| The Ultimate Fake Book - Third Edition (Bb version)
Instruments en Sib [Fake Book] Hal Leonard
Bb Edition. Fake Book (Includes melody line and chords). Size 9x12 inches. 816 p...(+)
Bb Edition. Fake Book
(Includes melody line and
chords). Size 9x12
inches. 816 pages.
Published by Hal Leonard.
(8)$49.95 - Voir plus => AcheterDélais: 3 to 5 business days | | |
| The Best Fake Book Ever - 2nd Edition - Eb Edition
Instruments en Mib [Fake Book] Hal Leonard
Fakebook for Eb instrument. With vocal melody, lyrics and chord names. Series: H...(+)
Fakebook for Eb
instrument. With vocal
melody, lyrics and chord
names. Series: Hal
Leonard Fake Books. 864
pages. Published by Hal
Leonard.
(2)$49.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Best Fake Book Ever - C Edition - 3rd Edition
Fake Book [Fake Book] Hal Leonard
(C Edition) For voice and C instrument. Format: fakebook. With vocal melody, lyr...(+)
(C Edition) For voice and
C instrument. Format:
fakebook. With vocal
melody, lyrics and chord
names. Series: Hal
Leonard Fake Books. 856
pages. 9x12 inches.
Published by Hal Leonard.
(14)$59.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Folksong Fake Book - C Edition
Fake Book [Fake Book] Hal Leonard
For voice and C instrument. Format: fakebook. With vocal melody, lyrics and chor...(+)
For voice and C
instrument. Format:
fakebook. With vocal
melody, lyrics and chord
names. Folk. Series: Hal
Leonard Fake Books. 536
pages. 9.6x12 inches.
Published by Hal Leonard.
(10)$34.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Best Fake Book Ever - 5th Edition Instruments en Do [Fake Book] Hal Leonard
C Edition. Composed by Various. Fake Book. Broadway, Country, Jazz, Pop, Stand...(+)
C Edition. Composed by
Various. Fake Book.
Broadway,
Country, Jazz, Pop,
Standards.
Softcover. 802 pages.
Published by Hal Leonard
$49.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Ultimate Country Fake Book - 4th Edition
Fake Book [Fake Book] Hal Leonard
Fake Book (Includes melody line and chords). Size 9x12 inches. 568 pages. Publis...(+)
Fake Book (Includes
melody line and chords).
Size 9x12 inches. 568
pages. Published by Hal
Leonard.
(8)$55.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Buskers Fake Book All Time Hit Piano seul Music Sales
| | |
| Fake Book Of The World's Favorite Songs - C Instruments - 4th Edition
Instruments en Do [Fake Book] Hal Leonard
For voice and C instrument. Format: fakebook. With vocal melody, lyrics and chor...(+)
For voice and C
instrument. Format:
fakebook. With vocal
melody, lyrics and chord
names. Traditional pop
and vocal standards.
Series: Hal Leonard Fake
Books. 424 pages. 9x12
inches. Published by Hal
Leonard.
(14)$34.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Real Little New Broadway Fake Book Instruments en Do [Fake Book] Hal Leonard
645 Songs from 285 Shows. Composed by Various. Fake Book. Broadway. Softcover....(+)
645 Songs from 285 Shows.
Composed by Various. Fake
Book. Broadway.
Softcover.
696 pages. Published by
Hal
Leonard
$39.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The New Broadway Fake Book Instruments en Do Hal Leonard
645 Songs from 285 Shows. Composed by Various. Fake Book. Broadway, Musicals. ...(+)
645 Songs from 285 Shows.
Composed by Various. Fake
Book. Broadway, Musicals.
Softcover. 696 pages.
Published by Hal Leonard
$49.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Daily Ukulele - Baritone Edition Ukulele Baryton Hal Leonard
Arranged by Jim Beloff and Liz Beloff. For Baritone Ukulele. Fake Book. Softcove...(+)
Arranged by Jim Beloff
and Liz Beloff. For
Baritone Ukulele. Fake
Book. Softcover. 336
pages. Published by Hal
Leonard
$49.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Daily Ukulele
Ukulele [Partition] Hal Leonard
(365 Songs for Better Living). Arranged by Jim Beloff and Liz Beloff. Ukulele. S...(+)
(365 Songs for Better
Living). Arranged by Jim
Beloff and Liz Beloff.
Ukulele. Softcover. 336
pages. Published by Hal
Leonard
(5)$44.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Daily Ukulele: To Go! Ukulele Hal Leonard
Portable Edition. Arranged by Jim Beloff and Liz Beloff. Fake Book. Softco...(+)
Portable Edition.
Arranged
by Jim Beloff and Liz
Beloff. Fake Book.
Softcover. 464 pages.
Published by Hal Leonard
$39.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Celtic Fake Book
Fake Book [Fake Book] Hal Leonard
C Edition. Fake Book (Includes melody line and chords). Size 9x12 inches. 256 pa...(+)
C Edition. Fake Book
(Includes melody line and
chords). Size 9x12
inches. 256 pages.
Published by Hal Leonard.
(2)$29.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| All the Best Songs for Easy Guitar, Vol. 2 Guitare Lillenas Publishing Co.
(75 Hymns and Choruses). By David Winkler. String ensemble. For medium voice, gu...(+)
(75 Hymns and Choruses).
By David Winkler. String
ensemble. For medium
voice, guitar. Easy.
Published by Lillenas
Publishing Company
$14.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Jumbo Songbook Orgue Hal Leonard
(E-Z Play Today #199). Composed by Various. For Organ, Piano/Keyboard, Electroni...(+)
(E-Z Play Today #199).
Composed by Various. For
Organ, Piano/Keyboard,
Electronic Keyboard. E-Z
Play Today. Softcover.
528 pages. Published by
Hal Leonard
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| Come On, Ring Those Bells Chorale SATB Shawnee Press
Arranged by Lloyd Larson. For Choral (SATB). Glory Sound Christmas. 12 pages. Pu...(+)
Arranged by Lloyd Larson.
For Choral (SATB). Glory
Sound Christmas. 12
pages. Published by
GlorySound
$2.50 $2.375 (- 5%) Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Big Book Of Dance Songs Music Sales
| | |
| Golden Encyclopedia Of Folk Music Piano, Voix [Partition] Hal Leonard
For voice and piano. Format: piano/vocal/chords songbook. With vocal melody, pia...(+)
For voice and piano.
Format:
piano/vocal/chords
songbook. With vocal
melody, piano
accompaniment, lyrics,
chord names, basic guitar
chords chart (diagrams),
illustrations and
introductory text. Folk.
352 pages. 9x12 inches.
Published by Hal Leonard.
(2)$24.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Folk Songs Piano, Voix et Guitare [Partition] Hal Leonard
| | |
| The Easy Folksong Fake Book Fake Book [Fake Book] Hal Leonard
(Over 120 Songs in the Key of C). By Various. Fake Book. Softcover. 152 pages. P...(+)
(Over 120 Songs in the
Key of C). By Various.
Fake Book. Softcover. 152
pages. Published by Hal
Leonard
$24.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| 1712 Overture Orchestre Theodore Presser Co.
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. $39.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| 1712 Overture Orchestre Theodore Presser Co.
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. $80.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Ninja - Facile Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Chimes, Clarinet 1, Clarinet 2, E...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bells,
Chimes, Clarinet 1,
Clarinet 2, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Flute 3, Gong,
Horn 1, Horn 2, Mallet
Percussion, Oboe,
Percussion 1, Percussion
2, Percussion 3, Snare
Drum, Suspended Cymbal
and more. - Grade 2
SKU: CF.YPS228
Composed by Michael Boo.
Folio. Yps. Set of Score
and Parts.
4+2+2+2+4+4+2+2+5+5+2+2+4
+4+4+2+2+3+3+3+2+3+2+1+1+
1+2+16 pages. Duration
2:30. Carl Fischer Music
#YPS228. Published by
Carl Fischer Music
(CF.YPS228). ISBN
9781491157961. UPC:
680160916566. 9 x 12
inches. Ninja is a
Grade 2 piece playable by
any young band, due to
extensive doublings
throughout. The mood of
the piece is mysterious,
reflecting the image of
ninjas being seen one
moment and gone the next.
Flute 3 is not essential
as it doubles the oboes,
but is useful in case you
have a lot of flutes or
due to a limited number
of oboes. If you donat
have a bass clarinet,
baritone saxophone or
bassoons, those parts are
covered in the low brass.
The timpani part is
optional, and the piece
wonat suffer if you donat
have access to that
percussion. The optional
F-chime and gong only
play in the final measure
of the piece. While
adding a notable effect
at the end, those
instruments wonat be
missed if you donat have
them available. The
tom-tom part can be
played on a snare drum
with the snares off or
may be played on a tenor
drum. Care should be
taken that accented notes
are emphasized, but never
become ponderous. The
half notes at the
beginning of the piece
should not be accented.
The theme is introduced
in the first twelve
measures, and at m. 13
many of the instruments
trade the melody for half
notes and vice-versa. Be
careful that the
percussion section never
becomes overpowering. At
m. 25, care should be
taken that there is quite
a volume difference
between ff and mp. Think
of this representing the
ninjas being seen one
moment and being hidden
the next. The double
staccato figures at m. 33
should not be accented.
Trumpets and trombones at
m. 37 should not be
overly legato, but
certainly shouldnat be
treated as staccatos.
Being aware of not
accenting notes that
donat have accents will
make the accents at m. 49
more dramatic. Please
note that the legato
notes at mm. 58 and 60
are not to be
accented. Ninja is a
Grade 2 piece playable by
any young band, due to
extensive doublings
throughout. The mood of
the piece is mysterious,
reflecting the image of
ninjas being seen one
moment and gone the next.
Flute 3 is not essential
as it doubles the oboes,
but is useful in case you
have a lot of flutes or
due to a limited number
of oboes. If you don't
have a bass clarinet,
baritone saxophone or
bassoons, those parts are
covered in the low brass.
The timpani part is
optional, and the piece
won't suffer if you don't
have access to that
percussion. The optional
F-chime and gong only
play in the final measure
of the piece. While
adding a notable effect
at the end, those
instruments won't be
missed if you don't have
them available. The
tom-tom part can be
played on a snare drum
with the snares off or
may be played on a tenor
drum. Care should be
taken that accented notes
are emphasized, but never
become ponderous. The
half notes at the
beginning of the piece
should not be accented.
The theme is introduced
in the first twelve
measures, and at m. 13
many of the instruments
trade the melody for half
notes and vice-versa. Be
careful that the
percussion section never
becomes overpowering. At
m. 25, care should be
taken that there is quite
a volume difference
between ff and mp. Think
of this representing the
ninjas being seen one
moment and being hidden
the next. The double
staccato figures at m. 33
should not be accented.
Trumpets and trombones at
m. 37 should not be
overly legato, but
certainly shouldn't be
treated as staccatos.
Being aware of not
accenting notes that
don't have accents will
make the accents at m. 49
more dramatic. Please
note that the legato
notes at mm. 58 and 60
are not to be
accented. Ninja is a
Grade 2 piece playable by
any young band, due to
extensive doublings
throughout. The mood of
the piece is mysterious,
reflecting the image of
ninjas being seen one
moment and gone the
next.Flute 3 is not
essential as it doubles
the oboes, but is useful
in case you have a lot of
flutes or due to a
limited number of oboes.
If you don’t have
a bass clarinet, baritone
saxophone or bassoons,
those parts are covered
in the low brass. The
timpani part is optional,
and the piece
won’t suffer if
you don’t have
access to that
percussion. The optional
F-chime and gong only
play in the final measure
of the piece. While
adding a notable effect
at the end, those
instruments won’t
be missed if you
don’t have them
available. The tom-tom
part can be played on a
snare drum with the
snares off or may be
played on a tenor
drum.Care should be taken
that accented notes are
emphasized, but never
become ponderous. The
half notes at the
beginning of the piece
should not be accented.
The theme is introduced
in the first twelve
measures, and at m. 13
many of the instruments
trade the melody for half
notes and vice-versa. Be
careful that the
percussion section never
becomes overpowering.At
m. 25, care should be
taken that there is quite
a volume difference
between ff and mp. Think
of this representing the
ninjas being seen one
moment and being hidden
the next. The double
staccato figures at m. 33
should not be accented.
Trumpets and trombones at
m. 37 should not be
overly legato, but
certainly
shouldn’t be
treated as staccatos.
Being aware of not
accenting notes that
don’t have accents
will make the accents at
m. 49 more dramatic.
Please note that the
legato notes at mm. 58
and 60 are not to be
accented. $65.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Ninja [Conducteur] - Facile Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Chimes, Clarinet 1, Clarinet 2, E...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bells,
Chimes, Clarinet 1,
Clarinet 2, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Flute 3, Gong,
Horn 1, Horn 2, Mallet
Percussion, Oboe,
Percussion 1, Percussion
2, Percussion 3, Snare
Drum, Suspended Cymbal
and more. - Grade 2
SKU: CF.YPS228F
Composed by Michael Boo.
Sws. Yps. Full score. 16
pages. Duration 2:30.
Carl Fischer Music
#YPS228F. Published by
Carl Fischer Music
(CF.YPS228F). ISBN
9781491157978. UPC:
680160916573. 9 x 12
inches. Ninja is a
Grade 2 piece playable by
any young band, due to
extensive doublings
throughout. The mood of
the piece is mysterious,
reflecting the image of
ninjas being seen one
moment and gone the next.
Flute 3 is not essential
as it doubles the oboes,
but is useful in case you
have a lot of flutes or
due to a limited number
of oboes. If you donat
have a bass clarinet,
baritone saxophone or
bassoons, those parts are
covered in the low brass.
The timpani part is
optional, and the piece
wonat suffer if you donat
have access to that
percussion. The optional
F-chime and gong only
play in the final measure
of the piece. While
adding a notable effect
at the end, those
instruments wonat be
missed if you donat have
them available. The
tom-tom part can be
played on a snare drum
with the snares off or
may be played on a tenor
drum. Care should be
taken that accented notes
are emphasized, but never
become ponderous. The
half notes at the
beginning of the piece
should not be accented.
The theme is introduced
in the first twelve
measures, and at m. 13
many of the instruments
trade the melody for half
notes and vice-versa. Be
careful that the
percussion section never
becomes overpowering. At
m. 25, care should be
taken that there is quite
a volume difference
between ff and mp. Think
of this representing the
ninjas being seen one
moment and being hidden
the next. The double
staccato figures at m. 33
should not be accented.
Trumpets and trombones at
m. 37 should not be
overly legato, but
certainly shouldnat be
treated as staccatos.
Being aware of not
accenting notes that
donat have accents will
make the accents at m. 49
more dramatic. Please
note that the legato
notes at mm. 58 and 60
are not to be
accented. Ninja is a
Grade 2 piece playable by
any young band, due to
extensive doublings
throughout. The mood of
the piece is mysterious,
reflecting the image of
ninjas being seen one
moment and gone the next.
Flute 3 is not essential
as it doubles the oboes,
but is useful in case you
have a lot of flutes or
due to a limited number
of oboes. If you don't
have a bass clarinet,
baritone saxophone or
bassoons, those parts are
covered in the low brass.
The timpani part is
optional, and the piece
won't suffer if you don't
have access to that
percussion. The optional
F-chime and gong only
play in the final measure
of the piece. While
adding a notable effect
at the end, those
instruments won't be
missed if you don't have
them available. The
tom-tom part can be
played on a snare drum
with the snares off or
may be played on a tenor
drum. Care should be
taken that accented notes
are emphasized, but never
become ponderous. The
half notes at the
beginning of the piece
should not be accented.
The theme is introduced
in the first twelve
measures, and at m. 13
many of the instruments
trade the melody for half
notes and vice-versa. Be
careful that the
percussion section never
becomes overpowering. At
m. 25, care should be
taken that there is quite
a volume difference
between ff and mp. Think
of this representing the
ninjas being seen one
moment and being hidden
the next. The double
staccato figures at m. 33
should not be accented.
Trumpets and trombones at
m. 37 should not be
overly legato, but
certainly shouldn't be
treated as staccatos.
Being aware of not
accenting notes that
don't have accents will
make the accents at m. 49
more dramatic. Please
note that the legato
notes at mm. 58 and 60
are not to be
accented. Ninja is a
Grade 2 piece playable by
any young band, due to
extensive doublings
throughout. The mood of
the piece is mysterious,
reflecting the image of
ninjas being seen one
moment and gone the
next.Flute 3 is not
essential as it doubles
the oboes, but is useful
in case you have a lot of
flutes or due to a
limited number of oboes.
If you don’t have
a bass clarinet, baritone
saxophone or bassoons,
those parts are covered
in the low brass. The
timpani part is optional,
and the piece
won’t suffer if
you don’t have
access to that
percussion. The optional
F-chime and gong only
play in the final measure
of the piece. While
adding a notable effect
at the end, those
instruments won’t
be missed if you
don’t have them
available. The tom-tom
part can be played on a
snare drum with the
snares off or may be
played on a tenor
drum.Care should be taken
that accented notes are
emphasized, but never
become ponderous. The
half notes at the
beginning of the piece
should not be accented.
The theme is introduced
in the first twelve
measures, and at m. 13
many of the instruments
trade the melody for half
notes and vice-versa. Be
careful that the
percussion section never
becomes overpowering.At
m. 25, care should be
taken that there is quite
a volume difference
between ff and mp. Think
of this representing the
ninjas being seen one
moment and being hidden
the next. The double
staccato figures at m. 33
should not be accented.
Trumpets and trombones at
m. 37 should not be
overly legato, but
certainly
shouldn’t be
treated as staccatos.
Being aware of not
accenting notes that
don’t have accents
will make the accents at
m. 49 more dramatic.
Please note that the
legato notes at mm. 58
and 60 are not to be
accented. $11.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
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