Soli ATB, SATB Choir, 2 Vl, Va, Bc SKU: CA.3115305 Cantata for the Sun...(+)
Soli ATB, SATB Choir, 2
Vl, Va, Bc
SKU:
CA.3115305
Cantata
for the Sunday after New
Year. Composed by
Johann Sebastian Bach.
Edited by Karin
Wollschlager. Stuttgart
Urtext Edition: Bach
vocal. Sacred vocal
music, Cantatas, New
year. Choral Score.
Composed 1724. BWV 153. 4
pages. Duration 15
minutes. Carus Verlag #CV
31.153/05. Published by
Carus Verlag
(CA.3115305).
ISBN
9790007183431. Language:
German/English.
Bac
h chose an unconventional
beginning for his
nine-movement cantata
Schau, lieber Gott, wie
meine Feind BWV 153,
which he composed in his
first year as Kantor of
St. Thomas's for the
Sunday after New Year
1724. Instead of the
usual opening chorus, the
cantata opens with a
simple four-part chorale
movement. There are also
chorales in the middle of
the work (movement 5) and
at the end. By avoiding
extended or demanding
choral movements, Bach
probably wanted to save
the voices of his choir
members at St Thomas's,
who had just been
involved in a demanding
week of almost constant
singing. This may also be
why the cantata uses just
three soloists (alto,
tenor, bass). In the
arias, each preceded by a
secco recitative, the
accompaniment is provided
by 2 violins and viola.
Score available
separately - see item
CA.3115300.
Easy Fingerpicking Guitar Guitare notes et tablatures [Partition + Accès audio] - Facile Hal Leonard
A Beginner's Guide to Essential Patterns and Techniques. Guitar Educational. Fin...(+)
A Beginner's Guide to
Essential Patterns and
Techniques. Guitar
Educational. Fingerstyle
Instruction, Instruction.
Softcover Audio Online.
With guitar tablature. 56
pages. Published by Hal
Leonar
(P+KRB) SKU: HL.49041347 Composed by Paul Hindemith. Edited by Luitgard S...(+)
(P+KRB)
SKU:
HL.49041347
Composed
by Paul Hindemith. Edited
by Luitgard Schader. This
edition: Full-cloth
binding. Sheet music.
Edition Schott. Score and
critical commentary,
complete edition. 224
pages. Schott Music
#PHA113. Published by
Schott Music
(HL.49041347).
ISBN
9783795794743.
The
work of Paul Hindemith is
encyclopedic in nature.
From the outset, he
worked in all musical
genres and devised
several of his musical
ideas and projects not as
individual,
self-contained works but
as work cycles with
different functional
relationships. These
contrasting pieces
complement each other if
experienced as part of
the overall structure.
Hindemith himself not
only wanted a complete
edition of his collected
works but had begun
planning it; at his death
he left a detailed list
of ‚Unpublished
pieces for an eventual
complete
edition‘.The
Complete Works contain
all finished works in all
extant versions, newly
engraved for the edition.
Sketches and fragments
are published in
appendices of the
relevant volume, and are
evaluated in the
Introduction and Critical
Commentary by the
respective volume
editor.Each volume
contains a preface by the
editorial directors and
an introduction by the
volume editor,
delineating the genesis
and performance history
of the work, with
authentic performance
instructions, an
evaluation of extant
recordings by Paul
Hindemith himself and a
Critical Commentary.The
Complete Works of Paul
Hindemith are thus
presented in a critical,
scholarly edition which
is equally appropriate
for study and
performance. Hindemith
researchers will welcome
the numerous first
publications of works by
the composer, and
practical musicians will
appreciate the newly
prepared, philologically
ordered performance
material.
By Emma Martinez. For Guitar (Classical). reference. Flamenco. Level: Beginning...(+)
By Emma Martinez. For
Guitar (Classical).
reference. Flamenco.
Level: Beginning. Book.
Size 8.75x11.75. 128
pages. Published by Mel
Bay Publications, Inc.
Soli ATB, SATB Choir, 2 Vl, Va, Bc SKU: CA.3115312 Cantata for the Sun...(+)
Soli ATB, SATB Choir, 2
Vl, Va, Bc
SKU:
CA.3115312
Cantata
for the Sunday after New
Year. Composed by
Johann Sebastian Bach.
Edited by Karin
Wollschlager. Stuttgart
Urtext Edition: Bach
vocal. Violin 2. Sacred
vocal music, Cantatas,
New year. Single Part,
Violin 2. Composed 1724.
BWV 153. 8 pages.
Duration 15 minutes.
Carus Verlag #CV
31.153/12. Published by
Carus Verlag
(CA.3115312).
ISBN
9790007208684. Language:
German/English.
Bac
h chose an unconventional
beginning for his
nine-movement cantata
Schau, lieber Gott, wie
meine Feind BWV 153,
which he composed in his
first year as Kantor of
St. Thomas's for the
Sunday after New Year
1724. Instead of the
usual opening chorus, the
cantata opens with a
simple four-part chorale
movement. There are also
chorales in the middle of
the work (movement 5) and
at the end. By avoiding
extended or demanding
choral movements, Bach
probably wanted to save
the voices of his choir
members at St Thomas's,
who had just been
involved in a demanding
week of almost constant
singing. This may also be
why the cantata uses just
three soloists (alto,
tenor, bass). In the
arias, each preceded by a
secco recitative, the
accompaniment is provided
by 2 violins and viola.
Score and part available
separately - see item
CA.3115300.
(Deluxe Annual Edition). Arranged by Carol Tornquist. For Piano. This editio...(+)
(Deluxe Annual Edition).
Arranged by Carol
Tornquist.
For Piano. This edition:
Easy Piano. Book; Piano -
Easy Piano Collection;
Piano
Supplemental. Greatest
Hits.
Contemporary Christian;
Pop/Rock; Sacred. Easy
Piano. 68 pages.
Published
by Alfred Music
String quartet SKU: HL.49019755 Composed by Paul Hindemith. This edition:...(+)
String quartet
SKU:
HL.49019755
Composed
by Paul Hindemith. This
edition: Full-cloth
binding. Sheet music.
Edition Schott.
Hardcover. 220 pages.
Schott Music #PHA504-10.
Published by Schott Music
(HL.49019755).
ISBN
9783795792886.
11.0x15.25x1.01
inches.
The work of
Paul Hindemith is
encyclopedic in nature.
From the outset, he
worked in all musical
genres and devised
several of his musical
ideas and projects not as
individual,
self-contained works but
as work cycles with
different functional
relationships. These
contrasting pieces
complement each other if
experienced as part of
the overall structure.
Hindemith himself not
only wanted a complete
edition of his collected
works but had begun
planning it; at his death
he left a detailed list
of ‚Unpublished
pieces for an eventual
complete
edition‘.The
Complete Works contain
all finished works in all
extant versions, newly
engraved for the edition.
Sketches and fragments
are published in
appendices of the
relevant volume, and are
evaluated in the
Introduction and Critical
Commentary by the
respective volume
editor.Each volume
contains a preface by the
editorial directors and
an introduction by the
volume editor,
delineating the genesis
and performance history
of the work, with
authentic performance
instructions, an
evaluation of extant
recordings by Paul
Hindemith himself and a
Critical Commentary.The
Complete Works of Paul
Hindemith are thus
presented in a critical,
scholarly edition which
is equally appropriate
for study and
performance. Hindemith
researchers will welcome
the numerous first
publications of works by
the composer, and
practical musicians will
appreciate the newly
prepared, philologically
ordered performance
material.
Piano - Grade 1-2 SKU: ET.PNO61 Composed by Caroline Charriere. BIM Junio...(+)
Piano - Grade 1-2
SKU:
ET.PNO61
Composed by
Caroline Charriere. BIM
Junior Series.
Contemporary. Editions
BIM #PNO61. Published by
Editions BIM (ET.PNO61).
ISBN
9790207003393.
For
the young candidates in
Grade 1 of the 2010
International Piano
Competition in Fribourg
(Switzerland), I wanted
to exploit the piano
resonances by means of
the pedal or with
harmonics. The
“litte secret
(Petit secret) is a
simple folksong hidden
within the voicings of
the three-pitch chords at
the beginning of the
piece, then through the
harmonics of the Allegro,
and finally within the
clusters at the end.
Caroline Charrière,
November 13, 2009,
Fribourg,
Switzerland.
Composed by Johannes Brahms (1833-1897). Edited by Johannes Behr. For Score (Stu...(+)
Composed by Johannes
Brahms (1833-1897).
Edited by Johannes Behr.
For Score (Study Score).
Henle Study Scores.
Softcover. G. Henle
#HN7231. Published by G.
Henle
For Concert Band.
Composed by Dan Welcher.
Spiral. Contemporary.
Large Full Score. With
Standard notation.
Composed 1994. 76 pages.
Duration 10 minutes.
Theodore Presser Company
#165-00092L. Published by
Theodore Presser Company
(PR.16500092L).
UPC:
680160039531. 11 x 17
inches.
Zion is the
third and final
installment of a series
of works for Wind
Ensemble inspired by
national parks in the
western United States,
collectively called Three
Places in the West. As in
the other two works (The
Yellowstone Fires and
Arches), it is my
intention to convey more
an impression of the
feelings I've had in Zion
National Park in Utah
than an attempt at
pictorial description.
Zion is a place with
unrivalled natural
grandeur, being a sort of
huge box canyon in which
the traveler is
constantly overwhelmed by
towering rock walls on
every side of him -- but
it is also a place with a
human history, having
been inhabited by several
tribes of native
Americans before the
arrival of the Mormon
settlers in the mid-19th
century. By the time the
Mormons reached Utah,
they had been driven all
the way from New York
State through Ohio and,
with tragic losses,
through Missouri. They
saw Utah in general as a
place nobody wanted, but
they were nonetheless
determined to keep it to
themselves. Although Zion
Canyon was never a Mormon
Stronghold, the people
who reached it and
claimed it (and gave it
its present name) had
been through extreme
trials. It is the
religious fervor of these
persecuted people that I
was able to draw upon in
creating Zion as a piece
of music. There are two
quoted hymns in the work:
Zion's Walls (which Aaron
Copland adapted to his
own purposes in both is
Old American Songs and
the opera The Tender
Land) and Zion's
Security, which I found
in the same volume in
which Copland found
Zion's Walls -- that
inexhaustible storehouse
of 19th-century hymnody
called The Sacred Harp.
My work opens with a
three-verse setting of
Zion's Security, a stern
tune in F-sharp minor
which is full of resolve.
(The words of this hymn
are resolute and strong,
rallying the faithful to
be firm, and describing
the city of our God they
hope to establish). This
melody alternates with a
fanfare tune, whose
origins will be revealed
in later music, until the
second half of the piece
begins: a driving
rhythmic ostinato based
on a 3/4-4/4 alternating
meter scheme. This pauses
at its height to restate
Zion's Security one more
time, in a rather obscure
setting surrounded by
freely shifting patterns
in the flutes, clarinets,
and percussion -- until
the sun warms the ground
sufficiently for the
second hymn to appear.
Zion's Walls is set in
7/8, unlike Copland's
9/8-6/8 meters (the
original is quite
strange, and doesn't
really fit any constant
meter), and is introduced
by a warm horn solo. The
two hymns vie for
attention from here to
the end of the piece,
with the glowingly
optimistic Zion's Walls
finally achieving
prominence. The work ends
with a sense of triumph
and unbreakable spirit.
Zion was commissioned in
1994 by the wind
ensembles of the
University of Texas at
Arlington, the University
of Texas at Austin, and
the University of
Oklahoma. It is dedicated
to the memory of Aaron
Copland.
Tuba-euphonium ensemble SKU: P2.80156 Composed by Gioachino Rossini. Arra...(+)
Tuba-euphonium ensemble
SKU: P2.80156
Composed by Gioachino
Rossini. Arranged by
Jonathan Oliver. Chamber
music, 20th century.
Published by Potenza
Music (P2.80156).
The Overture to
Rossini's Barber of
Seville is still
considered to this day as
one of the most loved and
best recognized classical
works in the world. This
music has been included
in many forms of media,
including movies,
commercials, and of
course, cartoons. I
wanted to use this
well-known music in such
a way that it could
become a soloist piece
with the tuba ensemble in
the orchestral role. The
provided cadenza is there
only as a guideline to
what the soloist can
really strive
for.
This
arrangement received its
premiere at the Kentucky
Music Educators
Association Conference in
Feb. 2013. It was
requested and performed
by the Oldham County High
School Tuba-Euphonium
Ensemble under the
direction of Brad Rogers
and Chris Schmidt. The
tuba soloist for the
performance was Chris
Combest.
parts
included: Solo Euphonium,
Solo Tuba, Euphonium 1,
2, 3, 4 TC/BC, Tuba 1, 2,
3, 4.
Violin solo SKU: GH.GE-11358 For Solo Violin. Composed by Benjamin...(+)
Violin solo
SKU:
GH.GE-11358
For
Solo Violin. Composed
by Benjamin Staern.
Duration 9 minutes.
Gehrmans Musikforlag #GE
11358. Published by
Gehrmans Musikforlag
(GH.GE-11358).
ISBN
979-0-070-11358-8. A4
inches.
Work
comment by the
composer: The lonely
one was composed during
May and June of the year
2000. It was written for
Annika Gustafsson, to
whom it is also
dedicated. It was
world-premiered on
December 1 the same year
in Caroli Church in
Malmo. After that I had
composed The Threat of
War that was a dramatic
and massive work for
orchestra, I wanted to
focus on melodic as well
as harmonic and
rhyhtmical processes
combined with a inner
dramatic content. In this
case the solo violin
works as a narrator where
the piece itself is like
a monologue without
words. In the score
there are imprinted
expressions like
racontare (tellingly),
piacevole (pleasingly)
och
sospirare(sighing).
The lonely one is divided
in three sections. 1.
Doloroso (Painful) - the
violin plays almost
imperceptly sighing
glissandi that forms the
basic material of the
work. Its character is
constantly searching. It
leads up to the section
Risoluto (Resolute) that
has a very determined and
edgy expression. 2.
Misterioso (Mysteriously)
- the materials from the
previous section are now
further developed. It
builds up and breaks down
during the course of the
journey. Eventually it
reaches a climax on a
high d. 3. Calmando e
espressivo (Calmingly and
expressive) - From the
high d it is stepping
down to a recapture on
material from the first
part slightly changed and
moody character. It dies
out slowly with the
lonely notes.
SKU: HL.1117978 With Switch. Lewitt Audio. Microphone. Hal Leonard...(+)
SKU: HL.1117978
With Switch.
Lewitt Audio. Microphone.
Hal Leonard #MTP350CMS.
Published by Hal Leonard
(HL.1117978).
UPC:
196288301660.
8.25x10.25x4.25
inches.
Please
note: although we don't
keep stock on hand, this
item will drop ship
direct from the
manufacturer at the time
of your order. Clear and
precise condenser sound
The MTP 350 CMs is a
condenser vocal
microphone with a
lightweight diaphragm
condenser capsule. This
brings a high level of
sonic clarity to your
vocal performance.
Durable materials for
longevity To make sure
your beloved microphone
survives even your
roughest touring
routines, the enclosure
is made out of durable
zinc die-cast parts. A
rubber-suspension
protects the capsule
while minimizing unwanted
handling noise. The
built-in wind and
pop-filter prevents
hissing sounds and
plosives. On top of that,
the capsule is protected
from moisture. Cardioid
polar pattern Its
cardioid polar pattern
picks up sound coming
mainly from the front of
the microphone. Sound
coming from directly
behind the mic is
dampened to guarantee
high monitor levels. A
solid show is assured as
you don't have to worry
about nasty feedback
issues. What's in the
box? The MTP 350 CMs
comes with a snap-in mic
clip, a windscreen and a
transport bag.
Cello, String Orchestra SKU: FG.55011-679-5 Composed by Mihkel Kerem. Cla...(+)
Cello, String Orchestra
SKU:
FG.55011-679-5
Composed by Mihkel Kerem.
Classical. Score and
Parts. Fennica Gehrman
#55011-679-5. Published
by Fennica Gehrman
(FG.55011-679-5).
Anyone who
believes traditional
tonality to be no longer
capable of expressing
anything more than
timeworn cliches should
listen to Kerem's work.
(Robert Maxham / Fanfare)
Lament for violoncello
and strings was written
as a commission from
Camerata Nordica and its
principal cello, Per
Nystrom, in 2008. At
Per's request the solo
part in this piece was
composed to represent a
lone human voice in a
world of disappointment.
The composer tells: I
used the violins and
violas as an operatic
choir: they support and
comment on the lament of
the lone human being. The
bass line is one long
drone throughout the
piece, representing
destiny or unwanted
reality. It disappears
only when the solo voice
with the chorus of
violins and violas
intensifies in their
disagreement with life.
At the climax of the
piece the solo voice is
momentarily swallowed by
the chorus, only to
return with an angry
statement of the opening
phrase. Thereafter the
chorus calms down in
acceptance that the world
won't change. The bass
drone returns to haunt
the dying lament of the
lone voice. The very last
phrase is the only one in
a major key and echoes as
a prayer for hope.
Duration c. 9 minutes.
Score (all three
versions), separate solo
parts for violoncello /
viola / violin and
orchestral parts
(33221).
Pink SKU: HL.1109278 Pink Drum Damper Gels. SlapKlatz. General Mer...(+)
Pink
SKU:
HL.1109278
Pink
Drum Damper Gels.
SlapKlatz. General
Merchandise. Duration 155
seconds. Hal Leonard
#MI-PI. Published by Hal
Leonard (HL.1109278).
UPC: 196288109594.
3.25x4.0x0.94
inches.
SlapKlatz
makes the most versatile
drum dampeners on the
market. These little gel
drum dampeners let
drummers easily control
the amount of unwanted
ring and overtones from
their drums and cymbals,
without sacrificing the
tone or the playing feel.
Quality Material:
SlapKlatz gel is
developed to be extremely
adhesive. This ensures
their dampeners will stay
on drums no matter
they're put. These
dampeners even stay on
bottom heads or the
underside of cymbals!
Size and thickness:
SlapKlatz spent a huge
amount of time and energy
in testing various gel
sizes and thicknesses,
and the result is found
in all their packages.
Features: • 3
different packs (Mini,
Pro, and Refillz) •
4 different colors
(clear, black, alien
green, and pink) •
Specifically developed
for drums •
Washable with soap and
water (air dry only)
• Used by
professionals, including
Benny Greb, John JR
Robinson, Tony Royster
Jr., Anika Nilles, Gergo
Borlai, and many
more!
SKU: HL.1117975 Lewitt Audio. Microphone. Hal Leonard #MTP250DM. Publishe...(+)
SKU: HL.1117975
Lewitt Audio. Microphone.
Hal Leonard #MTP250DM.
Published by Hal Leonard
(HL.1117975).
UPC:
847986001399.
8.0x10.0x4.5
inches.
Please
note: although we don't
keep stock on hand, this
item will drop ship
direct from the
manufacturer at the time
of your order. Tailored
vocal sound The MTP 250
DM features full and
clear live sound. Your
voice sits well in the
mix and you can hear
yourself clearly on the
monitors. Engage with
your fans. They can hear
you loud and clear!
Durable materials for
longevity To make sure
your beloved microphone
survives even your
roughest touring
routines, the enclosure
is made out of durable
zinc die-cast parts. A
rubber-suspension
protects the capsule
while minimizing unwanted
handling noise. The
built-in wind and
pop-filter prevents
hissing sounds and
plosives. On top of that,
the capsule is protected
from moisture. Cardioid
polar pattern A cardioid
polar pattern picks up
sound coming mainly from
the front of the
microphone, sound from
directly behind the MTP
250 DM is dampened. You
can run your monitor
signal at high volume
without having to worry
about nasty feedback
issues. You'll perform
confidently, and a solid
show is assured. What's
in the box? The MTP 250
DM comes with a snap-in
mic clip, a windscreen
and a transport bag.
SKU: HL.1753724 Royer Labs. Microphone. Hal Leonard #R-10. Published by H...(+)
SKU: HL.1753724
Royer Labs. Microphone.
Hal Leonard #R-10.
Published by Hal Leonard
(HL.1753724).
UPC:
850035900178.
7.25x9.5x3.5
inches.
Every Royer
R-10 delivers the sonic
excellence, flexibility
and durability that
recording and FOH
engineers know they can
expect from Royer, but at
an easier-to-handle price
point than most expect!
The R-10 is a passive,
mono ribbon microphone
designed for use in the
studio and on live
stages. Hand-built in our
Burbank, California
factory, the R-10 is
exceptionally rugged,
handling SPLs of up to
160 dB @ 1 kHz (!), and
its compact size and
mounting system allow for
flexible, unobtrusive
positioning. The R-10's
2.5-micron aluminum
ribbon element (same as
in the legendary R-121)
is formed with our
patented
direct-corrugation
process, and is extremely
well-protected by a
3-layer windscreen system
and internally
shock-mounted ribbon
transducer. The R-10's
built-in windscreen
provides superior
protection from air
blasts and plosives,
while also reducing
proximity effect (bass
buildup from close
micing) so guitar
cabinets and acoustic
instruments can be more
easily close-miced. The
internally shock-mounted
ribbon transducer
isolates the ribbon
element from unwanted
vibrations, decreasing
rumble and increasing the
ribbon element's
durability. The
transducer is even wired
for humbucking to better
reject
electromagnetically
induced noise! The R-10
utilizes a David Royer
custom-designed
transformer for high
overload threshold,
minimizing saturation at
even extremely high sound
pressure levels. You'll
never overload an R-10!
The mic's open grill
design minimizes standing
waves and associated
comb-filtering effects
and its smooth frequency
response, phase linearity
and lack of
self-distortion make it
ideal for all digital
recording and live sound
formats. The R-10 is
truly an excellent tool
for recording almost any
sound source you can
think of!