I Got Rhythm Orchestre [Conducteur] - Débutant Alfred Publishing
Concert Band; Orchestra - Grade 1 SKU: AP.49165S Composed by George Gersh...(+)
Concert Band; Orchestra -
Grade 1
SKU:
AP.49165S
Composed by
George Gershwin and Ira
Gershwin. Arranged by
Michael Story. 5 or More;
Mixed Instruments -
Flexible Instrumentation;
Performance Music
Ensemble; Quartet; Single
Titles; Solo Small
Ensembles. Pop Beginning
Band. Classic Pop; Jazz.
Score. 16 pages. Duration
1:45. Alfred Music
#00-49165S. Published by
Alfred Music (AP.49165S).
UPC: 038081563688.
English.
This
version of I Got Rhythm
arranged by Michael Story
is part of our Belwin
FLEX offerings and is
designed with maximum
flexibility for use by
any mix of
instruments---wind,
strings, and percussion,
including like- or
mixed-ensembles with as
few as 4 players. The
suggested instrumentation
and a customizable
Teacher Map will help you
plan out how to best
assign parts to suit your
ensemble's needs. The
4-part instrumentation
will support balanced
instrumentation of the
lower voices. It also
comes with supplemental
parts for maximum
flexibility. With the
purchase of this piece,
permission is granted to
photocopy the parts as
needed for your ensemble.
A percussion
accompaniment track is
also available as a free
download. String parts
have been carefully
edited with extra
fingerings and
appropriate bowings to
support students in mixed
ensembles playing in less
familiar keys.
This timeless
George and Ira Gershwin
jazz classic has been
covered by dozens of
popular artists. The song
remains one of the most
recognizable melodies
from the 20th century. In
a charismatic
contemporary arrangement,
I Got Rhythm is
accessible to first-year
students and will be an
upbeat addition to any
program. (1:45) This
title is available in
MakeMusic Cloud.
I Got Rhythm Orchestre - Débutant Alfred Publishing
Concert Band; Orchestra - Grade 1 SKU: AP.49165 Composed by George Gershw...(+)
Concert Band; Orchestra -
Grade 1
SKU:
AP.49165
Composed by
George Gershwin and Ira
Gershwin. Arranged by
Michael Story. 5 or More;
MakeMusic Cloud; Mixed
Instruments - Flexible
Instrumentation;
Performance Music
Ensemble; Quartet; Single
Titles; Solo Small
Ensembles. Pop Beginning
Band. Classic Pop; Jazz.
Score and Part(s). 76
pages. Duration 1:45.
Alfred Music #00-49165.
Published by Alfred Music
(AP.49165).
UPC:
038081563671.
English.
This
version of I Got Rhythm
arranged by Michael Story
is part of our Belwin
FLEX offerings and is
designed with maximum
flexibility for use by
any mix of
instruments---wind,
strings, and percussion,
including like- or
mixed-ensembles with as
few as 4 players. The
suggested instrumentation
and a customizable
Teacher Map will help you
plan out how to best
assign parts to suit your
ensemble's needs. The
4-part instrumentation
will support balanced
instrumentation of the
lower voices. It also
comes with supplemental
parts for maximum
flexibility. With the
purchase of this piece,
permission is granted to
photocopy the parts as
needed for your ensemble.
A percussion
accompaniment track is
also available as a free
download. String parts
have been carefully
edited with extra
fingerings and
appropriate bowings to
support students in mixed
ensembles playing in less
familiar keys.
This timeless
George and Ira Gershwin
jazz classic has been
covered by dozens of
popular artists. The song
remains one of the most
recognizable melodies
from the 20th century. In
a charismatic
contemporary arrangement,
I Got Rhythm is
accessible to first-year
students and will be an
upbeat addition to any
program. (1:45) This
title is available in
MakeMusic Cloud.
Gershwin by George! Orchestre [Conducteur] - Intermédiaire Alfred Publishing
(Featuring: Strike Up the Band! / I Got Rhythm / Embraceable You / An American i...(+)
(Featuring: Strike Up the
Band! / I Got Rhythm /
Embraceable You / An
American in Paris /
Prelude II / Summertime /
Rhapsody in Blue).
Arranged by Jerry
Brubaker. Orchestra. Full
Orchestra; Score. Pop
Symphonic Full Orchestra.
Form: Medley. Jazz. Grade
4. 32 pages. Published by
Alfred Music
Gershwin by George! Orchestre [Conducteur et Parties séparées] - Intermédiaire Alfred Publishing
(Featuring: Strike Up the Band! / I Got Rhythm / Embraceable You / An American i...(+)
(Featuring: Strike Up the
Band! / I Got Rhythm /
Embraceable You / An
American in Paris /
Prelude II / Summertime /
Rhapsody in Blue).
Arranged by Jerry
Brubaker. Orchestra. Full
Orchestra; Part(s);
Score. Pop Symphonic Full
Orchestra. Form: Medley.
Jazz. Grade 4. 244 pages.
Published by Alfred Music
Classic Rock for the String Orchestra (Teacher's Score). Arranged by Bob ...(+)
Classic Rock for the
String Orchestra
(Teacher's Score).
Arranged by Bob Phillips
and Daryl Silberman.
Book; CD; Play-Along;
String Orchestra
Collection. Rock. 48
pages. Published by
Alfred Music (AP.40742).
Instrument (Instruments) SKU: BA.BA02963 Sechs Instrumentalwerke in ve...(+)
Instrument (Instruments)
SKU: BA.BA02963
Sechs
Instrumentalwerke in
verschiedenartiger
Besetzung. Urtext der
Telemann-Ausgabe.
Composed by Georg Philipp
Telemann. Edited by
Johann Philipp
Hinnenthal. This edition:
Edition of selected
works, Urtext edition.
Linen. Telemann Musical
Works. Volume 13. Edition
of selected works, Score,
anthology. Baerenreiter
Verlag #BA02963_00.
Published by Baerenreiter
Verlag (BA.BA02963).
ISBN 9790006428151. 30
x 26 cm inches. Preface:
Johann Philipp
Hinnenthal.
About
Barenreiter
Urtext
What can I
expect from a Barenreiter
Urtext
edition?<
/p>
MUSICOLOGICA
LLY SOUND - A
reliable musical text
based on all available
sources - A
description of the
sources -
Information on the
genesis and history of
the work - Valuable
notes on performance
practice - Includes
an introduction with
critical commentary
explaining source
discrepancies and
editorial decisions
... AND
PRACTICAL -
Page-turns, fold-out
pages, and cues where you
need them - A
well-presented layout and
a user-friendly
format - Excellent
print quality -
Superior paper and
binding
Composed by Bert Ligon.
MakeMusic Cloud;
Performance Music
Ensemble; Single Titles;
String Orchestra. Belwin
Concert String Orchestra.
Jazz. Score and Part(s).
136 pages. Belwin Music
#00-40442. Published by
Belwin Music (AP.40442).
UPC: 038081453576.
English.
Imagine
the basic form of
Gershwin's I Got Rhythm
with chord changes and
style as if James Taylor
was accompanying old-time
fiddlers, and you have
this cool, original jazz
tune. Both written solos
and a spot for
improvisation are
included. This title is
available in MakeMusic
Cloud.
Composed by Bert Ligon.
MakeMusic Cloud;
Performance Music
Ensemble; Single Titles;
String Orchestra. Belwin
Concert String Orchestra.
Jazz. Score. 24 pages.
Belwin Music #00-40442S.
Published by Belwin Music
(AP.40442S).
UPC:
038081453583.
English.
Imagine
the basic form of
Gershwin's I Got Rhythm
with chord changes and
style as if James Taylor
was accompanying old-time
fiddlers, and you have
this cool, original jazz
tune. Both written solos
and a spot for
improvisation are
included. This title is
available in MakeMusic
Cloud.
Orchestral Score. Composed by Alan Menken. This edition: Paperback/Softcover...(+)
Orchestral Score.
Composed by
Alan Menken. This
edition:
Paperback/Softcover.
Sheet
music. Study score.
Composed
2010. Omni Music
Publishing
#OMNI 50796. Published by
Omni
Music Publishing
(Note-for-Note Transcriptions of the Brass, Woodwind, Strings and More). By The ...(+)
(Note-for-Note
Transcriptions of the
Brass, Woodwind, Strings
and More). By The
Beatles. For Orchestra.
Transcribed. Softcover.
192 pages. Published by
Hal Leonard
Orchestra SKU: PR.416415760 For Really Big Orchestra. Composed by ...(+)
Orchestra
SKU:
PR.416415760
For
Really Big Orchestra.
Composed by PDQ Bach.
Edited by Prof. Peter
Schickele. Study Score.
With Standard notation.
Duration 11 minutes.
Theodore Presser Company
#416-41576. Published by
Theodore Presser Company
(PR.416415760).
UPC:
680160636532. 9 x 12
inches.
The 1712
Overture stands out in
P.D.Q. Bach's oeuvre for
two reasons, among
others: it is by far the
most programmatic
instrumental piece among
those by the minimeister
of Wein-am-Rhein so far
unearthed, and 2) its
discovery has led to a
revelation about the
composer's father, Johann
Sebastian Bach, that has
exploded like a bombshell
on the usually serene
musicological landscape.
The overture is based on
an anecdote told to
P.D.Q. Bach by a cousin,
Peter Ulrich. Since P.U.
Bach lived in Dudeldorf,
only a few miles down the
road from Wein-am-Rhein,
he was P.D.Q.'s closest
relative, and he was, in
fact, one of the few
members of the family who
was on speaking terms
with P.D.Q. The story,
related to P.D.Q.
(fortunately for us
posterity types) in a
letter, may be summarized
thus: The town of
Dudeldorf was founded by
two brothers, Rudi and
Dieter Dudel, early in
the 18th century. Rudi
remained mayor of the
newborn burg for the rest
of his long life, but
Dieter had a dream of
starting a musicians'
colony, an entire city
devoted to music, which
dream, he finally
decided, could be
realized only in the New
World. In 1712, he and
several other bagpipers
sailed to Boston, never
to return to Germany.
(Henceforth, Rudi became
known as der deutscher
Dudel and Dieter as the
Yankee Dudel).
Unfortunately, the head
of the Boston Musicians'
Guild had gotten wind of
Dudel's plans, and
Wilhelm Wiesel (pron.
VEE-zle), known none too
affectionately around
town as Wiesel the
Weasel, was not about to
share what few gigs there
were in colonial America
with more foreigners and
outside agitators. He and
his cronies were on hand
to meet Dudel's boat when
it pulled into Boston
Harbor; they intended to
prevent the newcomers'
disembarkation, but Dudel
and his companions
managed to escape to the
other side of the bay in
a dinghy, landing with
just enough time to rent
a carriage and horses
before hearing the sound
of The Weasel and his
men, who had had to come
around the long way. The
Germans headed West, with
the Bostonians in furious
pursuit. soon the city
had been left far behind,
and by midnight so had
the pursuers; Dieter
Dudel decided that it was
safe for him and his men
to stop and sleep until
daybreak. When they
awoke, they found that
they were in a beautiful
landscape of low,
forested mountains and
pleasant fields, warmed
by the brilliant morning
sun and serenaded by an
entrancing variety of
birds. Here, Dudel
thought, her is where I
will build my colony. The
immigrants continued down
the road at a leisurely
pace until they came upon
a little church, all by
itself in the
countryside, from which
there suddenly emanated
the sounds of a pipe
organ. At this point, the
temptation to quote from
P.U. Bach's letter to
P.D.Q. cannot be
resisted: They went
inside and, after
listening to the glorious
music for a while,
introduced themselves to
the organist. And who do
you think it was? Are you
ready for this -- it was
your old man! Hey, no
kidding -- you know, I'm
sure, that your father
was the guy to get when
it came to testing new
organs, and whoever had
that one in Massachusetts
built offered old
Sebastian a tidy sum to
go over there and check
it out. The unexpected
meeting with J.S. Bach
and his sponsors was
interrupted by the sound
of horse hooves, as the
dreaded Wiesel and his
men thundered on to the
scene. They had been
riding all night,
however, and they were no
spring chickens to start
with, and as soon as they
reached the church they
all dropped, exhausted,
to the ground. The elated
Germans rang the church
bells and offered to buy
everyone a beer at the
nearest tavern. There
they were taught, and
joined in singing, what
might be called the
national anthem of the
New World. The melody of
this pre-revolutionary
patriotic song is still
remembered (P.D.Q. Bach
quotes it, in the bass
instruments, near the end
of the overture), but is
words are now all but
forgotten: Freedom, of
thee we sing, Freedom
e'er is our goal; Death
to the English King, Long
live Rock and Ross. The
striking paucity of
biographical references
to Johann Sebastian Bah
during the year 1712 can
now be explained: he was
abroad for a significant
part of that year,
testing organs in the
British Colonies. That
this revelation has not
been accepted as fact by
the musicological
establishment is no
surprise, since it means
that a lot of books would
have to be rewritten. The
members of that
establishment haven't
even accepted the
existence of P.D.Q. Bach,
one of whose major works
the 1712 Overture
certainly is. It is also
a work that shows
Tchaikowsky up as the
shameless plagiarizer
that some of us have
always known he was. The
discovery of this awesome
opus was made possible by
a Boston Pops Centennial
Research Commission; the
first modern performance
took place at the opening
concert of the 100th
anniversary season of
that orchestra, under the
exciting but authentic
direction of John
Williams.
Orchestra SKU: PR.41641576L For Really Big Orchestra. Composed by ...(+)
Orchestra
SKU:
PR.41641576L
For
Really Big Orchestra.
Composed by PDQ Bach.
Edited by Peter
Schickele. Large Score.
With Standard notation.
Duration 11 minutes.
Theodore Presser Company
#416-41576L. Published by
Theodore Presser Company
(PR.41641576L).
UPC:
680160636549. 11 x 17
inches.
The 1712
Overture stands out in
P.D.Q. Bach's oeuvre for
two reasons, among
others: it is by far the
most programmatic
instrumental piece among
those by the minimeister
of Wein-am-Rhein so far
unearthed, and 2) its
discovery has led to a
revelation about the
composer's father, Johann
Sebastian Bach, that has
exploded like a bombshell
on the usually serene
musicological landscape.
The overture is based on
an anecdote told to
P.D.Q. Bach by a cousin,
Peter Ulrich. Since P.U.
Bach lived in Dudeldorf,
only a few miles down the
road from Wein-am-Rhein,
he was P.D.Q.'s closest
relative, and he was, in
fact, one of the few
members of the family who
was on speaking terms
with P.D.Q. The story,
related to P.D.Q.
(fortunately for us
posterity types) in a
letter, may be summarized
thus: The town of
Dudeldorf was founded by
two brothers, Rudi and
Dieter Dudel, early in
the 18th century. Rudi
remained mayor of the
newborn burg for the rest
of his long life, but
Dieter had a dream of
starting a musicians'
colony, an entire city
devoted to music, which
dream, he finally
decided, could be
realized only in the New
World. In 1712, he and
several other bagpipers
sailed to Boston, never
to return to Germany.
(Henceforth, Rudi became
known as der deutscher
Dudel and Dieter as the
Yankee Dudel).
Unfortunately, the head
of the Boston Musicians'
Guild had gotten wind of
Dudel's plans, and
Wilhelm Wiesel (pron.
VEE-zle), known none too
affectionately around
town as Wiesel the
Weasel, was not about to
share what few gigs there
were in colonial America
with more foreigners and
outside agitators. He and
his cronies were on hand
to meet Dudel's boat when
it pulled into Boston
Harbor; they intended to
prevent the newcomers'
disembarkation, but Dudel
and his companions
managed to escape to the
other side of the bay in
a dinghy, landing with
just enough time to rent
a carriage and horses
before hearing the sound
of The Weasel and his
men, who had had to come
around the long way. The
Germans headed West, with
the Bostonians in furious
pursuit. soon the city
had been left far behind,
and by midnight so had
the pursuers; Dieter
Dudel decided that it was
safe for him and his men
to stop and sleep until
daybreak. When they
awoke, they found that
they were in a beautiful
landscape of low,
forested mountains and
pleasant fields, warmed
by the brilliant morning
sun and serenaded by an
entrancing variety of
birds. Here, Dudel
thought, her is where I
will build my colony. The
immigrants continued down
the road at a leisurely
pace until they came upon
a little church, all by
itself in the
countryside, from which
there suddenly emanated
the sounds of a pipe
organ. At this point, the
temptation to quote from
P.U. Bach's letter to
P.D.Q. cannot be
resisted: They went
inside and, after
listening to the glorious
music for a while,
introduced themselves to
the organist. And who do
you think it was? Are you
ready for this -- it was
your old man! Hey, no
kidding -- you know, I'm
sure, that your father
was the guy to get when
it came to testing new
organs, and whoever had
that one in Massachusetts
built offered old
Sebastian a tidy sum to
go over there and check
it out. The unexpected
meeting with J.S. Bach
and his sponsors was
interrupted by the sound
of horse hooves, as the
dreaded Wiesel and his
men thundered on to the
scene. They had been
riding all night,
however, and they were no
spring chickens to start
with, and as soon as they
reached the church they
all dropped, exhausted,
to the ground. The elated
Germans rang the church
bells and offered to buy
everyone a beer at the
nearest tavern. There
they were taught, and
joined in singing, what
might be called the
national anthem of the
New World. The melody of
this pre-revolutionary
patriotic song is still
remembered (P.D.Q. Bach
quotes it, in the bass
instruments, near the end
of the overture), but is
words are now all but
forgotten: Freedom, of
thee we sing, Freedom
e'er is our goal; Death
to the English King, Long
live Rock and Ross. The
striking paucity of
biographical references
to Johann Sebastian Bah
during the year 1712 can
now be explained: he was
abroad for a significant
part of that year,
testing organs in the
British Colonies. That
this revelation has not
been accepted as fact by
the musicological
establishment is no
surprise, since it means
that a lot of books would
have to be rewritten. The
members of that
establishment haven't
even accepted the
existence of P.D.Q. Bach,
one of whose major works
the 1712 Overture
certainly is. It is also
a work that shows
Tchaikowsky up as the
shameless plagiarizer
that some of us have
always known he was. The
discovery of this awesome
opus was made possible by
a Boston Pops Centennial
Research Commission; the
first modern performance
took place at the opening
concert of the 100th
anniversary season of
that orchestra, under the
exciting but authentic
direction of John
Williams.