched, Banjo:
5-String, Banjo 5-String,
Children and Young
Beginner, Solos and
Duets, Tunebooks. Made
Easy. Banjo. Book and
online audio. 32 pages.
Mel Bay Publications, Inc
#21028M. Published by Mel
Bay Publications, Inc
(MB.21028M). ISBN
9780786689224. UPC:
786689226. 8.75 x 11.75
inches. Fiddle
Tunes for Banjo Made Easy
is a collection of
must-know, easy-to-learn
bluegrass instrumental
standards. Ross records
each song at three speeds
and also includes a
rhythm backup track. The
slow speed is ideal for
hearing the notes clearly
and being able to play
along in rhythm; the
medium speed is a perfect
goal for the beginning
and intermediate student
while the faster speed
demonstrates what the
song can sound like with
a hard, driving push. The
tablature is large for
ease of reading and
includes accent marks for
melody notes where
needed. Ross also
provides tips and
suggestions for each song
to save you valuable
practice time. These are
tips on the more
challenging spots that
Ross has learned
firsthand from teaching
these privately for many
years. In addition, there
is a whole page of
instruction on learning
the chords to the song,
how to play the song
using only the chords,
chord charts written out
for each song and tips
for memorizing and
playing without tab.
Fiddle Tunes for Banjo
Made Easy is not just
another tab book; it
covers all the bases and
gives you a realistic
balanced approach for
learning the songs the
EASY way. Includes access
to online audio. $14.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Leonore Overture for Orchestra no. 3 (1806) Contre Basse Barenreiter
Double Bass SKU: BA.BA08833-85 Composed by Ludwig van Beethoven. Edited b...(+)
Double Bass SKU:
BA.BA08833-85
Composed by Ludwig van
Beethoven. Edited by
Helga Lühning. This
edition: urtext edition.
Stapled. Single part.
Composed 1806. No. 3. 7
pages. Baerenreiter
Verlag #BA08833_85.
Published by Baerenreiter
Verlag (BA.BA08833-85).
ISBN 9790006567584.
32.5 x 25.5 cm
inches. Sooner or
later theRomantic
Pieceswill pave their way
through all the salons:
thus the periodical
Dalibor predicted when
theRomantic Piecesop. 75
were first issued by the
publisher Simrock in
1887. Since then they
have become some of
Dvorak's most popular
works for violin and
piano. Now they are being
made available for
violists
also.
Bella and
Semjon Kalinowsky have
arranged the four pieces
on the basis of
theComplete Edition of
the Works of Antonin
Dvorak. The piano part of
the original version
remains, while the violin
part has been adapted for
viola; it has been
transcribed into the alto
clef and includes
fingering and bowing
marks.
With their
entrancing melodies and
poetry, these pieces pose
few technical challenges
and are thus easy to
play.
$8.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Children's Dances Flûte traversière et Piano EMB (Editio Musica Budapest)
For flute and piano. 20th Century. EMB. Pedagogical performance pieces. So...(+)
For flute and piano. 20th
Century. EMB. Pedagogical
performance pieces.
Softcover. 28 pages.
Editio
Musica Budapest
#EMBZ15069.
Published by Editio
Musica
Budapest
$14.45 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Blues for Brennan Ensemble Jazz [Conducteur et Parties séparées] - Débutant Kjos Music Company
Band jazz ensemble - Grade 1 SKU: KJ.ZB413 Composed by Ethan Freier. Stan...(+)
Band jazz ensemble -
Grade 1 SKU:
KJ.ZB413 Composed by
Ethan Freier. Standard of
Excellence Jazz Ensemble
Method. Jazz. Score and
parts. Neil A. Kjos Music
Company #ZB413. Published
by Neil A. Kjos Music
Company (KJ.ZB413).
UPC:
8402702698. Catchy
riffs and swinging lines
make this the perfect
chart for beginning jazz
ensembles. The use of
pedal points gives this
blues a unique flavor
while being true to the
blues form.
About Standard
of Excellence Jazz
Ensemble
Method The
Standard of Excellence
Jazz Ensemble Method is
designed to help both you
and your jazz ensemble
students explore the
world of jazz through
easy-to-use Rhythm
Studies, Improvisation
Studies, Instrument
Specific Exercises, and
full ensemble jazz
charts. The approach is
non-theoretical and
aurally based. Each part
book comes with an
accompaniment CD, so like
every great jazz player
throughout history,
students learn to play
jazz by listening! $50.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Blues for Brennan - Score Ensemble Jazz [Conducteur] - Débutant Kjos Music Company
Band jazz ensemble - Grade 1 SKU: KJ.ZB413F Composed by Ethan Freier. Sta...(+)
Band jazz ensemble -
Grade 1 SKU:
KJ.ZB413F Composed by
Ethan Freier. Standard of
Excellence Jazz Ensemble
Method. Jazz. Score. Neil
A. Kjos Music Company
#ZB413F. Published by
Neil A. Kjos Music
Company (KJ.ZB413F).
Catchy riffs
and swinging lines make
this the perfect chart
for beginning jazz
ensembles. The use of
pedal points gives this
blues a unique flavor
while being true to the
blues form.
About Standard
of Excellence Jazz
Ensemble
Method The
Standard of Excellence
Jazz Ensemble Method is
designed to help both you
and your jazz ensemble
students explore the
world of jazz through
easy-to-use Rhythm
Studies, Improvisation
Studies, Instrument
Specific Exercises, and
full ensemble jazz
charts. The approach is
non-theoretical and
aurally based. Each part
book comes with an
accompaniment CD, so like
every great jazz player
throughout history,
students learn to play
jazz by listening! $8.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Basic Fingering Chart for Viola Alto seul - Débutant Santorella Publications
Viola - beginning SKU: SP.TS557 Composed by Tony Santorella. Reference; E...(+)
Viola - beginning SKU:
SP.TS557 Composed by
Tony Santorella.
Reference; Educational.
Reference, Educational.
Chart. 4 pages.
Santorella Publications
#TS557. Published by
Santorella Publications
(SP.TS557). ISBN
9781585609178. Due
to the success of our
Instrumental Fingering
Posters, we thought it
would be helpful to
create a smaller version
that could be tucked
comfortably into any
method book as a
reference guide.
Unbeknownst to us after
days of research, we were
left with countless
questions, much
confusion, and a slew of
poorly crafted images
from contradicting
publications. That being
said, we realized that
there weren't truly any
trustworthy resources in
print and decided to
address the void. We
consulted experts in
every category asking
questions until both we
and they and we were
satisfied. Finally, a
guide to fingering for
beginners that even the
experienced players will
find beneficial.
Santorella's Basic
Fingering Charts are
essential for anyone that
picks up an instrument.
Initially intended for
beginners but after
understanding the
importance of false
fingerings or more
appropriately called,
alternate fingerings
their necessity is vital
for playing certain
musical passages on a
particular instrument. In
addition, after observing
the difficulties that
students had in
identifying key
signatures, we decided to
include the Circle of
Fifths diagram and every
major scale in two
octaves in every key
including their
enharmonic counterparts.
After all was said in
done, we now know, we now
have the best educational
products available for
fingering in the
industry. Our Basic
Fingering Charts are
perfect for private
students, classroom
study, or simply for a
quick and easy reference
guide while practicing at
home. These graphic
reference guides for
assorted brass, reeds,
woodwinds, and orchestral
strings are specifically
available for Clarinet,
Bass Clarinet, Trumpet,
Flute, Piccolo, Recorder,
Baritone Horn, Trombone,
Bass Trombone, Alto Sax,
Soprano Sax, Tenor Sax,
Baritone Sax, French
Horn, Euphonium, Tuba,
Oboe, Bassoon, Violin,
Viola, Cello, and Bass.
Every chart displays the
entire range of each
instrument by clearly
depicting the fingering
for each note including
all their enharmonic
substitutions. Each chart
includes a diagram
identifying the levers,
valves, keys, slides,
frets and more of each
and every instrument.
Learn where, when, and
why to place your
fingers. Now is the time
to truly start playing
with assured
confidence. $4.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Basic Fingering Chart for Bass Trombone Trombone basse - Débutant Santorella Publications
Composed by Tony Santorella. Reference; Educational. Chart. Santorella Publica...(+)
Composed by Tony
Santorella.
Reference; Educational.
Chart.
Santorella Publications
#TS553. Published by
Santorella Publications
$4.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
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