By Stacy Phillips. For Cello. duets. Fiddle Tunes. Level: Beginning-Intermediate...(+)
By Stacy Phillips. For
Cello. duets. Fiddle
Tunes. Level:
Beginning-Intermediate.
Book/CD Set. Size
9x11.75. 128 pages.
Published by Mel Bay
Publications, Inc.
Accompanies Second Edition. Composed by David Blackwell and Kathy Blackwell....(+)
Accompanies Second
Edition.
Composed by David
Blackwell
and Kathy Blackwell.
Cello
Time. Oxford University
Press
#9780193563315. Published
by
Oxford University Press
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
12 Canons on Traditional Sussex Verse. By Jeffrey Bishop. For 2-part children's ...(+)
12 Canons on Traditional
Sussex Verse. By Jeffrey
Bishop. For 2-part
children's chorus with
optional piano.
(2-part). Entertaining
and useful music for
teaching and for
performance. Published by
Brichtmark Music, Inc.
(C Edition) For voice and C instrument. Format: fakebook. With vocal melody, lyr...(+)
(C Edition) For voice and
C instrument. Format:
fakebook. With vocal
melody, lyrics and chord
names. Series: Hal
Leonard Fake Books. 856
pages. 9x12 inches.
Published by Hal Leonard.
(Three Units Based on Stories and Themes for Teachers 4-6 and Teaching Artists...(+)
(Three Units Based on
Stories
and Themes for Teachers
4-6
and Teaching Artists). By
Lois
Kipnis, Kim McCord, and
Louise
Rogers. Book; CD;
Classroom/Pre-School;
General
Music and Classroom
Publications; Other
Classroom.
160 pages. Published by
Alfred
Music Publishing
By Christine H. Barden, Gayle Kowalchyk, and E. L. Lancaster. For Piano. Piano M...(+)
By Christine H. Barden,
Gayle Kowalchyk, and E.
L. Lancaster. For Piano.
Piano Method. Music for
Little Mozarts. 2 CDs.
Published by Alfred
Publishing.
By Christine H. Barden, Gayle Kowalchyk, and E. L. Lancaster. For Piano. Piano M...(+)
By Christine H. Barden,
Gayle Kowalchyk, and E.
L. Lancaster. For Piano.
Piano Method. Music for
Little Mozarts. 2 CDs.
Published by Alfred
Publishing.
(Based on the Etudes of Franz Whilhelm Ferling). By John Walker, Franz Wilhelm F...(+)
(Based on the Etudes of
Franz Whilhelm Ferling).
By John Walker, Franz
Wilhelm Ferling. Edited
by Amy Porter. Arranged
by Cyrille Rose. For
flute and piano. Carl
Fischer Classic Studies.
Book and CD. 44 pages.
Published by Carl Fischer
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).
Fakebook (spiral bound) for Eb instrument and voice. With vocal melody, lyrics, ...(+)
Fakebook (spiral bound)
for Eb instrument and
voice. With vocal melody,
lyrics, chord names,
black and white photos
and introductory text.
574 pages. Published by
Sher Music Company.
Fakebook (spiral bound) for Bb instrument and voice. With vocal melody, lyrics, ...(+)
Fakebook (spiral bound)
for Bb instrument and
voice. With vocal melody,
lyrics, chord names,
black and white photos
and introductory text.
574 pages. Published by
Sher Music Company.
Piano SKU: BT.EMBZ20084 Urtext (1932-1939). Composed by Bela Barto...(+)
Piano
SKU:
BT.EMBZ20084
Urtext
(1932-1939). Composed
by Bela Bartok. Arranged
by Yusuke Nakahara. EMB
Music of Bela Bartok.
Educational Tool. Book
Only. Composed 2021. 112
pages. Editio Musica
Budapest #EMBZ20084.
Published by Editio
Musica Budapest
(BT.EMBZ20084).
English-Hungarian.
Bartók's
Mikrokosmos has been one
of the milestones in
pedagogical piano
repertoire for 80 years -
and yet it is also far
more than a classical
piano primer. These 153
piano pieces, organized
in ascending order of
difficulty, engage not
only with technical
aspects of piano playing
but also with the
fundamentals of
composition - from
Imitation and Inversion,
Ostinato, and Free
Variations, concerning
compositional technique,
to mood pieces and pieces
with programmatic ideas
such as Notturno,
Boating, From the Diary
of a Fly, or the famous
Six Dances in Bulgarian
Rhythm. Mikrokosmos first
appeared in 1940 in six
volumes. Based on volume
40 of the Bartók
CompleteEdition published
in 2020(Z. 15040), the
present Urtext edition
offers the series
gathered in three
volumes. This edition
includes Bartók's
preface, exercises, and
notes written for the
first edition.
Furthermore, it also
features a preface and
comments by the editor,
which not only discuss
the genesis and the
compositional sources but
also provide performers,
teachers and pupils
alike, with authentic and
detailed information
about Bartók's
notation and the specific
performing problems of
Mikrokosmos.
For Piano. Classical (duet). Includes complete printed music score with both pri...(+)
For Piano. Classical
(duet). Includes complete
printed music score with
both primo and secondo
piano parts, and a
compact disc featuring
the duets in two formats:
split-channel stereo with
secondo part on the left
channel, primo on the
right, so you can play
either part; and then
again with just the
secondo part in stereo so
you can perform the primo
part alongside. Published
by Music Minus One.
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.
Edited by Elisabeth Weinzierl; Edmund Wachter. For 2 Flutes. This edition: Stapl...(+)
Edited by Elisabeth
Weinzierl; Edmund
Wachter. For 2 Flutes.
This edition: Stapled
(2). Ready to Play. 2
Performance scores,
Anthology. Text Language:
German/English. 31/31
pages. Published by
Baerenreiter Verlag
Telemann for Two 2 Flûtes traversières (duo) Theodore Presser Co.
Chamber Music 2 flutes SKU: PR.114418600 Volume I, Fantasias 1-6. ...(+)
Chamber Music 2 flutes
SKU: PR.114418600
Volume I, Fantasias
1-6. Composed by
Georg Philipp Telemann.
Arranged by Sharon
Sparrow Jeffery Zook. Set
of performance scores.
56+56 pages. Duration 20
minutes. Theodore Presser
Company #114-41860.
Published by Theodore
Presser Company
(PR.114418600).
ISBN
9781491111543. UPC:
680160642656.
Telem
ann for Two Volume I,
Fantasias 1-6 arranged
for Two FlutesWhat could
be more delightful than
playing Telemann duets,
or playing the Telemann
Fantasias? Sharon Sparrow
and Jeffery Zook have
created a remarkable set
of duet adaptations of
the Fantasias,sounding as
if Telemann himself had
composed them as two-part
inventions. The original
Telemann works are shared
between the two players,
mixed with counterpoint
to enhance the authentic
solo works. The result is
equally suitable for
formal recitals and
recreational duet
playing! The present
publication includes two
performance scores of
their settings of
Fantasias 1-6, with a
Volume II to include
Fantasias
7-12.____________________
__________________Text
from the scanned back
cover:SHARON SPARROW is
Assistant Principal Flute
of the Detroit Symphony
Orchestra. She began
musical studies on piano
at age four, but it was
the flute that led her to
the Juilliard School for
a Bachelor degree with
Julius Baker. She
received her
Master’s degree
with Thomas Nyfenger at
the Mannes College of
Music. Sharon’s
professional career began
in the Memphis Symphony,
followed by tenured
positions in the Fort
Wayne Philharmonic and
Detroit Symphony, and
guest positions in the
Hong Kong Philharmonic,
Baltimore, Chicago, and
Pittsburgh Symphonies. In
2016, Presser published
her successful audition
training book, 6 Weeks to
Finals, and she is a much
sought after coach for
audition candidates
across the country, as
well as a frequent Master
Class clinician at major
schools including Boston
University and Peabody
Conservatory.JEFFERY ZOOK
has been a member of the
Detroit Symphony
since1992. His formal
musical studies began at
Interlochen and continued
at University of Michigan
and the Royal Academy of
Music in London. His
teachers have included
William Bennett and
Trevor Wye. A prize
winner in the NFA Young
Artists Competition, Mr.
Zook made his solo debut
with the Detroit Symphony
as a senior in high
school, and has since
performed all the Vivaldi
concerti with them. He
has recorded extensively
for MusicMinus One and
performed frequently at
NFA conventions,
including the concerto
gala in 2017. Mr. Zook
has served on the faculty
at University of Michigan
and Oakland University.
In 2002 Zook and Sharon
Sparrow founded the
Detroit Flute Connection,
a series of masterclasses
for flutists.