Orchestra - Grade 2.5 SKU: AP.20718 Composed by Bob Phillips. MakeMusic C...(+)
Orchestra - Grade 2.5
SKU: AP.20718
Composed by Bob Phillips.
MakeMusic Cloud;
Performance Music
Ensemble; Single Titles;
String Orchestra.
Highland/Etling String
Explorer. Form: Medley.
Christmas; Novelty; Rock;
Secular; Winter. Score
and Part(s). 116 pages.
Highland/Etling
#00-20718. Published by
Highland/Etling
(AP.20718).
UPC:
038081219486.
English.
This
high-energy holiday
medley combines the
well-known tunes, Up on
the Housetop, Jingle
Bells, and Jolly Old St.
Nicholas in a 1950s rock
and roll style. The open
fifth, eighth note
accompaniment should be
played with a bounced bow
at the frog. Pay careful
attention to the staccato
notes during the driving
eighth note melodies.
Students will love this
Chuck Berry meets the
holidays setting of
traditional tunes. This
title is available in
MakeMusic Cloud.
Orchestra SKU: LO.30-2744L A Dynamic Witness to the Living Rock of Our...(+)
Orchestra
SKU:
LO.30-2744L
A
Dynamic Witness to the
Living Rock of Our
Salvation. Composed
by Lloyd Larson. Choral,
cantatas. Holy Week,
Eastertide, Sacred. Full
score. Lorenz Publishing
Company #30/2744L.
Published by Lorenz
Publishing Company
(LO.30-2744L).
UPC:
000308130225.
This
product is the full
orchestral score only for
No Stone Could Hold
Him..
Orchestra SKU: LO.30-2802L A Dynamic Witness to the Living Rock of Our...(+)
Orchestra
SKU:
LO.30-2802L
A
Dynamic Witness to the
Living Rock of Our
Salvation. Composed
by Lloyd Larson. Choral,
cantatas. Holy Week,
Eastertide, Sacred. Full
score and parts, plus CD
with printable parts.
Lorenz Publishing Company
#30/2802L. Published by
Lorenz Publishing Company
(LO.30-2802L).
UPC:
000308130928.
This
product includes the full
orchestral score, printed
parts, and digital parts
(delivered on a CD) for
No Stone Could Hold Him.
The parts include 2
Flutes, Oboe, 2
Clarinets, Bassoon (sub
Bass Clarinet), 2 Horns
(sub 2 Alto Saxes), 3
Trumpets, 2 Trombones
(sub 2 Tenor
Saxes/Baritone TC), Tuba,
Timpani, 2 Percussion,
Harp, Piano, 2 Violins,
Viola, Cello, and
Bass.
Orchestra - Grade 1.5 SKU: AP.48039S Composed by Victor Lopez. MakeMusic ...(+)
Orchestra - Grade 1.5
SKU: AP.48039S
Composed by Victor Lopez.
MakeMusic Cloud;
Performance Music
Ensemble; Single Titles;
String Orchestra. Belwin
Beginning String
Orchestra. Score. 8
pages. Duration 2:00.
Belwin Music #00-48039S.
Published by Belwin Music
(AP.48039S).
UPC:
038081555188.
English.
The
majesty of this
geographic landmark is
evident in Gibraltar: The
Rock by Victor López.
Fabled in Greek lore to
be one of the two pillars
of Hercules, the bold
music presented provides
a fitting representation.
Written with plenty of
tutti and unison sections
throughout, this
impressive work for
beginning strings will
provide young ensembles
the opportunity to
display characteristics
of musical maturity.
Stepwise melodic lines,
driving background
rhythms, as well as
bowing and fingering
markings make this
energetic piece easier to
learn and teach. This
title is available in
MakeMusic Cloud.
(2:00).
Orchestra - Grade 1.5 SKU: AP.48039 Composed by Victor Lopez. MakeMusic C...(+)
Orchestra - Grade 1.5
SKU: AP.48039
Composed by Victor Lopez.
MakeMusic Cloud;
Performance Music
Ensemble; Single Titles;
String Orchestra. Belwin
Beginning String
Orchestra. Programmatic.
Score and Part(s). 80
pages. Duration 2:00.
Belwin Music #00-48039.
Published by Belwin Music
(AP.48039).
UPC:
038081555171.
English.
The
majesty of this
geographic landmark is
evident in Gibraltar: The
Rock by Victor López.
Fabled in Greek lore to
be one of the two pillars
of Hercules, the bold
music presented provides
a fitting representation.
Written with plenty of
tutti and unison sections
throughout, this
impressive work for
beginning strings will
provide young ensembles
the opportunity to
display characteristics
of musical maturity.
Stepwise melodic lines,
driving background
rhythms, as well as
bowing and fingering
markings make this
energetic piece easier to
learn and teach. This
title is available in
MakeMusic Cloud.
(2:00).
Orchestra SKU: LO.30-2801L A Dynamic Witness to the Living Rock of Our...(+)
Orchestra
SKU:
LO.30-2801L
A
Dynamic Witness to the
Living Rock of Our
Salvation. Composed
by Lloyd Larson. Choral,
cantatas. Holy Week,
Eastertide, Sacred. CD
with printable parts.
Lorenz Publishing Company
#30/2801L. Published by
Lorenz Publishing Company
(LO.30-2801L).
UPC:
000308130911.
This
product is the set of
digital parts only
(delivered on a CD) for
No Stone Could Hold Him,
and it includes parts for
2 Flutes, Oboe, 2
Clarinets, Bassoon (sub
Bass Clarinet), 2 Horns
(sub 2 Alto Saxes), 3
Trumpets, 2 Trombones
(sub 2 Tenor
Saxes/Baritone TC), Tuba,
Timpani, 2 Percussion,
Harp, Piano, 2 Violins,
Viola, Cello, and
Bass.
Orchestra SKU: LO.30-2745L A Dynamic Witness to the Living Rock of Our...(+)
Orchestra
SKU:
LO.30-2745L
A
Dynamic Witness to the
Living Rock of Our
Salvation. Composed
by Lloyd Larson. Choral,
cantatas. Holy Week,
Eastertide, Sacred.
Instrumental parts.
Lorenz Publishing Company
#30/2745L. Published by
Lorenz Publishing Company
(LO.30-2745L).
UPC:
000308130232.
This
product is the set of
printed parts only for No
Stone Could Hold Him, and
it includes parts for 2
Flutes, Oboe, 2
Clarinets, Bassoon (sub
Bass Clarinet), 2 Horns
(sub 2 Alto Saxes), 3
Trumpets, 2 Trombones
(sub 2 Tenor
Saxes/Baritone TC), Tuba,
Timpani, 2 Percussion,
Harp, Piano, 2 Violins,
Viola, Cello, and
Bass.
Arranged by Sandra
Dackow. Performance Music
Ensemble; Single Titles;
String Orchestra.
Orchestra Expressions.
Folk; World. Score. 16
pages. Alfred Music
#00-46682S. Published by
Alfred Music (AP.46682S).
Soldier's Joy
arranged by Sandra Dackow
is a familiar fiddle tune
that will be a great way
to open or close any
concert. Teaching a
variety of string
techniques, this piece
will feature all of your
players on both the
melody and the
accompaniment. Correlated
with Orchestra
Expressions, Book 2, this
arrangement will inspire
your students to increase
their tempo to create an
exciting performance!
About
Orchestra
Expressions
<
p>Play great songs such
as Over the Rainbow,
Batman, This Land Is Your
Land, and Star Wars (Main
Title). Listen to and
play a variety of styles
of music: popular,
traditional, classical,
folk and patriotic. Read
and write music; compose
and improvise. Perform in
a concert and play for
your family and friends.
Be a conductor of the
orchestra. Learn about
composers, such as
Antonin Dvorak, Johann
Pachelbel, Jacques
Offenbach, Pytor Ilyich
Tchaikovsky, Giuseppe
Verdi, George M. Cohan,
George Frideric Handel,
Ludwig van Beethoven,
Johann Sebastian Bach,
Wolfgang Amadeus Mozart,
Giacomo Puccini, Georges
Bizet, Neal Hefti, and
John Williams. Discover
how music and art are
related. Learn about a
variety of musical
ensembles including
string orchestra, full
orchestra, mariachi band,
steel drum band,
dixieland jazz band, rock
band, and more. Play
music from around the
world, including North
America, Europe, Latin
America, Asia, and
Africa.
Arranged by Sandra
Dackow. Performance Music
Ensemble; Single Titles;
String Orchestra.
Orchestra Expressions.
Fiddle; Folk; World.
Score and Part(s). 148
pages. Duration 2:00.
Alfred Music #00-46682.
Published by Alfred Music
(AP.46682).
Soldier's Joy
arranged by Sandra Dackow
is a familiar fiddle tune
that will be a great way
to open or close any
concert. Teaching a
variety of string
techniques, this piece
will feature all of your
players on both the
melody and the
accompaniment. Correlated
with Orchestra
Expressions, Book 2, this
arrangement will inspire
your students to increase
their tempo to create an
exciting performance!
About
Orchestra
Expressions
<
p>Play great songs such
as Over the Rainbow,
Batman, This Land Is Your
Land, and Star Wars (Main
Title). Listen to and
play a variety of styles
of music: popular,
traditional, classical,
folk and patriotic. Read
and write music; compose
and improvise. Perform in
a concert and play for
your family and friends.
Be a conductor of the
orchestra. Learn about
composers, such as
Antonin Dvorak, Johann
Pachelbel, Jacques
Offenbach, Pytor Ilyich
Tchaikovsky, Giuseppe
Verdi, George M. Cohan,
George Frideric Handel,
Ludwig van Beethoven,
Johann Sebastian Bach,
Wolfgang Amadeus Mozart,
Giacomo Puccini, Georges
Bizet, Neal Hefti, and
John Williams. Discover
how music and art are
related. Learn about a
variety of musical
ensembles including
string orchestra, full
orchestra, mariachi band,
steel drum band,
dixieland jazz band, rock
band, and more. Play
music from around the
world, including North
America, Europe, Latin
America, Asia, and
Africa.
Orchestra SKU: HL.48019878 For Orchestra Score. Composed by Bertol...(+)
Orchestra
SKU:
HL.48019878
For
Orchestra Score.
Composed by Bertold
Hummel. Boosey & Hawkes
Scores/Books. Classical.
58 pages. Simrock
#M221121226. Published by
Simrock (HL.48019878).
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.
Composed by Renata Bratt.
Performance Music
Ensemble; Single Titles;
String Orchestra.
Highland/Etling String
Alternatives. Meters;
Rock. Score and Part(s).
124 pages. Duration 1:10.
Highland/Etling
#00-42075. Published by
Highland/Etling
(AP.42075).
UPC:
038081472089.
English.
This blast
to the past will
motivate, captivate, and
elevate your students
with old school '60s soul
sound, an infectious,
danceable rhythm, and a
triumphant finish.
Written in 12/8, the tune
begins with a ballad-like
introduction for solo
cello and then moves
around the sections. Each
instrument has a chance
to improvise or solo in
the written-out solo
section. Authentic
sounding riffs, complete
with grace notes and a
shout chorus, add to the
fun of compound meter
rock. A sure audience
pleaser and a terrific
end to a concert or first
half! (1:10).
New music
(post-2000). Full score.
Composed 2016/17/20. 48
pages. Duration 8'.
Breitkopf and Haertel #PB
5432. Published by
Breitkopf and Haertel
(BR.PB-5432).
ISBN
9790004212790. 10 x 12.5
inches.
Marche
fatale is an incautiously
daring escapade that may
annoy the fans of my
compositions more than my
earlier works, many of
which have prevailed only
after scandals at their
world premieres. My
Marche fatale has,
though, little
stylistically to do with
my previous compositional
path; it presents itself
without restraint, if not
as a regression, then
still as a recourse to
those empty phrases to
which modern civilization
still clings in its daily
utility music, whereas
music in the 20th and
21st centuries has long
since advanced to new,
unfamiliar soundscapes
and expressive
possibilities. The key
term is banality. As
creators we despise it,
we try to avoid it -
though we are not safe
from the cheap banal even
within new aesthetic
achievements.Many
composers have
incidentally accepted the
banal. Mozart wrote Ein
musikalischer Spass [A
Musical Jape], a
deliberately amateurishly
miscarried sextet.
Beethoven's Bagatellen
op. 119 were rejected by
the publisher on the
grounds that few will
believe that this minor
work is by the famous
Beethoven. Mauricio Kagel
wrote, tongue in cheek,
so to speak, Marsche, um
den Sieg zu verfehlen
[Marches for being
Unvictorious], Ligeti
wrote Hungarian Rock; in
his Circus Polka
Stravinsky quoted and
distorted the famous, all
too popular Schubert
military march, composed
at the time for piano
duet. I myself do not
know, though, whether I
ought to rank my Marche
fatale alongside these
examples: I accept the
humor in daily life, the
more so as this daily
life for some of us is
not otherwise to be
borne. In music, I
mistrust it, considering
myself all the closer to
the profounder idea of
cheerfulness having
little to do with humor.
However: Isn't a march
with its compelling claim
to a collectively martial
or festive mood absurd, a
priori? Is it even music
at all? Can one march and
at the same time listen?
Eventually, I resolved to
take the absurd seriously
- perhaps bitterly
seriously - as a
debunking emblem of our
civilization that is
standing on the brink.
The way - seemingly
unstoppable - into the
black hole of all
debilitating demons: that
can become serene. My old
request of myself and my
music-creating
surroundings is to write
a non-music, whence the
familiar concept of music
is repeatedly re-defined
anew and differently, so
that derailed here -
perhaps? - in a
treacherous way, the
concert hall becomes the
place of mind-opening
adventures instead of a
refuge in illusory
security. How could that
happen? The rest is -
thinking.(Helmut
Lachenmann, 2017)CD
(Version for
Piano):Nicolas Hodges CD
Wergo WER 7393 2
Bibliography:Ich bin
nicht ,,pietistisch
verformt. Ein Gesprach
[von Jan Brachmann] mit
dem Komponisten Helmut
Lachenmann, in: FAZ vom
7. Juni 2018, p.
15.
World premiere
of the piano version:
Mito/Japan, June 17,
2017, World premiere of
the orchestral version:
Stuttgart, January 1,
2018, World premiere of
the ensemble version:
Frankfurt, December 9,
2020.
Arranged by Sandra Dackow. Conductor's score and set of performance parts for st...(+)
Arranged by Sandra
Dackow. Conductor's score
and set of performance
parts for string
orchestra (8 - 1st
violin, 8 - 2nd violin, 5
- 3rd violin/viola
(treble clef), 5 - viola,
5 - cello, 5 - string
bass, 1 - piano
accompaniment). Series:
Orchestra Expressions
Series. Published by
Alfred Publishing.
Arranged by Sandra
Dackow. Performance Music
Ensemble; Single Titles;
String Orchestra.
Orchestra Expressions.
Traditional. Score and
Part(s). 76 pages. Alfred
Music #00-40417.
Published by Alfred Music
(AP.40417).
UPC:
038081453392. English.
Traditional German
student song; sung by
American college
students.
An old
silly song, this tune
should be performed with
the feeling of a rowdy
party! Every section has
great parts that will
provide plenty of
learning opportunities.
Correlates to Orchestra
Expressions Book 2.
About
Orchestra
Expressions
<
p>Play great songs such
as Over the Rainbow,
Batman, This Land Is Your
Land, and Star Wars (Main
Title). Listen to and
play a variety of styles
of music: popular,
traditional, classical,
folk and patriotic. Read
and write music; compose
and improvise. Perform in
a concert and play for
your family and friends.
Be a conductor of the
orchestra. Learn about
composers, such as
Antonin Dvorak, Johann
Pachelbel, Jacques
Offenbach, Pytor Ilyich
Tchaikovsky, Giuseppe
Verdi, George M. Cohan,
George Frideric Handel,
Ludwig van Beethoven,
Johann Sebastian Bach,
Wolfgang Amadeus Mozart,
Giacomo Puccini, Georges
Bizet, Neal Hefti, and
John Williams. Discover
how music and art are
related. Learn about a
variety of musical
ensembles including
string orchestra, full
orchestra, mariachi band,
steel drum band,
dixieland jazz band, rock
band, and more. Play
music from around the
world, including North
America, Europe, Latin
America, Asia, and
Africa.
Arranged by Sandra
Dackow. MakeMusic Cloud;
Performance Music
Ensemble; Single Titles;
String Orchestra.
Orchestra Expressions.
Folk; Traditional. Score
and Part(s). 148 pages.
Duration 2:15. Alfred
Music #00-45817.
Published by Alfred Music
(AP.45817).
UPC:
038081525501. English.
Traditional Irish
Tune.
All in first
position with
straightforward rhythms
and thematic parts for
everyone, this poignant
song arranged by Sandra
Dackow will be a
wonderful addition to any
concert. The Girl I Left
Behind Me first appears
in 18th century Ireland,
often known as Brighton
Camp. It emigrated to the
United States along with
many other
Anglo/Scots/Irish folk
tunes and became a
popular marching song for
soldiers. During the
American Civil War,
soldiers in both the
Confederate and Union
armies sang it. A number
of cultures have embraced
this song, adding their
own local lyrics. (2:15)
This title is available
in MakeMusic Cloud.
About
Orchestra
Expressions
<
p>Play great songs such
as Over the Rainbow,
Batman, This Land Is Your
Land, and Star Wars (Main
Title). Listen to and
play a variety of styles
of music: popular,
traditional, classical,
folk and patriotic. Read
and write music; compose
and improvise. Perform in
a concert and play for
your family and friends.
Be a conductor of the
orchestra. Learn about
composers, such as
Antonin Dvorak, Johann
Pachelbel, Jacques
Offenbach, Pytor Ilyich
Tchaikovsky, Giuseppe
Verdi, George M. Cohan,
George Frideric Handel,
Ludwig van Beethoven,
Johann Sebastian Bach,
Wolfgang Amadeus Mozart,
Giacomo Puccini, Georges
Bizet, Neal Hefti, and
John Williams. Discover
how music and art are
related. Learn about a
variety of musical
ensembles including
string orchestra, full
orchestra, mariachi band,
steel drum band,
dixieland jazz band, rock
band, and more. Play
music from around the
world, including North
America, Europe, Latin
America, Asia, and
Africa.
Arranged by Sandra
Dackow. MakeMusic Cloud;
Performance Music
Ensemble; Single Titles;
String Orchestra.
Orchestra Expressions.
Folk; Traditional. Score.
8 pages. Duration 2:15.
Alfred Music #00-45817S.
Published by Alfred Music
(AP.45817S).
UPC:
038081525518. English.
Traditional Irish
Tune.
All in first
position with
straightforward rhythms
and thematic parts for
everyone, this poignant
song arranged by Sandra
Dackow will be a
wonderful addition to any
concert. The Girl I Left
Behind Me first appears
in 18th century Ireland,
often known as Brighton
Camp. It emigrated to the
United States along with
many other
Anglo/Scots/Irish folk
tunes and became a
popular marching song for
soldiers. During the
American Civil War,
soldiers in both the
Confederate and Union
armies sang it. A number
of cultures have embraced
this song, adding their
own local lyrics. (2:15)
This title is available
in MakeMusic Cloud.
About
Orchestra
Expressions
<
p>Play great songs such
as Over the Rainbow,
Batman, This Land Is Your
Land, and Star Wars (Main
Title). Listen to and
play a variety of styles
of music: popular,
traditional, classical,
folk and patriotic. Read
and write music; compose
and improvise. Perform in
a concert and play for
your family and friends.
Be a conductor of the
orchestra. Learn about
composers, such as
Antonin Dvorak, Johann
Pachelbel, Jacques
Offenbach, Pytor Ilyich
Tchaikovsky, Giuseppe
Verdi, George M. Cohan,
George Frideric Handel,
Ludwig van Beethoven,
Johann Sebastian Bach,
Wolfgang Amadeus Mozart,
Giacomo Puccini, Georges
Bizet, Neal Hefti, and
John Williams. Discover
how music and art are
related. Learn about a
variety of musical
ensembles including
string orchestra, full
orchestra, mariachi band,
steel drum band,
dixieland jazz band, rock
band, and more. Play
music from around the
world, including North
America, Europe, Latin
America, Asia, and
Africa.
The Winds of Poseidon Orchestre [Conducteur et Parties séparées] - Avancé Alfred Publishing
By Robert W. Smith. By Robert W. Smith. For Full Orchestra. Full Orchestra. Belw...(+)
By Robert W. Smith. By
Robert W. Smith. For Full
Orchestra. Full
Orchestra. Belwin Concert
Full Orchestra. Level: 5
(Blue) (grade 5 Blue).
Conductor Score and
Parts. Published by
Alfred Publishing.
Orchestra - Grade 2.5 SKU: AP.45883S By Peter Ilyich Tchaikovsky. By Pete...(+)
Orchestra - Grade 2.5
SKU: AP.45883S
By
Peter Ilyich Tchaikovsky.
By Peter Ilyich
Tchaikovsky. Arranged by
Scott Watson.
Masterworks; Performance
Music Ensemble; Single
Titles; String Orchestra.
Highland/Etling String
Orchestra. Christmas;
Masterwork Arrangement;
Novelty; Romantic;
Secular; Winter. Score.
20 pages. Duration 2:20.
Highland/Etling
#00-45883S. Published by
Highland/Etling
(AP.45883S).
UPC:
038081423903.
English.
Have the
cookies left out on
Christmas Eve
mysteriously vanished?
Does it seem like the
nutcracker and toy
soldier figurines have
moved by themselves
overnight? Are you
experiencing strange
visions of holiday
confections dancing in
your head? There's only
one operative with the
right skill set for
holiday capers like
these: Secret Agent Sugar
Plum of the Holiday
Sweets Division of
WinterPol!
This
clever arrangement by
Scott Watson fuses themes
from Tchaikovsky's Dance
of the Sugar Plum Fairy
(from The Nutcracker)
with classic spy music
idioms, all set to a
driving rock beat. Sure
to be a player and
audience favorite in your
holiday concert!
(2:20).
Featuring: Just the Way You Are (Amazing) / When I Was Your Man / Locked Out ...(+)
Featuring: Just the
Way You Are (Amazing) /
When I Was Your Man /
Locked Out of Heaven.
Arranged by Victor Lopez.
Full Orchestra; Score.
Pop Concert Full
Orchestra. Form: Medley.
Pop. 28 pages. Published
by Alfred Music
(AP.43801S).
Bruno Mars' Greatest Hits Orchestre [Conducteur et Parties séparées] - Intermédiaire Alfred Publishing
(Featuring: Just the Way You Are (Amazing) / When I Was Your Man / Locked Out of...(+)
(Featuring: Just the Way
You Are (Amazing) / When
I Was Your Man / Locked
Out of Heaven). Arranged
by Victor Lopez.
Orchestra. Full
Orchestra; Part(s);
Score. Pop Concert Full
Orchestra. Form: Medley.
Pop. Grade 3. 230 pages.
Published by Alfred Music
Composed by Antonin
Dvorak. Edited by Robert
Simon. This edition:
urtext edition.
Paperback. Barenreiter
Urtext. Score. Opus 45/3.
Baerenreiter Verlag
#BA10403_00. Published by
Baerenreiter Verlag
(BA.BA10403).
ISBN
9790260104730. 31 x 24.3
cm inches. Key: A-flat
major. Preface: Simon,
Robert.
Dvorák
composed his
“Slavonic
Rhapsodies†op. 45
in 1878, initiating his
so-called “Slavonic
periodâ€. They were
issued by the publisher
Simrock the following
year as three independent
orchestral pieces (in D
major, G minor and A-flat
major) appearing under
the same opus
number.
Now the
“Slavonic
Rhapsodies†are
being issued separately
in scholarly-critical
editions. The editor
Robert Simon has taken
Dvorák’s
authorised first edition
as his principal source.
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 Antonin
Dvorak. Edited by Robert
Simon. This edition:
urtext edition.
Paperback. Barenreiter
Urtext. Score. Opus 45/2.
Baerenreiter Verlag
#BA10402_00. Published by
Baerenreiter Verlag
(BA.BA10402).
ISBN
9790260104723. 24.3 x 31
cm inches. Key: G minor.
Preface: Simon,
Robert.
Dvorák
composed his
“Slavonic
Rhapsodies†op. 45
in 1878, initiating his
so-called “Slavonic
periodâ€. They were
issued by the publisher
Simrock the following
year as three independent
orchestral pieces (in D
major, G minor and A-flat
major) appearing under
the same opus
number.
Now the
“Slavonic
Rhapsodies†are
being issued separately
in scholarly-critical
editions. The editor
Robert Simon has taken
Dvorák’s
authorised first edition
as his principal
source.
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