(An Introduction to Jazz Styles, Technique and Improvisation). For Drums. Percus...(+)
(An Introduction to Jazz
Styles, Technique and
Improvisation). For
Drums. Percussion.
Softcover with CD. 120
pages. Schott Music
#ED13233. Published by
Schott Music
Composed by David Hamburger, Matt Smith, and Wayne Riker. For Guitar. This editi...(+)
Composed by David
Hamburger, Matt Smith,
and Wayne Riker. For
Guitar. This edition:
2nd. Book; DVD; Digital
Download; Guitar Method
or Supplement;
Method/Instruction.
Complete Method. Blues.
312 pages. Published by
Alfred Music
High Voice; Piano Accompaniment (High Voice) SKU: HL.50566026 For High...(+)
High Voice; Piano
Accompaniment (High
Voice)
SKU:
HL.50566026
For
High Voice and Piano.
Composed by Camille
Saint-Saens. Editions
Durand. Classical.
Softcover. 220 pages.
Editions Durand
#DF01676200. Published by
Editions Durand
(HL.50566026).
ISBN
9790044095360. UPC:
196288159407.
9.0x12.0x0.664
inches.
(Young Women's Edition Volume 1 31 Songs from 25 Musicals). Composed by Various....(+)
(Young Women's Edition
Volume 1 31 Songs from 25
Musicals). Composed by
Various. Arranged by
Various. For Vocal. Vocal
Collection. Softcover.
216 pages. Published by
Hal Leonard
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).
Alto Saxophone SKU: BT.MUSBM11517 Composed by Ned Bennett. A New Tune A D...(+)
Alto Saxophone
SKU:
BT.MUSBM11517
Composed by Ned Bennett.
A New Tune A Day. Method.
Book, CD and DVD. 48
pages. Boston Music
#MUSBM11517. Published by
Boston Music
(BT.MUSBM11517).
ISBN
9781846091360.
English.
The DVD
edition of this hugely
popular series of tutors
gets you even closer to
your instrument with a
set of real music lessons
right there on your
screen! A New Tune A Day
features the same
logical, gentle pace and
keen attention to detail
that made earlier
editions so hugely
popular and successful.
Clear explanatory
diagrams and photographs
help guide you through
the lessons and achieve
the very best in tone,
technique and posture.
The selection of music is
fresh and exciting,
including duets and
rounds to inspire the
student and ensure that
those vital practice
hours are never boring!
The book includes: Advice
on your instrument and
the equipment you will
needInstructions for
effective technique and
comfortable playing
Explanatory pages on
reading and understanding
music Tests to check your
own progress and
comprehension The
accompanying audio CD
features a virtuoso
performance and backing
track for each pieces, as
well as recorded examples
to support the lessons.
The DVD features lessons
on: Basic techniques
Putting the instrument
together Posture Looking
after your instrument
Basic music notation How
to approach your first
piece.
About A New
Tune A
Day
Since
it first appeared in the
1930s, the concise, clear
content of the
best-selling A Tune A Day
series has revolutionized
music-making in the
classroom and the home.
Now, for the first time,
C. Paul Herfurth's
original books have been
completely rewritten with
new music and the latest
in instrumental technique
for a new generation of
musicians. The A New Tune
A Day books have the same
logical, gentle pace and
keen attention to detail,
but with a host of
innovations: the
inclusion of an audio
CD-with actual
performances and backing
tracks-will make practice
even more fun and
exciting, and the
explanatory diagrams and
photographs will help the
student to achieve the
perfect technique and
tone. This book contains:
easy-to-follow lessons on
clear, uncluttered pages;
tips for technique;
improvising hints; audio
CD with a virtuoso
performance, backing
tracks, and audio
examples; great music,
including duets and
ensemble pieces; useful
pull-out fingering chart
Grade
2 - Score Only.
Composed by Timothy
Johnson. Curnow Music
Concert Band. Christmas.
20 pages. Published by
Curnow Music
(HL.44010642).
UPC:
884088507596. 9x12
inches.
Easy
transitions from rock to
swing and beyond make
this delightful new
Christmas gem a
toe-tapper from the first
note to the last. It's a
sure thing your band will
love playing the bluesy
riffs and interpreting
the popular music feel.
Timothy Johnson's savvy
arranging means the piece
will be effective with
any sized group.
Directors are always
looking for fun new
Christmas pieces. Rock
out!
ISBN
9783795711191.
7.5x11.0x0.195 inches.
German - English -
French.
A
collection of Advent
songs and Christmas
carols where every
women's choir will find
what they are looking for
for concerts or church
services. It contains not
only popular traditional
German songs but also
some rather unknown
pieces from England and
France.
SKU: WD.080689972324 Composed by Lari Goss. Arranged by Lari Goss. Choral...(+)
SKU:
WD.080689972324
Composed by Lari Goss.
Arranged by Lari Goss.
Choral. Sacred Anthem,
Christmas. CD choraltrax.
Word Music #080689972324.
Published by Word Music
(WD.080689972324).
UPC:
080689972324.
Every
day Sunday celebrates the
promises of God - now and
our eternal future with
Him - because soon we'll
be with Him forever; and
every day will be Sunday,
by and by. Esteemed
arranger, Lari Goss, has
assembled a diverse and
dynamic Southern Gospel
collection with
arrangements of new and
well-known favorites that
will evoke memories of
all night sing-alongs and
dinners on the ground.
These energetic,
feel-good songs of faith
and hope are
easy-to-learn, offer
opportunities for solos
and a duet with a choir
backup, and will move
your choir and
congregation to tap their
toes and feel the Spirit.
If you're looking for
powerful testimonial
songs, heart-filled
ballads, and
ministry-focused
arrangements, you'll find
a little bit of Heaven
for every part of your
worship in Everyday
Sunday!
Arranged by Mary Donnelly, George L.O. Strid. For Choir. (2-Part). Choral Octav...(+)
Arranged by Mary
Donnelly, George L.O.
Strid. For Choir.
(2-Part). Choral Octavo.
Choral Designs.
Multicultural, Christmas.
Choral Octavo. 8 pages.
Published by Alfred
Publishing. Level:
Level 2 (grade L2).
Serenade to a Cuckoo Ensemble Jazz [Conducteur et Parties séparées] - Débutant Alfred Publishing
Composed by Rahsaan Roland Kirk. Arranged by Zachary Smith. Jazz Ensemble; Part(...(+)
Composed by Rahsaan
Roland Kirk. Arranged by
Zachary Smith. Jazz
Ensemble; Part(s); Score.
First Year Charts for
Jazz Ensemble. Jazz. 86
pages. Published by
Alfred Music (AP.43666).
Piano Solo - Easy-Intermediate SKU: FP.FBS03 Composed by Sarah Baker. She...(+)
Piano Solo -
Easy-Intermediate
SKU:
FP.FBS03
Composed by
Sarah Baker. Sheet Music
and Books. Nine pieces
on a day time theme
for solo piano, by Sarah
Baker. Suggested grade
4-5. Classical.
Collection. Forsyths
Publications #FBS03.
Published by Forsyths
Publications (FP.FBS03).
ISBN
9790570500192.
Sara
h Baker is Vocal Composer
in Residence at Education
Music Services, an ABRSM
examiner and a well known
composer of songs and
musicals for primary
schools and massed-choral
events.
All this
experience has come
together in the creation
of this album of piano
pieces, inspired by
growing up in the
Chiltern Hills. Suitable
for players of around
grade 4-5 standard, her
evocative sound pieces
describe a crash-landing
hot air balloon, garden
invading cows and a even
a snake in a
pond!
Air
Balloon!: One vivid
memory I have as a child
is of the day that a hot
air balloon passed over
our house and made an
emergency landing on the
road in front! The sound
of the gas being blown
into the balloon to try
to keep it high enough to
pass the house sounded so
loud and intimidating,
and then there was the
bustle of the neighbours
as we all went out into
the street to watch. It
was both terrifying and
exhilarating to watch the
balloon float past and
then land so near
by.
Buzzards
Circling: There is
something so calming and
restful about watching
birds of prey circling in
the thermal currents of a
summer sky. Growing up in
the Chilterns gave me
plenty of opportunity to
watch buzzards and red
kites. This piano solo
captures the beauty of
their flight as they
glide so effortlessly
through the
air.
There’
s A Cow In The Garden
Eating The Flowers:
Inspired by the memory of
seeing an unexpected cow
in the garden! This
surreal image is captured
in a quirky waltz, as I
portray both the
absurdity of the moment
and the sense of wonder I
felt as a child, looking
out of the window and
seeing the cow walking
round and eating the
flowers. The final phrase
articulates my longing:
‘I wish it would
come
again’.
Wat
ching The World Go By: A
short, reflective piece,
remembering what it was
like to have time to just
sit and watch the world
go by from my bedroom
window.
Autumn
Skies: A miniature about
the beauty of Autumn
skies and the poignant
sense of loss for a
summer gone. Friends I
was fortunate to have
several children of my
own age living close by.
We seemed to be forever
making dens, playing out
in the street and
generally enjoying each
other’s company.
This piece reflects that
sense of
well-being.
Snake
In The Pond: One hot
summer I was astonished
and scared to see a grass
snake cooling off in our
garden pond! I watched,
both horrified and
fascinated, as it rose up
from the depths and then
disappeared again. Here I
portray the sense of the
hazy summer afternoon as
I peacefully watched the
tiny movements of fish in
the pond, contrasted with
the fear and excitement
of seeing the snake
appear.
Morning
Commute: I recollect many
mornings stuck in traffic
as my Dad took me to
school on his way to
work. There is one main
road out of the village
where I grew up, and that
got more and more
congested the closer we
got to the town. We may
not have chatted a lot,
but it was always good to
be together with my Dad,
lost in our own
thoughts.
The
Witch’s Cottage:
My siblings and I had a
fascination with a small
cottage nearby. It was
set back from the road in
a dark part of the woods
and we called it 'the
witch's cottage’.
Every time we passed, I
imagined I heard the
distant cackle of the
witch and wished I could
catch a glimpse of
her.
These pieces
are written to complement
my other collection,
Night Time Impressions,
which also draw on
childhood recollections,
particularly of the woods
behind the house where I
grew up. - Sarah Baker
2023.
SKU: CA.6001100 Modern and Contemporary Music. Edited by Jon Laukv...(+)
SKU: CA.6001100
Modern and
Contemporary Music.
Edited by Jon Laukvik.
Buch-Reihen bei Carus:
Historical Performance
practice on keyboard
instruments. Book. Carus
Verlag #6001100.
Published by Carus Verlag
(CA.6001100).
English.
Now
finally in English too:
The third part of the
organ method Historical
Performance Practice in
Organ Playing follows on
from part two with
contributions by Guy
Bovet (on Jehan Alain),
Hans-Ola Ericsson, Anders
Ekenberg, Markus
Rupprecht (Olivier
Messiaen), Hans Fagius
(Maurice Durufle), Jeremy
Filsell (Marcel Dupre),
Bernhard Haas (Arnold
Schonberg, Ernst Krenek,
John Cage, Gyorgy Ligeti,
and others, plus the
latest developments) and
Armin Schoof
(neoclassicism). As in
the first two parts of
the organ method, here
too a representative
selection of composers is
discussed. Alongside
mainly personal
recollections (e.g. from
Hans Fagius) there are
analytical essays
(including by Jeremy
Filsell). Bernhard Haas
has organised one section
of his text as an
introduction to the
playing techniques and
aesthetics of new music,
beginning with pieces
which are easy to play.
This English edition
contains new chapters by
Kevin Bowyer (The
Development of New Organ
Music in Britain /
Contemporary Organ Music
in North America).
Laukvik's organ
method Historical
Performance Practice in
Organ Playing has now
become established as a
standard work. It is
aimed at organists who
want to incorporate the
latest thinking on
historical performance
practice into their
interpretations of works.
The three volumes provide
a practical introduction
in a detailed, scholarly
and comprehensible form,
by giving organists as
precise a picture of the
interpretative traditions
and aims of previous and
modern/ contemporary eras
as possible. The editions
are aimed not only at
organists, but also at
organ teachers who are
looking for a manual to
use in their
teaching.
Brass.
Score. Yamaha Music Media
#GTW01098118. Published
by Yamaha Music Media
(YM.GTW01098118).
ISBN
9784636981186.
For
those who are looking for
scores written in the
original song keys for
wind and brass, here you
are! In this series,
40 popular J-POP songs
are transposed for each
instrument and can be
played in the same keys
as the original songs.
(For example, if the
original song is in C
major, the score for
trumpet in B-flat is
re-transposed and written
in D major to play in C
major.) It is a great
selection for a live
session with other
instruments such as piano
or guitar. *Please
note: the chord names are
indicated in real tone
notation for all scores
in the series.
SKU: WD.080689407772 Composed by Allan Douglas. Arranged by Allan Douglas...(+)
SKU:
WD.080689407772
Composed by Allan
Douglas. Arranged by
Allan Douglas and Sarah
Huffmann. Choral,
cantatas. Christmas.
Posters (12-pak). Word
Music #080689407772.
Published by Word Music
(WD.080689407772).
UPC:
080689407772.
For
music ministers looking
for an Easter musical
that is strong on content
and excitement yet easy
to rehearse and perform,
Jesus Is Alive! is your
answer. Created by Dale
Mathews and including
such beloved classics as
Celebrate Jesus, He's
Alive and Gerald Crabb's
The Cross, this
accessible musical
features dynamic original
arrangements by Russell
Mauldin, Gary Rhodes,
Robert Sterling and Lari
Goss, expertly revoiced
by Allan Douglas and
Sarah Huffman for unison
choir with occasional
two-part singing and no
solos. At less than 30
minutes in length, Jesus
Is Alive! is an ideal
addition to your Easter
morning service, allowing
ample time for additional
celebratory observances
and a sermon. Deborah
Craig-Claar has provided
a sensitive
Scripture-based narration
for a single narrator
that beautifully weaves
together the themes of
Jesus' redemptive
sacrifice and His victory
over death. Let Jesus Is
Alive! declare the
eternal truth to your
church this Easter: Jesus
is alive - today and
forevermore!
Medium/Low Voice; Piano Accompaniment (Medium/Low Voice) SKU: HL.50566027 ...(+)
Medium/Low Voice; Piano
Accompaniment (Medium/Low
Voice)
SKU:
HL.50566027
For
Medium/Low Voice and
Piano Accompaniment.
Composed by Camille
Saint-Saens. Editions
Durand. Classical.
Softcover. 220 pages.
Editions Durand
#DF01676300. Published by
Editions Durand
(HL.50566027).
ISBN
9790044095377. UPC:
196288159414.
9.0x12.0x0.581
inches.
Piano - easy SKU: HL.49019113 Piano. Composed by Jean-Baptiste Duv...(+)
Piano - easy
SKU:
HL.49019113
Piano. Composed by
Jean-Baptiste Duvernoy.
Edited by Hans-Gü and
nter Heumann. This
edition: Saddle
stitching. Sheet music.
Edition Schott.
Classical, Educational.
Softcover. Op. 176. 40
pages. Schott Music
#ED21315. Published by
Schott Music
(HL.49019113).
ISBN
9790001181778. UPC:
884088699321.
9.0x12.0x0.171
inches.
'san-Baptis
te Duvernoy (1800-1880)
was a French pianist,
composer, and professor
of piano at the
Conservatoire de Paris. A
composer of more than 300
works, he is primarily
known for his studies,
including the opus 176
Elementary Studies, which
were written for
beginner's lessons on the
piano. Duvernoy's studies
intentionally lack
technical sophistication
making them a suitable
complement to Czerny
etudes. The lack of
technical rigor allows
students the latitude to
focus on expression,
lyricism and tone
production...With clearly
notated articulation and
dynamic markings, the
student has the
opportunity to experience
music making on a number
of levels...Looking at
the music itself the
quality and mindfulness
of Schott's typography is
self-evident. Through
careful spacing, most of
the studies fit well on a
single page.--American
Music Teacher.