(A Workbook for Beginning, Intermediate or Advanced Students). Composed by M...(+)
(A Workbook for
Beginning,
Intermediate or Advanced
Students). Composed by
Miles
Okazaki. For guitar.
Spiral-
bound. Guitar Methods,
Scales, Arpeggios,
Technique, Theory,
Harmony.
Book. 166 pages.
Published
by Mel Bay Publications,
Inc
This item will ship directly from our Australia warehouse! Alto Saxophone, Piano...(+)
This item will ship
directly from our
Australia warehouse!
Alto Saxophone, Piano
SKU: HU.HN1369
For Alto Saxophone and
Piano. Composed by Erwin
Schulhoff. Edited by
Frank Lunte. Woodwind,
Repertoire, Solos. Hot
Sonata. Softcover Book.
45 pages. G. Henle
#HN1369. Published by G.
Henle (HU.HN1369).
SKU: HL.49046901 Book 2, 1879-1881 Hardcover. Edited by Thomas Koh...(+)
SKU: HL.49046901
Book 2, 1879-1881
Hardcover. Edited by
Thomas Kohlhase. Edition
Schott. Classical, German
Edition. Hardcover.
Schott Music #ED22750-20.
Published by Schott Music
(HL.49046901).
UPC:
196288075271.
This
complete edition, which
is the first outside
Russia, of the almost
fourteen-year
correspondence between P.
I. Tchaikovsky and the
music-loving patron (and
wealthy widow of a Baltic
railway entrepreneur) N.
F. von Meck represents
for German-speaking
readers and music
historians an
indispensable primary
source on the life and
work of the greatest
Russian composer as well
as on his environment,
while, at the same time,
reflecting the political,
cultural and social
situation of the Russian
Empire from the
perspective of two
privileged, educated and
regime-loving subjects.
The life of the large
families
Tchaikovsky-Davydov and
von Meck, the unpleasant
consequences of the
composer's unhappy
marriage, faith and
religion, literature,
philosophy, the reception
of earlier and
contemporary Russian and
European music, fine
arts, foreigntravel,
political, economic and
social conditions - even
farming (in Brailov and
Kamenka/Verbovka, the
Ukrainian estates of the
von Meck and Davydov
families) and many more
are the topics of this
correspondence between
two related and yet so
different personalities
who, as agreed, never met
in personal conversation
and yet talked to each
other in lively, often
confessional speech. The
texts of the letters in
the present edition
(whose planning dates
back to the 1950s), with
the added contrasting
excerpts from letters of
Tchaikovsky to other
persons, such as his
trusted brothers Anatoly
and Modest, have been
revised according to the
new Russian Complete
Edition by Polina Vajdman
(Celjabinsk 2007 ff.).
Various introductions,
accompanying texts and
overviews as well
ascomprehensive indices
(one of them
systematically by
subjects), together with
numerous explanations and
notes at the bottom of
the pages, make it easier
for the reader to find
his/her way through the
all in all more than
1,200 documents. The
three volumes are also
available for
subscription.
Composed by Paolo Ugoletti Andrea Vezzoli. Edited by Piero Bonaguri and Raffae...(+)
Composed by Paolo
Ugoletti
Andrea Vezzoli. Edited by
Piero Bonaguri and
Raffaello
Ravasio. Saddle
stitching.
Piero Bonaguri
Collection.
Classical. Ut Orpheus #CH
254.
Published by Ut Orpheus
Urtext. Composed
by Ludwig van Beethoven.
Edited by Peter
Hauschild. Stapled.
Orchester-Bibliothek
(Orchestral Library).
This Urtext edition is
based on the surviving
primary sources: the
autograph score, a copy
of the score examined by
Beethoven, two copies of
the part material which
he personally used, and
the first edition of the
parts and score.
Symphony; Classical.
Part. 14 pages. Duration
35'. Breitkopf and
Haertel #OB 5234-27.
Published by Breitkopf
and Haertel
(BR.OB-5234-27).
ISBN
9790004332672. 10 x 12.5
inches.
The Urtext
edition of Ludwig van
Beethovens Fourth
Symphony presented here
is based on the surviving
primary sources: the
autograph score, a copy
of the score examined by
Beethoven, two copies of
the part material which
he personally used, and
the first edition of the
parts and score. The
score contains the
complete Critical Report.
Observations deemed
particularly important,
as well as divergences
from established
editions, are clearly
marked within it.Words
are not enough to praise
this exemplary edition,
resulting from many years
of systematic editorial
work on the sources.
Breitkopf's
source-critical,
practice-oriented edition
by Clive Brown and Peter
Hauschild will provide
valuable new impulses in
the interpretation of
Beethoven's music.(Kurt
Masur)
This Urtext
edition is based on the
surviving primary
sources: the autograph
score, a copy of the
score examined by
Beethoven, two copies of
the part material which
he personally used, and
the first edition of the
parts and score.
Urtext. Composed
by Ludwig van Beethoven.
Edited by Peter
Hauschild. Orchestra;
Softbound.
Partitur-Bibliothek
(Score Library).
This
Urtext edition is based
on the surviving primary
sources: the autograph
score, a copy of the
score examined by
Beethoven, two copies of
the part material which
he personally used, and
the first edition of the
parts and score.
Symphony; Classical. Full
score. 100 pages.
Duration 35'. Breitkopf
and Haertel #PB 5234.
Published by Breitkopf
and Haertel (BR.PB-5234).
ISBN 9790004210154. 10
x 12.5 inches.
The
Urtext edition of Ludwig
van Beethovens Fourth
Symphony presented here
is based on the surviving
primary sources: the
autograph score, a copy
of the score examined by
Beethoven, two copies of
the part material which
he personally used, and
the first edition of the
parts and score. The
score contains the
complete Critical Report.
Observations deemed
particularly important,
as well as divergences
from established
editions, are clearly
marked within it.Words
are not enough to praise
this exemplary edition,
resulting from many years
of systematic editorial
work on the sources.
Breitkopf's
source-critical,
practice-oriented edition
by Clive Brown and Peter
Hauschild will provide
valuable new impulses in
the interpretation of
Beethoven's music.(Kurt
Masur)
This Urtext
edition is based on the
surviving primary
sources: the autograph
score, a copy of the
score examined by
Beethoven, two copies of
the part material which
he personally used, and
the first edition of the
parts and score.
Urtext. Composed
by Ludwig van Beethoven.
Edited by Peter
Hauschild. Folder.
Orchester-Bibliothek
(Orchestral Library).
This Urtext edition is
based on the surviving
primary sources: the
autograph score, a copy
of the score examined by
Beethoven, two copies of
the part material which
he personally used, and
the first edition of the
parts and score.
Symphony; Classical. Set
of parts. 134 pages.
Duration 35'. Breitkopf
and Haertel #OB 5234-30.
Published by Breitkopf
and Haertel
(BR.OB-5234-30).
ISBN
9790004332689. 10 x 12.5
inches.
The Urtext
edition of Ludwig van
Beethovens Fourth
Symphony presented here
is based on the surviving
primary sources: the
autograph score, a copy
of the score examined by
Beethoven, two copies of
the part material which
he personally used, and
the first edition of the
parts and score. The
score contains the
complete Critical Report.
Observations deemed
particularly important,
as well as divergences
from established
editions, are clearly
marked within it.Words
are not enough to praise
this exemplary edition,
resulting from many years
of systematic editorial
work on the sources.
Breitkopf's
source-critical,
practice-oriented edition
by Clive Brown and Peter
Hauschild will provide
valuable new impulses in
the interpretation of
Beethoven's music.(Kurt
Masur)
This Urtext
edition is based on the
surviving primary
sources: the autograph
score, a copy of the
score examined by
Beethoven, two copies of
the part material which
he personally used, and
the first edition of the
parts and score.
Urtext. Composed
by Ludwig van Beethoven.
Edited by Peter
Hauschild. Stapled.
Orchester-Bibliothek
(Orchestral Library).
This Urtext edition is
based on the surviving
primary sources: the
autograph score, a copy
of the score examined by
Beethoven, two copies of
the part material which
he personally used, and
the first edition of the
parts and score.
Symphony; Classical.
Part. 18 pages. Duration
35'. Breitkopf and
Haertel #OB 5234-23.
Published by Breitkopf
and Haertel
(BR.OB-5234-23).
ISBN
9790004332665. 10 x 12.5
inches.
The Urtext
edition of Ludwig van
Beethovens Fourth
Symphony presented here
is based on the surviving
primary sources: the
autograph score, a copy
of the score examined by
Beethoven, two copies of
the part material which
he personally used, and
the first edition of the
parts and score. The
score contains the
complete Critical Report.
Observations deemed
particularly important,
as well as divergences
from established
editions, are clearly
marked within it.Words
are not enough to praise
this exemplary edition,
resulting from many years
of systematic editorial
work on the sources.
Breitkopf's
source-critical,
practice-oriented edition
by Clive Brown and Peter
Hauschild will provide
valuable new impulses in
the interpretation of
Beethoven's music.(Kurt
Masur)
This Urtext
edition is based on the
surviving primary
sources: the autograph
score, a copy of the
score examined by
Beethoven, two copies of
the part material which
he personally used, and
the first edition of the
parts and score.
Real Stories, Real Strategies, Real Solutions. Composed by Ann Kaczkowski Kimp...(+)
Real Stories, Real
Strategies,
Real Solutions. Composed
by
Ann Kaczkowski Kimpton
and
Paul Kimpton. Music
Education.
162 pages. GIA
Publications
#9216. Published by GIA
Publications
Band concert band - Grade 3 SKU: CF.CPS250 Composed by Peter Sciaino. Set...(+)
Band concert band - Grade
3
SKU: CF.CPS250
Composed by Peter
Sciaino. Set of Score and
Parts.
27+12+12+6+12+12+12+6+6+6
+6+4+4+8+8+8+4+4+6+6+6+4+
12+4+2+6+10 pages.
Duration 4 minutes, 40
seconds. Carl Fischer
Music #CPS250. Published
by Carl Fischer Music
(CF.CPS250).
ISBN
9781491159576. UPC:
680160918164.
Kalei
doscope Sky is inspired
by the breathtaking
pastime of hot-air
ballooning and the
glorious festivals around
the world that honor the
practice. A sky full of
colorful spheres
elegantly floating at the
Albuquerque International
Balloon Fiesta,
International Balloon
Festival of
Saint-Jean-sur-Richelieu,
Bristol International
Balloon Fiesta, Mondial
Air Ballons and more draw
thousands of people to
witness awe-inspiring
scenes full of passionate
balloonists. Traditional
hot-air balloons mix with
creatively designed
balloons to thrill the
tens of thousands of
spectators below. While I
personally am not a
person who dreams of
taking my own
flight--heights are not
my thing--I have to
marvel at how gently and
easily these vessels
float among the clouds.
It truly is an image of
exquisite freedom. This
piece reflects the view
and experience of the
onlooker taking in an
elegantly shifting scene
reminiscent of
kaleidoscope patterns.
Spectators like me can
appreciate the beauty and
vibrancy associated with
a horizon full of
adventurous balloonists
and their wondrous
aircrafts. Kaleidoscope
Sky starts in a
triumphant and
celebratory fashion and
continues to conjure
images reminiscent of the
wide variety of soaring
colors on display at a
hot-air balloon event.
Ultimately, the piece
appropriately concludes
with a suspenseful, yet
graceful, run to the
finish line. Melodic
lines should soar with
attention being paid to
phrase markings and
assigned articulations.
Encourage musicians to
allow room for the
melodic material to be
heard in thicker textures
where supporting
harmonies are often
rhythmic in nature. These
harmonies should support,
and not cloud the
melodies. The meter
changes should sound
effortless, and the
continuous figures in the
percussion will help to
achieve this effect. The
snare drum, in
particular, should bring
accented notes to the
foreground while
maintaining a steady
textural effect with
non-accented notes as a
rhythmic background. This
will go a long way in
finding a cohesive
subdivision and ensemble
pulse. Kaleidoscope
Sky is inspired by the
breathtaking pastime of
hot-air ballooning and
the glorious festivals
around the world that
honor the practice. A sky
full of colorful spheres
elegantly floating at the
Albuquerque International
Balloon Fiesta,
International Balloon
Festival of
Saint-Jean-sur-Richelieu,
Bristol International
Balloon Fiesta, Mondial
Air Ballons and more draw
thousands of people to
witness awe-inspiring
scenes full of passionate
balloonists. Traditional
hot-air balloons mix with
creatively designed
balloons to thrill the
tens of thousands of
spectators below. While I
personally am not a
person who dreams of
taking my own
flight—heights are
not my thing—I
have to marvel at how
gently and easily these
vessels float among the
clouds. It truly is an
image of exquisite
freedom. This piece
reflects the view and
experience of the
onlooker taking in an
elegantly shifting scene
reminiscent of
kaleidoscope patterns.
Spectators like me can
appreciate the beauty and
vibrancy associated with
a horizon full of
adventurous balloonists
and their wondrous
aircrafts. Kaleidoscope
Sky starts in a
triumphant and
celebratory fashion and
continues to conjure
images reminiscent of the
wide variety of soaring
colors on display at a
hot-air balloon event.
Ultimately, the piece
appropriately concludes
with a suspenseful, yet
graceful, run to the
finish line.Melodic lines
should “soarâ€
with attention being paid
to phrase markings and
assigned articulations.
Encourage musicians to
allow room for the
melodic material to be
heard in thicker textures
where supporting
harmonies are often
rhythmic in nature. These
harmonies should support,
and not
“cloud†the
melodies. The meter
changes should sound
effortless, and the
continuous figures in the
percussion will help to
achieve this effect. The
snare drum, in
particular, should bring
accented notes to the
foreground while
maintaining a steady
textural effect with
non-accented notes as a
rhythmic background. This
will go a long way in
finding a cohesive
subdivision and ensemble
pulse.
Kaleidoscope Sky Orchestre d'harmonie [Conducteur] - Facile Carl Fischer
Band concert band - Grade 3 SKU: CF.CPS250F Composed by Peter Sciaino. Fu...(+)
Band concert band - Grade
3
SKU: CF.CPS250F
Composed by Peter
Sciaino. Full score. 27
pages. Carl Fischer Music
#CPS250F. Published by
Carl Fischer Music
(CF.CPS250F).
ISBN
9781491159583. UPC:
680160918171.
Kalei
doscope Sky is inspired
by the breathtaking
pastime of hot-air
ballooning and the
glorious festivals around
the world that honor the
practice. A sky full of
colorful spheres
elegantly floating at the
Albuquerque International
Balloon Fiesta,
International Balloon
Festival of
Saint-Jean-sur-Richelieu,
Bristol International
Balloon Fiesta, Mondial
Air Ballons and more draw
thousands of people to
witness awe-inspiring
scenes full of passionate
balloonists. Traditional
hot-air balloons mix with
creatively designed
balloons to thrill the
tens of thousands of
spectators below. While I
personally am not a
person who dreams of
taking my own
flight--heights are not
my thing--I have to
marvel at how gently and
easily these vessels
float among the clouds.
It truly is an image of
exquisite freedom. This
piece reflects the view
and experience of the
onlooker taking in an
elegantly shifting scene
reminiscent of
kaleidoscope patterns.
Spectators like me can
appreciate the beauty and
vibrancy associated with
a horizon full of
adventurous balloonists
and their wondrous
aircrafts. Kaleidoscope
Sky starts in a
triumphant and
celebratory fashion and
continues to conjure
images reminiscent of the
wide variety of soaring
colors on display at a
hot-air balloon event.
Ultimately, the piece
appropriately concludes
with a suspenseful, yet
graceful, run to the
finish line. Melodic
lines should soar with
attention being paid to
phrase markings and
assigned articulations.
Encourage musicians to
allow room for the
melodic material to be
heard in thicker textures
where supporting
harmonies are often
rhythmic in nature. These
harmonies should support,
and not cloud the
melodies. The meter
changes should sound
effortless, and the
continuous figures in the
percussion will help to
achieve this effect. The
snare drum, in
particular, should bring
accented notes to the
foreground while
maintaining a steady
textural effect with
non-accented notes as a
rhythmic background. This
will go a long way in
finding a cohesive
subdivision and ensemble
pulse. Kaleidoscope
Sky is inspired by the
breathtaking pastime of
hot-air ballooning and
the glorious festivals
around the world that
honor the practice. A sky
full of colorful spheres
elegantly floating at the
Albuquerque International
Balloon Fiesta,
International Balloon
Festival of
Saint-Jean-sur-Richelieu,
Bristol International
Balloon Fiesta, Mondial
Air Ballons and more draw
thousands of people to
witness awe-inspiring
scenes full of passionate
balloonists. Traditional
hot-air balloons mix with
creatively designed
balloons to thrill the
tens of thousands of
spectators below. While I
personally am not a
person who dreams of
taking my own
flight—heights are
not my thing—I
have to marvel at how
gently and easily these
vessels float among the
clouds. It truly is an
image of exquisite
freedom. This piece
reflects the view and
experience of the
onlooker taking in an
elegantly shifting scene
reminiscent of
kaleidoscope patterns.
Spectators like me can
appreciate the beauty and
vibrancy associated with
a horizon full of
adventurous balloonists
and their wondrous
aircrafts. Kaleidoscope
Sky starts in a
triumphant and
celebratory fashion and
continues to conjure
images reminiscent of the
wide variety of soaring
colors on display at a
hot-air balloon event.
Ultimately, the piece
appropriately concludes
with a suspenseful, yet
graceful, run to the
finish line.Melodic lines
should “soarâ€
with attention being paid
to phrase markings and
assigned articulations.
Encourage musicians to
allow room for the
melodic material to be
heard in thicker textures
where supporting
harmonies are often
rhythmic in nature. These
harmonies should support,
and not
“cloud†the
melodies. The meter
changes should sound
effortless, and the
continuous figures in the
percussion will help to
achieve this effect. The
snare drum, in
particular, should bring
accented notes to the
foreground while
maintaining a steady
textural effect with
non-accented notes as a
rhythmic background. This
will go a long way in
finding a cohesive
subdivision and ensemble
pulse.
Pater
Noster. Composed by
Reginal S Wright. Sws.
Mjts. Performance. 16
pages. Duration 4
minutes, 40 seconds. Carl
Fischer Music #CM9592.
Published by Carl Fischer
Music (CF.CM9592).
ISBN 9781491154144.
UPC: 680160912643. 6.875
x 10.5 inches. Key: Ab
major. English. Henry F.
Lyte
(1793-1847).
Henry
Francis Lyte, 19th
century Scottish minister
and poet, wrote this hymn
text during the last year
of his life. The opening
line of the hymn is
misquoted from Luke
24:29, when the disciples
meet the resurrected
Jesus, but do not
recognize him. They ask
him to Abide with us, for
it is toward evening, and
the day is far spent. The
change to the singular
pronoun gives the hymn
its comforting, personal
and emotional intimacy.
Though Lyte wrote his own
tune for the poem, the
tune most associated with
the text is Eventide by
William Henry Monk. Monk,
a composer, arranger, and
editor wrote this tune
for the hymns inclusion
in Hymns Ancient and
Modern, published in
1861. Be intentional to
sing a tall, pure /a/
sound on the word abide.
Also be mindful that the
original Abide with me
hymn melody should be
primary with the
prayerful Pater Noster
providing its support.
Overall, bear in mind the
prayerful mood of the
selection and mold the
color of the tone
accordingly. For more
information visit
www.reginalwright.com. Henry Francis Lyte, 19th
century Scottish minister
and poet, wrote this hymn
text during the last year
of his life. The opening
line of the hymn is
misquoted from Luke
24:29, when the disciples
meet the resurrected
Jesus, but do not
recognize him. They ask
him to aAbide with us,
for it is toward evening,
and the day is far
spent.a The change to the
singular pronoun gives
the hymn its comforting,
personal and emotional
intimacy. Though Lyte
wrote his own tune for
the poem, the tune most
associated with the text
is aEventidea by William
Henry Monk. Monk, a
composer, arranger, and
editor wrote this tune
for the hymnas inclusion
in Hymns Ancient and
Modern, published in
1861. Be intentional to
sing a tall, pure /a/
sound on the word
aabidea. Also be mindful
that the original aAbide
with mea hymn melody
should be primary with
the prayerful aPater
Nostera providing its
support. Overall, bear in
mind the prayerful mood
of the selection and mold
the color of the tone
accordingly. For more
information visit
www.reginalwright.com. Henry Francis Lyte, 19th
century Scottish minister
and poet, wrote this hymn
text during the last year
of his life. The opening
line of the hymn is
misquoted from Luke
24:29, when the disciples
meet the resurrected
Jesus, but do not
recognize him. They ask
him to Abide with us, for
it is toward evening, and
the day is far spent. The
change to the singular
pronoun gives the hymn
its comforting, personal
and emotional intimacy.
Though Lyte wrote his own
tune for the poem, the
tune most associated with
the text is Eventide by
William Henry Monk. Monk,
a composer, arranger, and
editor wrote this tune
for the hymn's inclusion
in Hymns Ancient and
Modern, published in
1861. Be intentional to
sing a tall, pure /a/
sound on the word abide.
Also be mindful that the
original Abide with me
hymn melody should be
primary with the
prayerful Pater Noster
providing its support.
Overall, bear in mind the
prayerful mood of the
selection and mold the
color of the tone
accordingly. For more
information visit
www.reginalwright.com. Henry Francis Lyte, 19th
century Scottish minister
and poet, wrote this hymn
text during the last year
of his life. The opening
line of the hymn is
misquoted from Luke
24:29, when the disciples
meet the resurrected
Jesus, but do not
recognize him. They ask
him to “Abide with
us, for it is toward
evening, and the day is
far spent.†The
change to the singular
pronoun gives the hymn
its comforting, personal
and emotional
intimacy.Though Lyte
wrote his own tune for
the poem, the tune most
associated with the text
is “Eventideâ€
by William Henry Monk.
Monk, a composer,
arranger, and editor
wrote this tune for the
hymn’s inclusion
in Hymns Ancient and
Modern, published in
1861.Be intentional to
sing a tall, pure /a/
sound on the word
“abideâ€. Also
be mindful that the
original “Abide
with me†hymn
melody should be primary
with the prayerful
“Pater
Noster†providing
its support. Overall,
bear in mind the
prayerful mood of the
selection and mold the
color of the tone
accordingly.For more
information visit
www.reginalwright.com.
Guitar SKU: BT.MUSME0040 Guitar Training Session. Tuition. Book with CD. ...(+)
Guitar
SKU:
BT.MUSME0040
Guitar
Training Session.
Tuition. Book with CD.
Composed 2015. 36 pages.
Play Music Publishing
#MUSME0040. Published by
Play Music Publishing
(BT.MUSME0040).
English.
By
offering you the
possibility to evolve in
actual group situations,
this coursebook not only
teaches you how to
perform, but also how to
spice up your blues
accompaniments.
The
enclosed CD contains 20
complete backingtracks
(Drums, Bass & Guitar) on
which you can play the
numerous blues riffs and
rhythm parts proposed in
this coursebook
contextually
appropriately. In doing
so, some of you will
simply discover the
pleasure of playing
superbblues
accompaniments, while
others will use the
interpretational ideas
presented in this
coursebook to further
their personal style and
create their own rhythm
parts.
The practice
of your instrument is
therefore aspersonalas
your own playing because
the choice is yours. The
songs in this coursebook
feature varying
difficulties and cover
diverse blues directions,
such as Classic Blues,
Boogie, Texas shuffle,
Rhythm ‘n’
Blues or Slow Blues.Armed
with this level of
knowledge, you are fully
prepared to meet all
foreseeable future
challenges.
Intermediate SKU: WD.080689618178 Personal Accounts of the Life, Death...(+)
Intermediate
SKU:
WD.080689618178
Personal Accounts of
the Life, Death and
Resurrection of
Jesus. Composed by
Cliff Duren. Choral,
cantatas. Eastertide.
Book. Word Music
#080689618178. Published
by Word Music
(WD.080689618178).
UPC:
080689618178.
The Easter Story.
The story of unfailing,
sacrificial love. The
story told for centuries
of a King Who gave His
life to save His people
for generations to come.
The story that would
eradicate darkness and
radiate perfect Light
into the lives of
imperfect people.
The Easter story is not
one with an end, but one
with a ripple effect,
creating Easter stories
for every person who
believes and proclaims
the name of Jesus as Lord
and Savior. Because of
Him, our stories are
forever changed! From
Word Music
& Church
Resources,
created by Johnathan
Crumpton and
arranger Cliff
Duren, MY
EASTER STORY is
a Praise &
Worship-style musical
with personal accounts of
the life, death, and
resurrection of Jesus.
Bursting with dynamic
songs that will give your
choir and congregation an
opportunity to sing about
their own personal
stories with the Savior,
MY EASTER
STORY is the
perfect unique and
compelling musical to
celebrate Jesus'
resurrection and the
powerful stories Christ
has created in and
through each of
us.
La Bamba Orchestre d'harmonie [Conducteur] - Facile Music Sales
Concert Band/Harmonie - Grade 3 SKU: BT.1914-12-140-MS Arranged by Naohir...(+)
Concert Band/Harmonie -
Grade 3
SKU:
BT.1914-12-140-MS
Arranged by Naohiro Iwai
and Ritchie Valens. New
Sounds for Concert Band.
Pop & Rock. Score Only.
Composed 2012. 24 pages.
Music Sales #1914-12-140
MS. Published by Music
Sales
(BT.1914-12-140-MS).
9x12 inches.
English-German-French-Dut
ch.
La Bamba
is actually an old folk
song from South America.
This happy dance tune
first achieved worldwide
success through the rock
’n’ roll
singer Ritchie Valens,
however, who in 1958 gave
the song his own
incomparable treatment.
And it’s this
version that the
experienced arranger
Naohiro Iwai took as the
basis fort his wind
orchestra version.
La Bamba
is eigenlijk een oud
volksliedje uit
Zuid-Amerika. Wereldwijde
bekendheid verkreeg het
vrolijke danslied door de
Rock-‘n’-Rol
l zanger Richie Valens
die het in 1958 op geheel
eigen wijze vertolkte.
Deze versie nam arrangeur
Naohiro Iwai als basis
voor zijn versie voor
blaasorkest.
La Bamba
ist eigentlich ein altes
Volkslied aus
Südamerika.
Weltweite Bekanntheit
erlangte das fröhliche
Tanzlied jedoch durch den
Rock-‘n’-Rol
l-Sänger Ritchie
Valens, der 1958 dem Lied
seine eigene Note
verlieh. Eben diese
berühmte Fassung
nahm sich der erfahrene
Arrangeur Naohiro Iwai
als Basis für diese
Blasorchesterbearbeitung.
La Bamba
è una canzone folk
sudamericana che ebbe
però notoriet mondiale
grazie al cantante
Ritchie Valens che nel
1958 apportò il suo
tocco personale alla
musica. Naohiro Iwai si
è ispirato a questa
versione per creare il
suo arrangiamento per
banda.
La Bamba Orchestre d'harmonie [Conducteur et Parties séparées] - Facile Music Sales
Concert Band/Harmonie - Grade 3 SKU: BT.1914-12-010-MS Arranged by Naohir...(+)
Concert Band/Harmonie -
Grade 3
SKU:
BT.1914-12-010-MS
Arranged by Naohiro Iwai
and Ritchie Valens. New
Sounds for Concert Band.
Pop & Rock. Set (Score &
Parts). Composed 2012.
Music Sales #1914-12-010
MS. Published by Music
Sales
(BT.1914-12-010-MS).
9x12 inches.
English-German-French-Dut
ch.
La Bamba
is actually an old folk
song from South America.
This happy dance tune
first achieved worldwide
success through the rock
’n’ roll
singer Ritchie Valens,
however, who in 1958 gave
the song his own
incomparable treatment.
And it’s this
version that the
experienced arranger
Naohiro Iwai took as the
basis fort his wind
orchestra version.
La Bamba
is eigenlijk een oud
volksliedje uit
Zuid-Amerika. Wereldwijde
bekendheid verkreeg het
vrolijke danslied door de
Rock-‘n’-Rol
l zanger Richie Valens
die het in 1958 op geheel
eigen wijze vertolkte.
Deze versie nam arrangeur
Naohiro Iwai als basis
voor zijn versie voor
blaasorkest.
La Bamba
ist eigentlich ein altes
Volkslied aus
Südamerika.
Weltweite Bekanntheit
erlangte das fröhliche
Tanzlied jedoch durch den
Rock-‘n’-Rol
l-Sänger Ritchie
Valens, der 1958 dem Lied
seine eigene Note
verlieh. Eben diese
berühmte Fassung
nahm sich der erfahrene
Arrangeur Naohiro Iwai
als Basis für diese
Blasorchesterbearbeitung.
La Bamba
è una canzone folk
sudamericana che ebbe
però notoriet mondiale
grazie al cantante
Ritchie Valens che nel
1958 apportò il suo
tocco personale alla
musica. Naohiro Iwai si
è ispirato a questa
versione per creare il
suo arrangiamento per
banda.
