Level I. Composed by Blaine Edlefsen and Fred Weber. Method/Instruction; Woodwin...(+)
Level I. Composed by
Blaine Edlefsen and Fred
Weber.
Method/Instruction;
Woodwind - Oboe Method or
Collection. Student
Instrumental Course.
Book. 40 pages. Belwin
Music #00-BIC00121A.
Published by Belwin Music
Oboe SKU: BT.MUSM570362240 Oboe. Composed by Philip Venables. Clas...(+)
Oboe
SKU:
BT.MUSM570362240
Oboe. Composed by
Philip Venables.
Classical. Book Only. 12
pages. University of York
Music Press
#MUSM570362240. Published
by University of York
Music Press
(BT.MUSM570362240).
English.
Metamor
phoses after Britten was
written for Melinda
Maxwell, for UYMP's
Signals volume of new
music for Oboe. It was
first performed by
Melinda at York
University on 24th
November 2010. I - A
Mountain II - Fixation
III - Flowers IV -
Fountains Metamorphoses
after Britten by
philipvenables
Metamorphoses after
Britten are just that:
four miniatures, each
inspired by one of
Benjamin Britten’s Six
Metamorphoses after Ovid
for solo oboe. Each
movement, over its short
course, transforms
gradually from one thing
to another, ending, with
the exception of
Fountains, in a short,
cathartic coda. Some of
the movements also take
specific musical elements
from Britten’s pieces.
I verymuch viewed these
pieces as musical Haiku,
and in that sense I hope
they embody a sense of
peace, brevity and
simplicity. The oboe
version of Metamorphoses
after Britten is
dedicated to Melinda
Maxwell. The saxophone
version of Metamorphoses
after Britten, with an
additional movement, is
dedicated to Vicki and
Andrew Vaughan
- Philip Venables
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Oboe SKU: GI.G-M552 Composed by James Froseth. Band Method. Do It! Music ...(+)
Oboe
SKU:
GI.G-M552
Composed by
James Froseth. Band
Method. Do It! Music
Education. Method book.
32 pages. GIA
Publications #M552.
Published by GIA
Publications (GI.G-M552).
English.
Enable
your students to pursue
their own musical
interests with this
culturally diverse
collection of solo
pieces. This collection
is designed to provide
technical and musical
challenges to young
students ready to move
out to the center of the
stage and perform solo.
Exemplary models by
top-tier symphony
musicians on the included
CD can motivate students
to practice with
enthusiasm and intensity
and to reach for the
highest levels of musical
performance.
Accompaniments performed
by first-call studio
musicians provide
authentic contexts for
real-world music
experiences. A
self-directed component
to any course of music
instruction is almost
certain to maintain
interest, increase
practice time, and
improve performance
skills vital to the
instrumental ensemble.
Coordinates with Do It!
Play in Band, but
enhances any beginning
band course.
Written by H. Voxman, William Gower. For oboe. Rubank Educational Library, volum...(+)
Written by H. Voxman,
William Gower. For oboe.
Rubank Educational
Library, volume 92.
Format: instructional
book. With fold-out
fingering chart.
Instructional. 72 pages.
9x12 inches. Published by
Hal Leonard.
Oboe SKU: GI.G-M589 Composed by James Froseth. Band Method. Do It! Music ...(+)
Oboe
SKU:
GI.G-M589
Composed by
James Froseth. Band
Method. Do It! Music
Education. Book and CD.
88 pages. GIA
Publications #M589.
Published by GIA
Publications (GI.G-M589).
ISBN 9781579996420.
English.
Do It!
Play and Teach is an
innovative and
comprehensive text for
college secondary
instrument courses or for
any instrumental music
teacher looking to master
a new wind instrument.
This spiral-bound book
with accompanying CD is
designed to develop the
performance skills
teachers need to provide
students with exemplary
instrumental models.
“Focus on
Teaching†bullets
found throughout each
book develop the
pedagogical understanding
needed to teach technical
and musical skills to
beginning and
intermediate level
students. Do It! Play
and Teach also gives
teachers the tools to
assess their
students’
technical and musical
skills. From clear
photographic models of
embouchure, posture,
instrument position, and
hand position, to an
artist-rendered CD of
“Listen and
Play†tracks, this
series has the potential
to transform both your
music making and your
music teaching. James O.
Froseth Molly A. Weaver,
contributing editor.