Piano seul [Partition] - Débutant Faber Music Limited
(for the Young Beginner). For piano. Faber Piano Adventures®. Written for ages ...(+)
(for the Young Beginner).
For piano. Faber Piano
Adventures®. Written for
ages 5 and 6, My First
Piano Adventure captures
the child's playful
spirit. Fun-filled songs,
rhythm games and
technique activities
develop beginning
keyboard skills.
Instructional and Method.
Young Beginner -
Pre-Reading.
Instructional book.
Accompaniment CD. 88
pages. Faber Music
#FF1619. Published by
Faber Music
The Complete Resource for Every Guitar Player!. By Various. Guitar Collection. S...(+)
The Complete Resource for
Every Guitar Player!. By
Various. Guitar
Collection. Softcover.
With notes and tablature.
240 pages. Published by
Hal Leonard.
By Rene Boyer-Alexander. Arranged by Rene Boyer-Alexander. (Complete Ed). Expre...(+)
By Rene Boyer-Alexander.
Arranged by Rene
Boyer-Alexander.
(Complete Ed). Expressive
Art (Choral). Size 8.5x11
inches. 152 pages.
Published by Hal Leonard.
SATB choir and narrator SKU: LP.765762123625 ...starts with a baby's f...(+)
SATB choir and narrator
SKU:
LP.765762123625
...starts with a
baby's first cry.
Composed by Thomas
Fettke. Arranged by Tom
Fettke & Russell Mauldin.
Musical. Excel Series.
Multicultural and Sacred.
Accompaniment CD.
Published by Lillenas
Publishing Company
(LP.765762123625).
UPC:
765762123625.
From
the immensely talented
team of arranger Tom
Fettke and orchestrator
Russell Mauldin comes the
gloriously uplifting new
Christmas musical The
Promised Hope Starts with
a Baby's First Cry. From
our newly named Excel
Series this accessibly
arranged and orchestrated
narrated musical is
perfect for any sized
choir. Running time for
the complete work is
approximately 38 minutes.
Featuring Steven Curtis
Chapman's evocative The
Night Before Christmas
the hauntingly beautiful
solo feature Born Where
the Shadows Lie and the
exuberant and creative
styling of both Jesus Oh
What a Wonderful Child
and Soon and Very Soon
The Promised Hope is
simply bursting with good
tidings of great joy.
Share the joy of
Christmas that starts
with a baby's first cry
through The Promised Hope
.
Preschool Children's Choir - Easy SKU: LP.765762118522 A Simple Music ...(+)
Preschool Children's
Choir - Easy
SKU:
LP.765762118522
A
Simple Music Program for
Preschoolers.
Composed by Pamela
Vandewalker & Cherry
Garasi. This edition:
Paperback. Musical.
Multicultural and Sacred.
Kid's practice CDs.
Published by Lillenas
Publishing Company
(LP.765762118522).
UPC:
765762118522.
Music
is one of the most
important elements of a
preschoolers' development
and it is the perfect way
to introduce spiritual
concepts to this age
child. What they hide in
their hearts from the
ages of three to five
will stay with them for a
lifetime. Having worked
together for years as
writers editors and
directors of children's
music Pamela Vandewalker
and Cherry Garasi felt
the need for quality age
appropriate musical
presentations for
preschoolers. Live LOVE!
is a result of that idea
and it presents one of
the strongest spiritual
concepts anyone can ever
learn. This musical
presentation outlines the
idea that truly love is a
verb. By teaching
children that we show
love to others in the way
we live and the things we
do and say we are
pointing them toward a
relationship with God
through His son Jesus -
the One who teaches us to
love one another. Because
the subject matter of
this musical is love this
music program can be used
at any time of year but
would be especially
suited for a February (or
Valentine's) performance.
Suggestions for sharing
this musical in your
church school or
community are included in
this book. Our prayer is
that as you teach Live
LOVE! you and your
children will have a
happy experience with
music making. But more
importantly we hope the
ideas of God loving us
and the importance of
loving each other will be
instilled in the hearts
and minds of your
preschoolers. Video Blogs
Now Available! View here
.
Double bass SKU: BA.BA10418-85 Composed by Antonin Dvorak. Edited by Jona...(+)
Double bass
SKU:
BA.BA10418-85
Composed by Antonin
Dvorak. Edited by
Jonathan Del Mar. This
edition: urtext edition.
Stapled. Barenreiter
Urtext. Single part. Opus
88. 12 pages.
Baerenreiter Verlag
#BA10418_85. Published by
Baerenreiter Verlag
(BA.BA10418-85).
ISBN
9790006564699. 32.5 x
25.5 cm inches. Key: G
major.
Mendelssohn'
s Violin Concerto op. 64,
is a key work of the 19th
century, adhering to the
classical style of
Beethoven while pointing
the way to the romantic
ethos of Brahms. It has
long been known that
Mendelssohn performed the
work with three soloists
in succession: Ferdinand
David, who worked closely
with the composer during
its composition and
played it at the
premiere; the 'child
prodigy' Joseph Joachim;
and Hubert Leonard, a
young Belgian virtuoso
about whom little is
known.
As proof
sheets for the Violin
Concerto in E minor were
long considered lost, it
could be described as
somewhat of a sensation
when proofs for the solo
violin part resurfaced
together with a letter
from Mendelssohn to
Leonard.
The
letter informs us that
the composer invited
Leonard to his home in
Frankfurt in order to
make his acquaintance. It
was already known that
Mendelssohn had given
proof sheets to David;
now we know that he also
gave some to
Leonard.
The
recently discovered
proofs reveal how Leonard
played the concerto with
Mendelssohn on that
memorable evening in
February 1845. Besides
containing bowing marks
and fingering, they also
show how Leonard executed
shifts of position and
where he employed open
strings. Furthermore
modifications made to
dynamic markings and
additional legato bowing
are shown.
It is
safe to assume that all
of this was done with
Mendelssohn's approval.
That the young violinist
made a positive
impression on the
composer is confirmed in
the latter's
correspondence following
their joint performance.
Mendelssohn is full of
praise for Leonard's
playing and offers to
lend his support in
finding employment in
Germany.
This
revised edition of the
Mendelssohn Violin
Concerto (only the
orchestral parts remain
unchanged) includes a
separate booklet on
performance practice.
The editor, Clive
Brown, is an acknowledged
expert on Romantic
performance
practice.
About
Barenreiter Urtext
Orchestral
Parts
Why musicians
love to play from
Bärenreiter Urtext
Orchestral
Parts
- Urtext
editions as close as
possible to the
composerâ€â„Â
¢s intentions - With
alternate versions in
full score and parts
- Orchestral parts in an
enlarged format of 25.5cm
x 32.5cm - With
cues, rehearsal letters,
and page turns where
players need them -
Clearly presented divisi
passages so that players
know exactly what they
have to play -
High-quality paper with a
slight yellow tinge which
does not glare under
lights and is thick
enough that reverse pages
do not shine
through
Performed by The Beatles. For guitar and voice. Format: easy guitar/vocal songbo...(+)
Performed by The Beatles.
For guitar and voice.
Format: easy guitar/vocal
songbook (no tablature).
With vocal melody,
lyrics, guitar chord
diagrams and strum
patterns. Classic rock,
britpop and psychedelic
rock. 304 pages. 9x12
inches. Published by Hal
Leonard
Piano, Voix [Partition] - Intermédiaire Hal Leonard
Composed by Andrew Lippa. For voice and piano. From the Broadway musical "The Wi...(+)
Composed by Andrew Lippa.
For voice and piano. From
the Broadway musical "The
Wild Party". Format:
piano/vocal/chords
songbook. With vocal
melody, piano
accompaniment, lyrics,
chord names and
introductory text.
Broadway. 110 pages. 9x12
inches. Published by Hal
Leonard.
AC/DC: Plug Me In Guitare notes et tablatures [Partition] - Intermédiaire Music Sales
By AC/DC. Edited by Music Sales. For Guitar tablature. Rock. Level: Intermediate...(+)
By AC/DC. Edited by Music
Sales. For Guitar
tablature. Rock. Level:
Intermediate. Songbook.
Guitar tablature, vocal
line, and chord names.
400 pages. Published by
Music Sales.
Piano, Voix et Guitare [Partition] - Intermédiaire Hal Leonard
Performed by Mariah Carey. For voice, piano and guitar chords. Format: piano/vo...(+)
Performed by Mariah
Carey. For voice, piano
and guitar chords.
Format:
piano/vocal/chords
songbook. With vocal
melody, piano
accompaniment, lyrics,
chord names and guitar
chord diagrams.
Christmas, holiday, adult
contemporary and pop. 56
pages. 9x12 inches.
Published by Hal Leonard.
Piano/Vocal. Composed by Various. Piano Songbook. Spiritual and Gospel. Songbook...(+)
Piano/Vocal. Composed by
Various. Piano Songbook.
Spiritual and Gospel.
Songbook (softcover).
With vocal melody, piano
accompaniment, lyrics and
chord names. 64 pages.
Music Sales #AM15058.
Published by Music Sales
Band Bass Clarinet, Bass
Drum, Bassoon, Bells,
Clarinet 1, Clarinet 2,
Crash Cymbals, Euphonium,
Euphonium T.C., Finger
Cymbals, Flute, Flute 2,
Horn, Mallet Percussion,
Mark Tree, Oboe,
Percussion 1, Percussion
2, Snare Drum, Suspended
Cymbal and more. - Grade
2
SKU: CF.YPS249F
Three Persian Folk
Songs. Composed by
Michael J. Miller. Yps.
Full score. 20 pages.
Duration 3 minutes, 29
seconds. Carl Fischer
Music #YPS249F. Published
by Carl Fischer Music
(CF.YPS249F).
ISBN
9781491161883. UPC:
680160920563.
By
Lantern's Light is a
medley of Persian folk
songs. The songs come
from a collection for
voice and piano by Clair
Fairchild in his Twelve
Persian Folk Songs
published by Novello and
Company, London, 1904.
Fairchild's goal was to
capture the spirit and
ambiance of Persia's
music and musicians.
Fairchild took special
care to preserve their
authenticity by limiting
western harmony. Such is
also the case in this
setting for concert band.
Special attention should
be given to replicate
songlike phrasing of the
melodic lines and the
rhythmic integrity and
style of the
accompaniment. Conductors
are encouraged to take
liberties with dynamics
and articulations to help
performers play
expressively. There are
many inflections that
exist beyond what is
printed on the page. For
example, the reeds might
subtly shape the rhythmic
accompaniment in m. 6-7,
as might the trumpets
with the melody in m. 18.
In. m. 23, the wind
musicians other than the
trumpets are a part of
the rhythm section with
the percussion. These
rhythms should fit
together nicely to create
a steady cadence. The
melodic statements
beginning at m. 35 should
be carefully balanced to
speak evenly throughout
the various voices. If an
oboist is not available,
the solo in m. 57 has
been cued in the alto
saxophone. By
Lantern's Light is a
medley of Persian folk
songs. The songs come
from a collection for
voice and piano by Clair
Fairchild in his Twelve
Persian Folk Songs
published by Novello and
Company, London, 1904.
Fairchild's goal was to
capture the spirit and
ambiance of Persia's
music and musicians.
Fairchild took special
care to preserve their
authenticity by limiting
western harmony. Such is
also the case in this
setting for concert band.
Special attention should
be given to replicate
songlike phrasing of the
melodic lines and the
rhythmic integrity and
style of the
accompaniment. Conductors
are encouraged to take
liberties with dynamics
and articulations to help
performers play
expressively. There are
many inflections that
exist beyond what is
printed on the page. For
example, the reeds might
subtly shape the rhythmic
accompaniment in m. 6-7,
as might the trumpets
with the melody in m. 18.
In. m. 23, the wind
musicians other than the
trumpets are a part of
the rhythm section with
the percussion. These
rhythms should fit
together nicely to create
a steady cadence. The
melodic statements
beginning at m. 35 should
be carefully balanced to
speak evenly throughout
the various voices. If an
oboist is not available,
the solo in m. 57 has
been cued in the alto
saxophone. By
Lantern’s Light is
a medley of Persian folk
songs. The songs come
from a collection for
voice and piano by Clair
Fairchild in his Twelve
Persian Folk Songs
published by Novello and
Company, London, 1904.
Fairchild’s goal
was to capture the spirit
and ambiance of
Persia’s music and
musicians. Fairchild took
special care to preserve
their authenticity by
limiting western harmony.
Such is also the case in
this setting for concert
band. Special
attention should be given
to replicate songlike
phrasing of the melodic
lines and the rhythmic
integrity and style of
the accompaniment.
Conductors are encouraged
to take liberties with
dynamics and
articulations to help
performers play
expressively. There are
many inflections that
exist beyond what is
printed on the page. For
example, the reeds might
subtly shape the rhythmic
accompaniment in m. 6-7,
as might the trumpets
with the melody in m. 18.
In. m. 23, the wind
musicians other than the
trumpets are a part of
the rhythm section with
the percussion. These
rhythms should fit
together nicely to create
a steady cadence. The
melodic statements
beginning at m. 35 should
be carefully balanced to
speak evenly throughout
the various voices. If an
oboist is not available,
the solo in m. 57 has
been cued in the alto
saxophone.