Snap Two 1 Piano, 4 mains [Conducteur] Subito Music
2 Pianos SKU: SU.32030200 For 2 Pianos. Composed by David Lipten. ...(+)
2 Pianos
SKU:
SU.32030200
For 2
Pianos. Composed by
David Lipten. Keyboard,
Piano 4-hands/2+ Pianos.
Score. Subito Music
Corporation #32030200.
Published by Subito Music
Corporation
(SU.32030200).
Written as a
response to my Snap for
solo piano from Show of
Hands.2 Pianos Duration:
3' Composed: 2020
Published by: Distributed
Composer.
By Robert Schultz. For Piano. Robert Schultz Piano Library. Contents include: Bl...(+)
By Robert Schultz. For
Piano. Robert Schultz
Piano Library. Contents
include: Blues Over Easy;
Fast Lane; Goin' Down to
Monty's; Just the Facts;
Knuckle Down; Lucky Day;
Round About; Shortcut
Alley; Snap Street; Soft
Shoe; Stop on a Dime; Sun
Shadow; Sweet Talk. Jazz
& Blues. Level: Early
Intermediate. Book.
Published by The FJH
Music Company Inc.
For Band. By Andrew Balent Joseph Compello. Concert band/stage band. This editio...(+)
For Band. By Andrew
Balent Joseph Compello.
Concert band/stage band.
This edition: complete
set. Sounds Spectacular -
A Carl Fischer Series for
Young Bands - Grade 1.
Classical. Level: Super
Easy. Score and parts. 27
pages. Published by Carl
Fischer.
Full Score. By Andrew Balent Joseph Compello. Concert band/stage band. Sounds Sp...(+)
Full Score. By Andrew
Balent Joseph Compello.
Concert band/stage band.
Sounds Spectacular -
Grade 1. Full Score -
Large. 27 pages.
Published by Carl
Fischer.
Concert Band Concert Band - Grade 1 SKU: FJ.B1703S Score Only. Com...(+)
Concert Band Concert Band
- Grade 1
SKU:
FJ.B1703S
Score
Only. Composed by
Mekel Rogers. Concert
Band. FJH Beginning Band.
Light Concert; Novelty.
Score. Duration 1:45. The
FJH Music Company Inc
#98-B1703S. Published by
The FJH Music Company Inc
(FJ.B1703S).
English.
Teach
students about swing with
this fun original work
based on the 12-bar
blues. Orchestrated to
work with bands of all
sizes, this clever chart
features snapping and
clapping by all musicians
in the band. Guaranteed
to be a student
favorite!
About FJH
Beginning
Band
Appro
priate within the first
year of instruction and
beginning of the second
year. Clarinets do not go
above the break, and
there is limited use of
accidentals. Plenty of
doublings in the lower
voices. Grade 1.
Cold Snap Chorale 2 parties [Octavo] Heritage Music Press
Composed by Mark Hayes. For 2-part choir, piano, finger snaps. Secular Christmas...(+)
Composed by Mark Hayes.
For 2-part choir, piano,
finger snaps. Secular
Christmas. Octavo.
Heritage Music Press
#15/3275H. Published by
Heritage Music Press
A
Fantasy for Band.
Composed by Joseph
Compello. Primer Band
(PPS). Full score. With
Standard notation. 16
pages. Carl Fischer Music
#PPS52F. Published by
Carl Fischer Music
(CF.PPS52F).
ISBN
9781491152645. UPC:
680160910144.
Balle
t of the Dinosaur
Hatchlings is an
imaginative and
fun selection for a
beginning band with less
than one year of
instruction. Wind parts
use only five pitches and
only the percussion
parts use eighth
notes. Two sound effects
are required in the
piece. First, the
hatching eggs are
portrayed by a ratchet,
and second, the snapping
dinosaurs jaws are
represented by a
slapstick. Ballet of the
Dinosaur Hatchlings
is an intriguing piece
that beginning students
are sure to
love. Ballet of the
Dinosaur Hatchlings is a
descriptive novelty
selection for a beginning
band with less than one
year of instruction. Wind
parts use only five
pitches. Only percussion
parts use eighth notes.
Two sound effects are
required. First, the
hatching eggs are
portrayed by the ratchet
beginning at m. 2, and
second, the snapping
dinosaurs jaws, which are
first heard at m. 14, are
represented by an
accented note augmented
by a slapstick. Directors
are encouraged to use
more elaborate sound
effects if they are
inclined to do so. The
story described by the
music is as
follows:• Dinosaur
eggs begin to hatch (the
ratchet, mm. 1-8).•
The parent dinosaurs
guard the nest (Low Brass
and Woodwinds mm.
9-12).• The
hatchlings begin walking
(m. 13).• The
hatchlings snap their
jaws as they learn to eat
(m. 14, Xylophone and
Slapstick).•
Thunder (Timpani, m.
29).• The parent
dinosaurs seek shelter
for all (m. 33, Low Brass
and Woodwinds).•
The hatchlings follow
while they continue
snapping their jaws (m.
41).• More thunder
(mm. 53-54).• All
the dinosaurs roar loudly
at the clouds (m. 55) as
the thunder becomes
louder.
A Fantasy
for Band. Composed by
Joseph Compello. Primer
Band (PPS). Set of Score
and Parts. With Standard
notation.
8+2+8+2+5+2+2+8+2+3+2+6+3
+1+1+4+4+16+2 pages.
Duration 2 minutes, 46
seconds. Carl Fischer
Music #PPS52. Published
by Carl Fischer Music
(CF.PPS52).
ISBN
9781491151969. UPC:
680160909469.
Balle
t of the Dinosaur
Hatchlings is an
imaginative and
fun selection for a
beginning band with less
than one year of
instruction. Wind parts
use only five pitches and
only the percussion
parts use eighth
notes. Two sound effects
are required in the
piece. First, the
hatching eggs are
portrayed by a ratchet,
and second, the snapping
dinosaurs jaws are
represented by a
slapstick. Ballet of the
Dinosaur Hatchlings
is an intriguing piece
that beginning students
are sure to
love. Ballet of the
Dinosaur Hatchlings is a
descriptive novelty
selection for a beginning
band with less than one
year of instruction. Wind
parts use only five
pitches. Only percussion
parts use eighth notes.
Two sound effects are
required. First, the
hatching eggs are
portrayed by the ratchet
beginning at m. 2, and
second, the snapping
dinosaurs jaws, which are
first heard at m. 14, are
represented by an
accented note augmented
by a slapstick. Directors
are encouraged to use
more elaborate sound
effects if they are
inclined to do so. The
story described by the
music is as
follows:• Dinosaur
eggs begin to hatch (the
ratchet, mm. 1-8).•
The parent dinosaurs
guard the nest (Low Brass
and Woodwinds mm.
9-12).• The
hatchlings begin walking
(m. 13).• The
hatchlings snap their
jaws as they learn to eat
(m. 14, Xylophone and
Slapstick).•
Thunder (Timpani, m.
29).• The parent
dinosaurs seek shelter
for all (m. 33, Low Brass
and Woodwinds).•
The hatchlings follow
while they continue
snapping their jaws (m.
41).• More thunder
(mm. 53-54).• All
the dinosaurs roar loudly
at the clouds (m. 55) as
the thunder becomes
louder.
Musical Snapshots Piano seul [Partition] - Débutant Alfred Publishing
Musical Snapshots, Book 1. (10 Original Solos for the Elementary Pianist Portray...(+)
Musical Snapshots, Book
1. (10 Original Solos for
the Elementary Pianist
Portraying Musical Visits
Around the World). By
Martha Mier. For Piano.
Piano Collection; Piano
Supplemental. Musical
Snapshots. Multicultural;
World. Elementary; Late
Elementary. Book. 24
pages. Published by
Alfred Music Publishing
Ensemble (Study Score) SKU: HL.49043961 For large ensemble. Compos...(+)
Ensemble (Study Score)
SKU: HL.49043961
For large
ensemble. Composed by
Mark-Anthony Turnage.
This edition: Saddle
stitching. Sheet music.
Study Score. Softcover.
Composed 2002. 12 pages.
Duration 3'. Schott Music
#ED13675. Published by
Schott Music
(HL.49043961).
ISBN
9790220134579. UPC:
888680023881.
8.25x12.0x0.112
inches.
One of the
movements in Scorched
(arrangements of
seventeen tunes by John
Scofield for jazz trio
and orchestra) has a
coda, which repeats a
dense, two-bar tag which
sounded like it could be
developed. Snapshots
starts off by revealing
bits of each of the two
bars (with episodes
placed in-between). The
full two bars of music
are then revealed at the
end of the piece.
Snapshots is a tribute to
Olly [Oliver Knussen] on
his 50th birthday.
Mark-Anthony Turnage.
Holiday Snapshots - 35
Miniatures For Piano
Solo. Composed by
Matti Borg. Music Sales
America. Classical. Book
[Softcover]. Composed
2002. 40 pages. Edition
Wilhelm Hansen #WH30453.
Published by Edition
Wilhelm Hansen
(HL.14004865).
ISBN
9788759810033.
Feri
edage (Holiday Snapshots)
- 35 Miniatures For Piano
Solo by Matti Borg.
Composed by
Traditional Christmas
Spiritual. Arranged by
Ken Berg. Sws.
Performance Score. 16
pages. Duration 3
minutes, 40 seconds. Carl
Fischer Music #CM9634.
Published by Carl Fischer
Music (CF.CM9634).
ISBN 9781491157060.
UPC: 680160915620. 6.875
x 10.5 inches. Key: G
major. English, English.
Traditional Christmas
Spiritual.
Berg's
fantastic setting of this
beloved American
Christmas spiritual for
advanced tenor-bass
choirs tells a story of
hope and meaning. The
various textures
throughout the a cappella
arrangement with solos
add much variety and
musical interest. A
holiday programming
must!. This beloved
American Christmas
Spiritual, like all
spirituals and/or folk
songs, tells a story.
This is a story of hope
and meaning. The
introductory solo call
and response (mm. 1-7) is
hymnic in nature, just to
get us started. (Think of
it as an effective head
fake!) The entrance at m.
8 from the upper three
voices (we'll call them
the trio part henceforth)
is pivotal. They set the
stage for the
conversation between the
singers and the soloist
for the rest of the song.
From this point, the song
is basically a Jazz Trio
in vocal form. The bass
singers take on the role
of the cool dude in the
back wearing dark glasses
and a beret playing the
string bass. They provide
the driving force for the
forward movement of the
entire song. The trio
part, basically tenors 1
& 2 and baritones,
take on the role of the
keyboard providing
chordal structure and
syncopation. Their job is
to fill the listener's
ear with sound and
rhythm. The soloist tells
the story using the known
melody and text with
appropriate improv
opportunities to keep the
listeners focused on the
message of the song.
There is enough
repetition to make for
easy learning, but this
also means that the
chords need to snap into
position cleanly every
time. The Verses are
easily identified (there
are three) and presented
with some small
variations in Verse 3
(see mm. 56-58...this
only happens once). The
Refrain (mm. 30-37) is
the part of the song
where the singers switch
from the Jazz Trio role
and actually become a
Men's Choral Ensemble.
This Refrain is repeated
after Verse 3 at mm.
66-71. Between verses 2
& 3, there is not a
refrain. Instead, there
is a bridge repeated from
the introductory
material, but used this
time to move us into a
new key signature. This
can be a very exciting
moment for the singers as
well as the listeners!
Measures 72-75 is known
in the business as a
vamp. It can be repeated
once and then move on, OR
it can be repeated
multiple times, depending
on the comfort level of
the soloist and the
response of the audience.
It is important that
there be a clear signal
from the conductor as to
how to end the vamp and
move effectively to the
actual coda of the song.
The ending should be sung
with tight control that
only looks like reckless
abandon! Faces bright;
words clean; melody
clear; rhythms precise!
Enjoy. This beloved
American Christmas
Spiritual, like all
spirituals and/or folk
songs, tells a story.
This is a story of hope
and meaning. The
introductory solo call
and response (mm. 1-7) is
hymnic in nature, just to
get us started. (Think of
it as an effective head
fake!)The entrance at m.
8 from the upper three
voices (we’ll call
them the “trio
part†henceforth)
is pivotal. They set the
stage for the
conversation between the
singers and the soloist
for the rest of the song.
From this point, the song
is basically a Jazz Trio
in vocal form. The bass
singers take on the role
of the cool dude in the
back wearing dark glasses
and a beret playing the
string bass. They provide
the driving force for the
forward movement of the
entire song.The
“trio partâ€,
basically tenors 1 & 2
and baritones, take on
the role of the keyboard
providing chordal
structure and
syncopation. Their job is
to fill the
listener’s ear
with sound and rhythm.The
soloist tells the story
using the known melody
and text with appropriate
improv opportunities to
keep the listeners
focused on the message of
the song.There is enough
repetition to make for
easy learning, but this
also means that the
chords need to
“snap into
position†cleanly
every time. The Verses
are easily identified
(there are three) and
presented with some small
variations in Verse 3
(see mm. 56-58…this
only happens once).The
Refrain (mm. 30-37) is
the part of the song
where the singers switch
from the “Jazz
Trio†role and
actually become a
“Men’s
Choral Ensembleâ€.
This Refrain is repeated
after Verse 3 at mm.
66-71. Between verses 2 &
3, there is not a
refrain. Instead, there
is a bridge repeated from
the introductory
material, but used this
time to move us into a
new key signature. This
can be a very exciting
moment for the singers as
well as the
listeners!Measures 72-75
is known in the business
as a “vampâ€.
It can be repeated once
and then move on, OR it
can be repeated multiple
times, depending on the
comfort level of the
soloist and the response
of the audience.It is
important that there be a
clear signal from the
conductor as to how to
end the
“vamp†and
move effectively to the
actual coda of the song.
The ending should be sung
with tight control that
only looks like reckless
abandon!Faces bright;
words clean; melody
clear; rhythms precise!
Enjoy.
For
Piccolo and
Orchestra. Composed
by Daniel Dorff. Large
Score. 60 pages. Duration
6:30. Theodore Presser
Company #116-40385L.
Published by Theodore
Presser Company
(PR.11640385L).
UPC:
680160682904. Key: G
major.
By 2008,
Sonatine de Giverny was
being performed so
frequently that I decided
to write another piccolo
piece as soon as an
opportunity arose. Since
Giverny is a study in
French style, I knew the
new piece must be in my
own authentic American
voice. That summer,
Giverny was performed six
times at the NFA
convention as a mandatory
competition piece, and I
returned from the August
2008 convention all
charged up to write
something different for
piccolo. In September,
Kate Prestia-Schaub wrote
to tell me about the
International Piccolo
Symposium's new composer
competition. She proposed
that if I write a new
piccolo/piano piece, she
would record a demo for
me to submit to the
competition, and she
would submit applications
to perform it at the 2009
IPS convention and NFA
convention. What amazing
timing! I set out to
compose a flashy
showpiece with a jazzy
snap, lots of idiomatic
scales and arpeggios, and
a scary middle section,
and by mid-October FLASH!
was complete. Kate
followed suit and all 3
wishes came true - FLASH!
won first prize in the
IPS composer competition,
and she performed it both
there and at NFA. In the
meantime many other
piccoloists have added
the work to their
repertoire, Cynthia Ellis
wrote an article about it
for Flute Talk magazine,
and Walfrid Kujala
commissioned a band
accompaniment to premiere
at NFA in 2010. More
recently, Sarah Jackson
has commissioned an
orchestra version,
premiered at the 2014 NFA
convention. By
2008, Sonatine de
Giverny was being
performed so frequently
that I decided to write
another piccolo piece as
soon as an opportunity
arose.
Since Giverny is a
study in French style, I
knew the new piece must
be in my own authentic
American voice. That
summer, Giverny was
performed six times at
the NFA convention as a
mandatory competition
piece, and I returned
from the August 2008
convention all charged up
to write something
different for piccolo.In
September, Kate
Prestia-Schaub wrote to
tell me about the
International Piccolo
Symposium's new composer
competition. She proposed
that if I write a new
piccolo/piano piece, she
would record a demo for
me to submit to the
competition, and she
would submit applications
to perform it at the 2009
IPS convention and NFA
convention. What amazing
timing! I set out to
compose a flashy
showpiece with a jazzy
snap, lots of idiomatic
scales and arpeggios, and
a scary middle section,
and by mid-October FLASH!
was complete.Kate
followed suit and all 3
wishes came true - FLASH!
won first prize in the
IPS composer competition,
and she performed it both
there and at NFA. In the
meantime many other
piccoloists have added
the work to their
repertoire, Cynthia Ellis
wrote an article about it
for Flute Talk magazine,
and Walfrid Kujala
commissioned a band
accompaniment to premiere
at NFA in 2010.More
recently, Sarah Jackson
has commissioned an
orchestra version,
premiered at the 2014 NFA
convention.
For
Piccolo and
Orchestra. Composed
by Daniel Dorff. Full
score. 60 pages. Duration
6:30. Theodore Presser
Company #116-40385S.
Published by Theodore
Presser Company
(PR.11640385S).
UPC:
680160682898. Key: G
major.
By 2008,
Sonatine de Giverny was
being performed so
frequently that I decided
to write another piccolo
piece as soon as an
opportunity arose. Since
Giverny is a study in
French style, I knew the
new piece must be in my
own authentic American
voice. That summer,
Giverny was performed six
times at the NFA
convention as a mandatory
competition piece, and I
returned from the August
2008 convention all
charged up to write
something different for
piccolo. In September,
Kate Prestia-Schaub wrote
to tell me about the
International Piccolo
Symposium's new composer
competition. She proposed
that if I write a new
piccolo/piano piece, she
would record a demo for
me to submit to the
competition, and she
would submit applications
to perform it at the 2009
IPS convention and NFA
convention. What amazing
timing! I set out to
compose a flashy
showpiece with a jazzy
snap, lots of idiomatic
scales and arpeggios, and
a scary middle section,
and by mid-October FLASH!
was complete. Kate
followed suit and all 3
wishes came true - FLASH!
won first prize in the
IPS composer competition,
and she performed it both
there and at NFA. In the
meantime many other
piccoloists have added
the work to their
repertoire, Cynthia Ellis
wrote an article about it
for Flute Talk magazine,
and Walfrid Kujala
commissioned a band
accompaniment to premiere
at NFA in 2010. More
recently, Sarah Jackson
has commissioned an
orchestra version,
premiered at the 2014 NFA
convention. By
2008, Sonatine de
Giverny was being
performed so frequently
that I decided to write
another piccolo piece as
soon as an opportunity
arose.
Since Giverny is a
study in French style, I
knew the new piece must
be in my own authentic
American voice. That
summer, Giverny was
performed six times at
the NFA convention as a
mandatory competition
piece, and I returned
from the August 2008
convention all charged up
to write something
different for piccolo.In
September, Kate
Prestia-Schaub wrote to
tell me about the
International Piccolo
Symposium's new composer
competition. She proposed
that if I write a new
piccolo/piano piece, she
would record a demo for
me to submit to the
competition, and she
would submit applications
to perform it at the 2009
IPS convention and NFA
convention. What amazing
timing! I set out to
compose a flashy
showpiece with a jazzy
snap, lots of idiomatic
scales and arpeggios, and
a scary middle section,
and by mid-October FLASH!
was complete.Kate
followed suit and all 3
wishes came true - FLASH!
won first prize in the
IPS composer competition,
and she performed it both
there and at NFA. In the
meantime many other
piccoloists have added
the work to their
repertoire, Cynthia Ellis
wrote an article about it
for Flute Talk magazine,
and Walfrid Kujala
commissioned a band
accompaniment to premiere
at NFA in 2010.More
recently, Sarah Jackson
has commissioned an
orchestra version,
premiered at the 2014 NFA
convention.
Woodwinds Piano SKU: PR.UE021772 Composed by James Rae. Part. 29 pages. U...(+)
Woodwinds Piano
SKU:
PR.UE021772
Composed
by James Rae. Part. 29
pages. Universal Edition
#UE021772. Published by
Universal Edition
(PR.UE021772).
ISBN
9783702476281. UPC:
803452073390.
Every
major city in the world
has its own sound. Rae
proves this, by crafting
elementary pieces, each
of which immediately
evokes the city it
represents. New York,
London, Paris, or Prague,
each piece is written in
a comfortable range, with
either piano or CD
accompaniment to enhance
the performance. This is
the optional piano score
for City Snapshots for 2
Flutes (UE021742).
By Robert Schultz. For Piano. Robert Schultz Piano Library. Contents include: Bl...(+)
By Robert Schultz. For
Piano. Robert Schultz
Piano Library. Contents
include: Blue Silk; End
of the Line; Hourglass;
In the Blue; Jade Cat;
Loretta B.; Off Broadway;
Outside In; Snapdragon
Alley; Square One; Swing
it Back; To the Max;
Zigzag. Jazz & Blues.
Level: Intermediate.
Book. Published by The
FJH Music Company Inc.
Make It Snappy! Ensemble Jazz [Conducteur] - Facile C.L. Barnhouse
Jazz ensemble - Grade 2 SKU: CL.032-4431-01 Composed by Neeck. Jazz Ensem...(+)
Jazz ensemble - Grade 2
SKU:
CL.032-4431-01
Composed by Neeck. Jazz
Ensemble. Audio recording
available separately
(item CL.991-2016-01).
Extra full score.
Composed 2016. Duration 3
minutes, 21 seconds. C.L.
Barnhouse #032-4431-01.
Published by C.L.
Barnhouse
(CL.032-4431-01).
The saxes take
the lead in this upbeat,
bluesy swing/shuffle.
Great riffs, reasonable
ranges, and solid
ensemble scoring, make
this an easy, yet fun
chart for your band to
rehearse and perform. An
optional solo section
includes written solos,
and the chart even sounds
exceptional with a
limited instrumentation.
Ending with a shout
chorus that starts with a
whisper, and builds to a
roar, Make It Snappy!
will be a hit with
audiences and students
alike.