As recorded by Bruno Mars. Composed by Christopher Brown, Jeremy Reeves, J...(+)
As recorded by Bruno
Mars.
Composed by Christopher
Brown, Jeremy Reeves,
Jonathan Yip, Bruno Mars,
Philip Lawrence, James
Fauntleroy, Ray Romulus,
and
Ray McCollough II.
Arranged
by Michael Story. Full
Orchestra; Score. Pop
Intermediate String/Full
Orchestra. Light Concert;
Pop; Pop/Rock; Radio;
Rock.
12 pages. Published by
Alfred Music
Prime Time Tuesday Orchestre [Conducteur et Parties séparées] - Intermédiaire Alfred Publishing
(As performed by the cast of Glee (featuring: Any Way You Want It / Dream...(+)
(As performed by the cast
of Glee
(featuring: Any Way You
Want It / Dream a Little
Dream of Me / Don't Stop
Believin')). Arranged by
Victor LÌ_pez.
Orchestra. For full
(Bells/Xylophone, timp
(tambourine), Snare
Drum/Hi-Hat Cymbal/Ride
Cymbal, Bass
Drum,Tom-Toms [Opt.
Drumset], pno opt, vln3).
Full Orchestra; Part(s);
Score. Pop Intermediate
Full Orchestra. Form:
Medley. Jazz; Light
Concert; Pop; TV. Grade
3.5. 226 pages. Published
by Alfred Music
Publishing
S'vivon. Arranged
by Brendan Mcbrien.
Performance Music
Ensemble; Single Titles;
String Orchestra.
Highland/Etling String
Orchestra. Chanukah;
Jewish Heritage;
Multicultural;
Traditional; Winter.
Score. 12 pages. Duration
2:50. Highland/Etling
#00-44852S. Published by
Highland/Etling
(AP.44852S).
UPC:
038081518572. English.
Traditional
Hanukkah.
S'vivon
(se-vi-vohn) is the
Hebrew word for dreidl, a
four-sided top that is
popular with children
during the celebration of
the Jewish holiday
Hanukkah, the Festival of
Lights. In this
arrangement by Brendan
McBrien, variations are
created through the
subtle use of motivic
rhythms from within the
melody, presenting the
theme in different voices
and keys in both arco and
pizzicato, using the A
section of the tune as an
accompaniment for the B
section, and, finally,
changing the modality to
major, which creates (for
a short time) a very
different feeling from
the traditional minor
setting. (2:50).
On The Mountain Top Orchestre [Conducteur et Parties séparées] C.L. Barnhouse
SKU: CL.016-0290-00 Fantasia. Composed by Barnhouse. Orchestra. Am...(+)
SKU:
CL.016-0290-00
Fantasia. Composed
by Barnhouse. Orchestra.
American Concert
Orchestra Series (10).
Score and set of parts.
Composed 1920. C.L.
Barnhouse #016-0290-00.
Published by C.L.
Barnhouse
(CL.016-0290-00).
#10 NOTE: This
is a vintage orchestra
publication, designed for
the small theater
orchestras of the very
late 1800s and early
1900s – whose
instrumentation varies
considerably from a
modern full orchestra
work. Parts for standard
string instruments are
included, along with wind
and percussion parts as
scored by the musical
judgment of the composer
or arranger. Be cautioned
that published parts
might include less
familiar transpositions,
such as Clarinet or
Cornet in A, Horn in Eb,
etc. Please contact us
with any specific
instrumentation
questions.
S'vivon. Arranged
by Brendan Mcbrien.
Performance Music
Ensemble; Single Titles;
String Orchestra.
Highland/Etling String
Orchestra. Chanukah;
Jewish Heritage;
Multicultural;
Traditional; Winter.
Score and Part(s). 124
pages. Duration 2:50.
Highland/Etling
#00-44852. Published by
Highland/Etling
(AP.44852).
UPC:
038081518565. English.
Traditional
Hanukkah.
S'vivon
(se-vi-vohn) is the
Hebrew word for dreidl, a
four-sided top that is
popular with children
during the celebration of
the Jewish holiday
Hanukkah, the Festival of
Lights. In this
arrangement by Brendan
McBrien, variations are
created through the
subtle use of motivic
rhythms from within the
melody, presenting the
theme in different voices
and keys in both arco and
pizzicato, using the A
section of the tune as an
accompaniment for the B
section, and, finally,
changing the modality to
major, which creates (for
a short time) a very
different feeling from
the traditional minor
setting. (2:50).
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).
Orchestra (Study Score) SKU: HL.49004865 Score. Composed by Werner...(+)
Orchestra (Study Score)
SKU: HL.49004865
Score. Composed by
Werner Egk. Edition
Schott. Classical. Book
with Audio-Online.
Composed 1952. 132 pages.
Schott Music #ED4408.
Published by Schott Music
(HL.49004865).
ISBN
9781423413134. UPC:
073999276947.
6.0x9.0x0.366
inches.
Diction
lessons on each aria in
the series recorded by
top language coaches from
the Metropolitan Opera
and the Juilliard School
plus International
Phonetic Alphabet and
word for word
translations
<
br>With these
book/CDpackages that
match the standard aria
collections edited by
Robert L. Larsen, any
singer anywhere has
access to the best
diction coaching
available at a very
affordable price. Each
aria is recorded twice.
In the first version
thecoach recites the text
as an actor would speak
it, showing flow of the
language and the mood.
The second version is a
slow, deliberate lesson,
allowing time for the
student to repeat each
line. These experienced
language coachesadapt the
“R” in German
and French in the slow
versions for singers.
They also are very
sensitive to liaisons
between word sounds in
the musical settings. The
book includes
International Phonetic
Alphabet for each ariaand
word for word
translations.
The native speaking
professional diction
coaches from the
Metropolitan Opera and
the Juilliard School are:
Corradina Caporello for
Italian, Pierre Vallet
for French, Irene
Spiegelmanfor German,
Kathryn LaBouff for
English, Yveta Synek
Graff for Czech, and Gina
Levinson for Russian.
Companion to 50483986
Coloratura Arias for
Soprano.
Dicti
on lessons on each aria
in the series recorded by
top language coaches from
the Metropolitan Opera
and the Juilliard School
plus International
Phonetic Alphabet and
word for word
translations
<
br>With these
book/CDpackages that
match the standard aria
collections edited by
Robert L. Larsen, any
singer anywhere has
access to the best
diction coaching
available at a very
affordable price. Each
aria is recorded twice.
In the first version
thecoach recites the text
as an actor would speak
it, showing flow of the
language and the mood.
The second version is a
slow, deliberate lesson,
allowing time for the
student to repeat each
line. These experienced
language coachesadapt the
“R” in German
and French in the slow
versions for singers.
They also are very
sensitive to liaisons
between word sounds in
the musical settings. The
book includes
International Phonetic
Alphabet for each ariaand
word for word
translations.
The native speaking
professional diction
coaches from the
Metropolitan Opera and
the Juilliard School are:
Corradina Caporello for
Italian, Pierre Vallet
for French, Irene
Spiegelmanfor German,
Kathryn LaBouff for
English, Yveta Synek
Graff for Czech, and Gina
Levinson for Russian.
Companion to 50483986
Coloratura Arias for
Soprano.
Dicti
on lessons on each aria
in the series recorded by
top language coaches from
the Metropolitan Opera
and the Juilliard School
plus International
Phonetic Alphabet and
word for word
translations
<
br>With these
book/CDpackages that
match the standard aria
collections edited by
Robert L. Larsen, any
singer anywhere has
access to the best
diction coaching
available at a very
affordable price. Each
aria is recorded twice.
In the first version
thecoach recites the text
as an actor would speak
it, showing flow of the
language and the mood.
The second version is a
slow, deliberate lesson,
allowing time for the
student to repeat each
line. These experienced
language coachesadapt the
“R” in German
and French in the slow
versions for singers.
They also are very
sensitive to liaisons
between word sounds in
the musical settings. The
book includes
International Phonetic
Alphabet for each ariaand
word for word
translations.
The native speaking
professional diction
coaches from the
Metropolitan Opera and
the Juilliard School are:
Corradina Caporello for
Italian, Pierre Vallet
for French, Irene
Spiegelmanfor German,
Kathryn LaBouff for
English, Yveta Synek
Graff for Czech, and Gina
Levinson for Russian.
Companion to 50483986
Coloratura Arias for
Soprano.
Dicti
on lessons on each aria
in the series recorded by
top language coaches from
the Metropolitan Opera
and the Juilliard School
plus International
Phonetic Alphabet and
word for word
translations
<
br>With these
book/CDpackages that
match the standard aria
collections edited by
Robert L. Larsen, any
singer anywhere has
access to the best
diction coaching
available at a very
affordable price. Each
aria is recorded twice.
In the first version
thecoach recites the text
as an actor would speak
it, showing flow of the
language and the mood.
The second version is a
slow, deliberate lesson,
allowing time for the
student to repeat each
line. These experienced
language coachesadapt the
“R” in German
and French in the slow
versions for singers.
They also are very
sensitive to liaisons
between word sounds in
the musical settings. The
book includes
International Phonetic
Alphabet for each ariaand
word for word
translations.
The native speaking
professional diction
coaches from the
Metropolitan Opera and
the Juilliard School are:
Corradina Caporello for
Italian, Pierre Vallet
for French, Irene
Spiegelmanfor German,
Kathryn LaBouff for
English, Yveta Synek
Graff for Czech, and Gina
Levinson for Russian.
Companion to 50483986
Coloratura Arias for
Soprano.
Dicti
on lessons on each aria
in the series recorded by
top language coaches from
the Metropolitan Opera
and the Juilliard School
plus International
Phonetic Alphabet and
word for word
translations
<
br>With these
book/CDpackages that
match the standard aria
collections edited by
Robert L. Larsen, any
singer anywhere has
access to the best
diction coaching
available at a very
affordable price. Each
aria is recorded twice.
In the first version
thecoach recites the text
as an actor would speak
it, showing flow of the
language and the mood.
The second version is a
slow, deliberate lesson,
allowing time for the
student to repeat each
line. These experienced
language coachesadapt the
“R” in German
and French in the slow
versions for singers.
They also are very
sensitive to liaisons
between word sounds in
the musical settings. The
book includes
International Phonetic
Alphabet for each ariaand
word for word
translations.
The native speaking
professional diction
coaches from the
Metropolitan Opera and
the Juilliard School are:
Corradina Caporello for
Italian, Pierre Vallet
for French, Irene
Spiegelmanfor German,
Kathryn LaBouff for
English, Yveta Synek
Graff for Czech, and Gina
Levinson for Russian.
Companion to 50483986
Coloratura Arias for
Soprano.
Full Score.
Composed by Oscar
Hammerstein and Richard
Rodgers. Arranged by
Bruce Chase. Orchestra.
Broadway. 80 pages.
Published by Hal Leonard
(HL.348847).
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.
(Tanzstunden I)
Tanzschauspiel. Libretto
frei nach Moliere.
Composed by Hans Werner
Henze. This edition:
Paperback/Soft Cover.
Sheet music. Edition
Schott. Classical. Study
Score. Composed
1949/1995. 172 pages.
Duration 35'. Schott
Music #ED 9456. Published
by Schott Music
(HL.49013033).
ISBN
9790001131919.
8.25x11.75x0.462
inches.
Bei der
Neuschrift des Stucks im
Winter 1995-96, funfzig
Jahre nach seiner
Entstehung (als
Buhnenmusik zu Molieres
Comedie ballet Georges
Dandin, aus der
anschliessend ein Ballett
wurde mit dem englischen
Clown Jack Pudding in der
Titelrolle), ist es mir
darum gegangen, den alten
Notentext auszulosen und
sein thematisches und
harmonisches Material
nach Kriterien zu ordnen
und zu entwickeln, die
mir seinerzeit noch nicht
zur Verfugung standen,
und die recht
skizzenhafte Anlage des
Urtexts in eine Klangwelt
heruberzutragen, die
meinen heutigen
Vorstellungen und
Wertbegriffen von Theater
und Musik entspricht und
die gleichzeitig das
heutige kulturelle Klima
Neapels widerspiegelt und
damit eine besondere Art
von Wirklichkeit, die
mich einmal so sehr
gefangengenommen,
bezaubert und beeinflusst
hat.- Hans Werner
Henze
: 1 (auch
Picc.) * 1 * 1 * 1 - 1 *
1 * 1 * 0 - P. S. (3
Trgl. * Crot. * Rohrengl.
* Trinidad steel drum * 3
hg. Beck. * 3 Tamt. * 3
Tomt. * Schellentr. * kl.
Tr. * gr. Tr. [m. u. o.
Beck.] * Bongo * Guiro *
Kast. * Ratsche *
Peitsche * Lotosfl. *
Cuica * Mar. * Putipu
[neap. Brummtopf]*
Scetavajasse [neap.
Schrapstock mit Schellen]
* Flex. * Vibr. *
Marimba) (3 Spieler) -
Klav. (auch Cel. und Akk.
ad lib.) - Str.
Stabat Mater Orchestre [Conducteur d'étude / Miniature] Boosey and Hawkes
Choral; String Orchestra (Study Score) SKU: HL.48024551 Choir and Stri...(+)
Choral; String Orchestra
(Study Score)
SKU:
HL.48024551
Choir
and String Orchestra.
Composed by James
Macmillan. Boosey &
Hawkes Scores/Books.
Classical. Softcover. 140
pages. Duration 3180
seconds. Boosey & Hawkes
#M060135071. Published by
Boosey & Hawkes
(HL.48024551).
ISBN
9781784544393. UPC:
888680916695.
7.25x10.0x0.472 inches.
Text: Jacopone de
Todi.
Composed in
2015, Stabat Mater was
commissioned by the
Genesis Foundation for
Harry Christophers and
The Sixteen. Scored for
mixed chorus and string
orchestra, it is a
long-awaited sequel to
the early masterpiece
Seven Last Words from the
Cross (1993), for the
same forces; indeed, the
later work begins with
the pianissimo 'dying
breaths' with which the
earlier score so
unforgettably closes.
Cast in four movements,
Stabat Mater has a
duration of 53 minutes.
Following the premiere
London's Financial Times
commented that the
composer speaks of a
'painful world of loss,
violence, and spiritual
desolation'. Both sides
of MacMillan are to be
found here, the
devotional and the
painter of bold, dramatic
canvases - the former in
the ethereal writing for
solo and ensemble voices,
the latter in the
lacerating blows and
feverish anxieties
depicted in the string
ensemble..
Composed by Ashley
Gorley, Cole Swindell,
Jesse Frasure, Mark
Sanders, Thomas Rhett,
and Words And music By
Tim Nichols. Arranged by
Michael Kamuf. MakeMusic
Cloud; Performance Music
Ensemble; Single Titles;
String Orchestra. Pop
Intermediate String
Orchestra. Country; Light
Concert; Pop; Pop/Rock;
Radio. Score and Part(s).
Duration 2:00. Alfred
Music #00-49457.
Published by Alfred Music
(AP.49457).
ISBN
9781470660710. UPC:
038081577500.
English.
From the
top of the country
charts, Cole Swindell's
hit single She Had Me at
Heads Carolina pays
tribute to singer and
songwriter Jo Dee Messina
and her debut single from
1996, Heads Carolina,
Tails California. With
melodies that get passed
throughout the ensemble,
arranger Michael Kamuf
has crafted the perfect
vehicle that will engage
both your students and
audience. This one is
FUN! (2:00).
Composed by Ashley
Gorley, Cole Swindell,
Jesse Frasure, Mark
Sanders, Thomas Rhett,
and Words And music By
Tim Nichols. Arranged by
Michael Kamuf.
Performance Music
Ensemble; Single Titles;
String Orchestra. Pop
Intermediate String
Orchestra. Country; Light
Concert; Pop; Pop/Rock;
Radio. Score. Duration
2:00. Alfred Music
#00-49457S. Published by
Alfred Music (AP.49457S).
ISBN 9781470660727.
UPC: 038081577517.
English.
From the
top of the country
charts, Cole Swindell's
hit single She Had Me at
Heads Carolina pays
tribute to singer and
songwriter Jo Dee Messina
and her debut single from
1996, Heads Carolina,
Tails California. With
melodies that get passed
throughout the ensemble,
arranger Michael Kamuf
has crafted the perfect
vehicle that will engage
both your students and
audience. This one is
FUN! (2:00).
Romantic opera in
three acts. Composed
by Franz Schubert. Edited
by Walther Durr. This
edition: complete
edition, urtext edition.
Linen. New Schubert
Edition (Neue Ausgabe
samtlicher Werke) Series
II, Volume 6. 3 part
volumes. Opern, dt.
(German Opera). Complete
edition, Score. D 732.
Duration 2 hours, 30
minutes. Baerenreiter
Verlag #BA05540_00.
Published by Baerenreiter
Verlag (BA.BA05540).
ISBN 9790006497126. 33
x 26 cm inches. Text:
Franz von
Schober.
In late
September or early
October 1821 Schubert and
his close friend, Franz
von Schober, vacationed
in the countryside of
Lower Austria. Their
first stopover was at
Ochsenburg Castle, which
belonged to the Bishop of
St. Pölten (a close
relative of
Schober’s), after
which they moved on to
St. Pölten itself.
Roughly a year earlier,
two stage works by
Schubert had been
performed in Vienna: the
one-act singspiel Die
Zwillingsbrüder and
the melodrama Die
Zauberharfe. The
librettos were both
written by the seasoned
Viennese playwright Georg
von Hofmann, who blamed
the press for the
indifferent reception the
two works were given by
the audience. Schubert
and Schober now decided,
it would seem, to write a
grand romantic opera
uninfluenced by the
workaday world of the
theatre and beholden
solely to their own ideas
of what an opera should
be.
Not until 24
June 1854 was the opera
finally performed in
Weimar, under the baton
of Franz Liszt. It only
achieved success,
however, in an
arrangement by Johann
Nepomuk Fuchs that was
staged on many German and
Austrian stages in
1881–2, allegedly
with brilliant
acclaim.
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
Believer Orchestre [Conducteur] - Facile Alfred Publishing
Orchestra - Grade 3 SKU: AP.48061S As Performed by Imagine Dragons...(+)
Orchestra - Grade 3
SKU: AP.48061S
As Performed by
Imagine Dragons.
Composed by Benjamin
McKee, Daniel Platzman,
Daniel Reynolds, Daniel
Sermon, Justin Tranter,
Mattias Larsson, and
Robin Fredriksson.
Arranged by Victor Lopez.
MakeMusic Cloud;
Performance Music
Ensemble; Single Titles;
String Orchestra. Pop
Concert String Orchestra.
Pop/Rock. Score. 12
pages. Duration 2:35.
Alfred Music #00-48061S.
Published by Alfred Music
(AP.48061S).
ISBN
9781470664619. UPC:
038081558660.
English.
Believer,
performed by Imagine
Dragons, is one of the
top selling singles in
the past few years. The
driving rock shuffle of
this arrangement for
string orchestra by
Victor López will
appeal to both students
and audience. A memorable
international gem that
will rock the house.
(2:35) This title is
available in MakeMusic
Cloud.
By Leon Jessel (1871-1942). Arranged by Ralph Ford. Orchestra. Full Orchestra; P...(+)
By Leon Jessel
(1871-1942). Arranged by
Ralph Ford. Orchestra.
Full Orchestra; Part(s);
Score. Belwin Concert
Full Orchestra.
Christmas; Winter. Grade
3. 150 pages. Published
by Alfred Music
Publishing
By Leon Jessel (1871-1942). Arranged by Ralph Ford. Orchestra. Full Orchestra; S...(+)
By Leon Jessel
(1871-1942). Arranged by
Ralph Ford. Orchestra.
Full Orchestra; Score.
Belwin Concert Full
Orchestra. Christmas;
Winter. Grade 3. 16
pages. Published by
Alfred Music Publishing
Composed by John
Caponegro. Accent String
Orchestra. Score and Set
of Parts. Duration 2:40,
without the optional
repeat. Kendor Music Inc
#8264. Published by
Kendor Music Inc
(KN.8264).
UPC:
822795082647.
This
original by one of the
industry's top writers
begins as a leisurely
chorale that tunefully
moves into a march.
Extensive doubling of the
2nd Violin and viola
parts allows directors to
move more players to the
1st violin part. Along
similar lines, the bass
and cello parts are
identical. The optional
percussion part (2 copies
included) for snare drum,
bass drum and crash
cymbals complements the
march style nicely.
Duration 2:40 (without
optional repeat).
Available in
SmartMusic.
Fireball Orchestre [Conducteur] - Intermédiaire Alfred Publishing
Orchestra - Grade 3.5 SKU: AP.49427S Composed by Mark Wood. Performance M...(+)
Orchestra - Grade 3.5
SKU: AP.49427S
Composed by Mark Wood.
Performance Music
Ensemble; Single Titles;
String Orchestra. Mark
Wood Series. Pop/Rock;
Rock. Score. Duration
2:25. Alfred Music
#00-49427S. Published by
Alfred Music (AP.49427S).
ISBN 9781470650964.
UPC: 038081571874.
English.
Fireball
was originally composed
for the television
broadcast of the bike
race, Tour de France, for
CBS Sports. The footage
that inspired me featured
dozens of bike racers at
top speed racing down a
mountain road. The stress
and competition forces
the riders into extremely
dangerous situations
reflected in the music.
Thank you to Lynne Latham
for the great ending
idea. (2:25).
Orchestra - Grade 2 SKU: AP.49919 Composed by Benjamin McKee, Daniel Plat...(+)
Orchestra - Grade 2
SKU: AP.49919
Composed by Benjamin
McKee, Daniel Platzman,
Daniel Reynolds, Daniel
Sermon, Mattias Larsson,
and Robin Fredriksson.
Arranged by Victor Lopez.
MakeMusic Cloud;
Performance Music
Ensemble; Single Titles;
String Orchestra. Pop
Intermediate String
Orchestra. Light Concert;
Pop; Pop/Rock; Radio;
Rock. Score and Part(s).
Duration 3:10. Alfred
Music #00-49919.
Published by Alfred Music
(AP.49919).
ISBN
9781470662103. UPC:
038081579306.
English.
Give your
students and audience a
special treat with this
outstanding arrangement
of Bones by one of the
most compelling bands in
the world. Veteran
arranger Victor López
crafted a chart that is
easy to learn and teach.
This piece has all the
elements of a top-notch
pop tune. (3:10).
Flower Drum Song.
Arranged by Bob Phillips.
MakeMusic Cloud;
Performance Music
Ensemble; Single Titles;
String Orchestra. Sound
Innovations for String
Orchestra. Folk;
Multicultural;
Traditional. Score. 8
pages. Duration 2:30.
Alfred Music #00-48074S.
Published by Alfred Music
(AP.48074S).
UPC:
038081557076. English.
Traditional Chinese Folk
Song.
One of the
most enduring Chinese
melodies dating back to
the Ming Dynasty, this
arrangement of Feng Yang
Song, or Flower Drum
Song, will provide
technical development,
listening skills, and is
just beautiful. Arranged
by Bob Phillips using the
G and D major pentatonic
scales, the sounds that
might have been heard
centuries ago are
well-represented in the
strings. All sections
play the melody as well
as accompaniment parts in
pizzicato or as
percussive taps on the
top of their instruments
using the finger pads of
the left hand. Correlated
to Sound Innovations for
String Orchestra, Book 2,
Level 2. (2:30) This
title is available in
MakeMusic Cloud.
From Lute Concerto RV
93. Composed by
Antonio Vivaldi. Arranged
by Brendan Mcbrien.
Masterworks; Performance
Music Ensemble; Single
Titles; String Orchestra.
Highland/Etling String
Orchestra. Form:
Concerto; Transcription.
Baroque; Masterwork
Arrangement. Score. 16
pages. Duration 3:40.
Highland/Etling
#00-45881S. Published by
Highland/Etling
(AP.45881S).
UPC:
038081523866.
English.
Adapted
from Vivaldi's Lute
Concerto in D Major, this
arrangement from Brenden
McBrien for two solo
violins and orchestra
creates an opportunity to
feature your top
violinists in the opening
movement of this classic
work. Your musicians and
audience will be charmed
by this Italian
masterpiece which
includes passages for
solo cello and optional
keyboard accompaniment to
lend it that authentic
flavor. (3:40).
Bones Orchestre [Conducteur] - Facile Alfred Publishing
Orchestra - Grade 2 SKU: AP.49919S Composed by Benjamin McKee, Daniel Pla...(+)
Orchestra - Grade 2
SKU: AP.49919S
Composed by Benjamin
McKee, Daniel Platzman,
Daniel Reynolds, Daniel
Sermon, Mattias Larsson,
and Robin Fredriksson.
Arranged by Victor Lopez.
Performance Music
Ensemble; Single Titles;
String Orchestra. Pop
Intermediate String
Orchestra. Light Concert;
Pop; Pop/Rock; Radio;
Rock. Score. Duration
3:10. Alfred Music
#00-49919S. Published by
Alfred Music (AP.49919S).
ISBN 9781470662110.
UPC: 038081579313.
English.
Give your
students and audience a
special treat with this
outstanding arrangement
of Bones by one of the
most compelling bands in
the world. Veteran
arranger Victor López
crafted a chart that is
easy to learn and teach.
This piece has all the
elements of a top-notch
pop tune. (3:10).