Concert band (BLO/SGST) SKU: HL.49013133 Aus Seefahrt nach Rio. Co...(+)
Concert band (BLO/SGST)
SKU: HL.49013133
Aus Seefahrt nach
Rio. Composed by
Heinz Geese. Arranged by
Rolf Granderath. This
edition: Saddle
stitching. Sheet music.
Schott Harmonie Serie
(Concert Band).
Classical. Condensed
Score. 16 pages. Schott
Music #SHS 2009-10.
Published by Schott Music
(HL.49013133).
ISBN
9790001134347.
Rolf
Granderath has put
together a sequence of
the most spirited tunes
and stirring Latin
American rhythms from
Heinz Geese's popular
children's musical the
boat trip to Rio (ED 6585
/ ED 6586) and arranged
them for (youth) wind
band. (Children's) voices
may be added ad libitum.
Prelude * Song: the
Journey to Rio * Song:
the Fine Life of the
Sailor * Song: the
Sailors feel Homesick *
Song: Shore Leave in Rio
* Song: Visiting Foreign
Ports -Song of the
Seagulls * Song: the
Return Home to Rio.
By Various. Arranged by Alexander Cole. For Piano. Songs for Children - Volume 1...(+)
By Various. Arranged by
Alexander Cole. For
Piano. Songs for Children
- Volume 1 for Easy Piano
compiled by Alexander
Cole is a collection of
"timeless children's
songs" cleverly arranged
to sound much more
difficult than they truly
are. This fantastic
assortment of Children's
songs, distributed by
Santorella Publications,
is graded at level 2-3
and sure to make even the
oldest of beginners feel
young again.
Choral (SSAA Choir) - intermediate SKU: HL.49001445 2. Sometimes I Fee...(+)
Choral (SSAA Choir) -
intermediate
SKU:
HL.49001445
2.
Sometimes I Feel like a
Motherless Child
(Spiritual). Composed
by Hilger Schallehn. This
edition: Folding. Sheet
music. Schott Chorverlag
(Choral Music).
Classical. Choral Score.
4 pages. Schott Music #C
48305. Published by
Schott Music
(HL.49001445).
ISBN
9790001016773. UPC:
073999666670.
7.5x10.75x0.01 inches.
English.
Mixed choir (SATB) with 2
soloists (SS) (SATB) -
advanced
SKU:
HL.49001457
Sometimes I feel like
a motherless child.
Composed by Werner
Jung-Faber. This edition:
Saddle stitching. Sheet
music. Schott Chorverlag
(Choral Music).
Classical. Choral Score.
8 pages. Duration 2'.
Schott Music #C 49004.
Published by Schott Music
(HL.49001457).
ISBN
9790001120579. UPC:
073999715156.
7.5x10.75x0.079 inches.
English.
Piano - Level 2 SKU: LM.27281 Composed by Hans Gunter Heumann. Classical....(+)
Piano - Level 2
SKU:
LM.27281
Composed by
Hans Gunter Heumann.
Classical. Score.
Editions Henry Lemoine
#27281. Published by
Editions Henry Lemoine
(LM.27281).
ISBN
9790230972819.
TRAD
ITIONNEL : Greensleeves -
Joshua Fit the Battle Of
Jericho - Nobody's Knows
the Trouble I've Seen -
AZNAVOUR / GALL : La
Mamma - BARBELIVIEN /
MEHDI : Mademoiselle
chante le blues - BETTI /
HORNEZ / SEELEN : C'est
si bon - BOCCHERINI :
Menuet - BRAHMS : Danse
hongroise n. 7 - CHOPIN :
Polonaise heroique -
DELIBES : Valse lente
(Coppelia) - DVORAK :
Humoresque - GAINSBOURG :
La Javanaise - HASSLER :
Prelude varie - HEUMANN :
Feelin' The Blues -
That's Real Boogie -
KARAS : Le Troisieme
homme - LAI / SIGMAN :
Love Story - LEGRAND /
MARNAY : Les Moulins de
mon coeur (L'Affaire
Thomas Crown) - MANCINI :
Baby Elephant Walk
(Hatari) - PUCCINI :
Nessun Dorma - REVAUX /
FRANCOIS / THIBAUT / ANKA
: My Way (Comme
d'habitude) - ROSSINI :
La Danza.
Soprano Baritone Voice Piano Accompaniment SKU: HL.14020481 Composed by S...(+)
Soprano Baritone Voice
Piano Accompaniment
SKU: HL.14020481
Composed by Stephen
Oliver. Music Sales
America. Classical. Book
[Softcover]. 56 pages.
Music Sales #NOV070457.
Published by Music Sales
(HL.14020481).
Composed by Doris Gazda.
Edited by Amy Rosen. Carl
Fischer Young String
Orchestra Series.
Classical. Score and
Parts. With Standard
notation.
16+4+16+10+10+4+10+12
pages. Carl Fischer Music
#YAS10. Published by Carl
Fischer Music (CF.YAS10).
ISBN 9780825848261.
UPC: 798408048266. 8.5 X
11 inches. Key: D
major.
When
traveling through the
desert southwest of the
United States, you may be
fortunate enough to come
across a strange looking
brown and white streaked
bird called the
Roadrunner. It has a blue
patch of skin circling
the eyes, a tiny dot of
bright red behind the
eyes, a bushy crest on
the top of its head and a
long tail that bobs up
and down. A member of the
cuckoo family, it is New
Mexico's state bird, and
can run in bursts of
speed from between ten to
twenty miles per hour.
Because it is equipped to
run rather than fly, its
feet are different from
other bird species,
having two toes in front
and two toes in the back.
Its tracks looks like the
letter X. Although
roadrunners can become
airborne, they are
basically ground birds
and do not fly. They eat
insects, scorpions, small
rodents, birds, lizards
and snakes. They do make
noise when in danger;
however, the clicks and
clatters do not resemble
the sound of a honking
horn that we think of
from the Hollywood
cartoon version of
roadrunners. The repeated
notes in the opening
melody of Roadrunner
Rally will remind
you of the sight of a
roadrunner traveling
along at breakneck speed.
A crisp spiccato
accompanied by pizzicato
in the cello and bass
paints the picture of the
bird running through the
desert. At m. 17 you will
hear that raucous honk,
honk that is associated
with the roadrunner
saying Out of my way! The
syncopation can easily be
learned by feel as well
as by counting carefully.
At m. 25 and similar
passages, the first
violins will have fun
learning the jazz licks.
The walking bass like at
m.69 with the jerky sound
of the octaves in the
upper strings will remind
you of the awkward
appearance of this
ungainly bird. And of
course, Roadrunner
Rally ends with a
loudly emphasized honking
noise, the beep that we
associate with the
humorous picture of the
roadrunner. When
traveling through the
desert southwest of the
United States, you may be
fortunate enough to come
across a strange looking
brown and white streaked
bird called the
Roadrunner. It has a blue
patch of skin circling
the eyes, a tiny dot of
bright red behind the
eyes, a bushy crest on
the top of its head and a
long tail that bobs up
and down. A member of the
cuckoo family, it is New
Mexico's state bird, and
can run in bursts of
speed from between ten to
twenty miles per hour.
Because it is equipped to
run rather than fly, its
feet are different from
other bird species,
having two toes in front
and two toes in the back.
Its tracks looks like the
letter X. Although
roadrunners can become
airborne, they are
basically ground birds
and do not fly. They eat
insects, scorpions, small
rodents, birds, lizards
and snakes. They do make
noise when in danger;
however, the clicks and
clatters do not resemble
the sound of a honking
horn that we think of
from the Hollywood
cartoon version of
roadrunners. The repeated
notes in the opening
melody ofA Roadrunner
Rally will remind
you of the sight of a
roadrunner traveling
along at breakneck speed.
A crisp spiccato
accompanied by pizzicato
in the cello and bass
paints the picture of the
bird running through the
desert. At m. 17 you will
hear that raucous honk,
honk that is associated
with the roadrunner
saying Out of my way! The
syncopation can easily be
learned by feel as well
as by counting carefully.
At m. 25 and similar
passages, the first
violins will have fun
learning the jazz licks.
The walking bass like at
m.69 with the jerky sound
of the octaves in the
upper strings will remind
you of the awkward
appearance of this
ungainly bird. And of
course,A Roadrunner
Rally ends with a
loudly emphasized honking
noise, theA beep that we
associate with the
humorous picture of the
roadrunner. When
traveling through the
desert southwest of the
United States, you may be
fortunate enough to come
across a strange looking
brown and white streaked
bird called the
Roadrunner. It has a blue
patch of skin circling
the eyes, a tiny dot of
bright red behind the
eyes, a bushy crest on
the top of its head and a
long tail that bobs up
and down. A member of the
cuckoo family, it is New
Mexico's state bird, and
can run in bursts of
speed from between ten to
twenty miles per hour.
Because it is equipped to
run rather than fly, its
feet are different from
other bird species,
having two toes in front
and two toes in the back.
Its tracks looks like the
letter X. Although
roadrunners can become
airborne, they are
basically ground birds
and do not fly. They eat
insects, scorpions, small
rodents, birds, lizards
and snakes. They do make
noise when in danger;
however, the clicks and
clatters do not resemble
the sound of a honking
horn that we think of
from the Hollywood
cartoon version of
roadrunners. The repeated
notes in the opening
melody ofA Roadrunner
Rally will remind
you of the sight of a
roadrunner traveling
along at breakneck speed.
A crisp spiccato
accompanied by pizzicato
in the cello and bass
paints the picture of the
bird running through the
desert. At m. 17 you will
hear that raucous honk,
honk that is associated
with the roadrunner
saying Out of my way! The
syncopation can easily be
learned by feel as well
as by counting carefully.
At m. 25 and similar
passages, the first
violins will have fun
learning the jazz licks.
The walking bass like at
m.69 with the jerky sound
of the octaves in the
upper strings will remind
you of the awkward
appearance of this
ungainly bird. And of
course,A Roadrunner
Rally ends with a
loudly emphasized honking
noise, theA beep that we
associate with the
humorous picture of the
roadrunner. When
traveling through the
desert southwest of the
United States, you may be
fortunate enough to come
across a strange looking
brown and white streaked
bird called the
Roadrunner. It has a blue
patch of skin circling
the eyes, a tiny dot of
bright red behind the
eyes, a bushy crest on
the top of its head and a
long tail that bobs up
and down. A member of the
cuckoo family, it is New
Mexico's state bird, and
can run in bursts of
speed from between ten to
twenty miles per hour.
Because it is equipped to
run rather than fly, its
feet are different from
other bird species,
having two toes in front
and two toes in the back.
Its tracks looks like the
letter X. Although
roadrunners can become
airborne, they are
basically ground birds
and do not fly. They eat
insects, scorpions, small
rodents, birds, lizards
and snakes. They do make
noise when in danger;
however, the clicks and
clatters do not resemble
the sound of a honking
horn that we think of
from the Hollywood
cartoon version of
roadrunners. The repeated
notes in the opening
melody of Roadrunner
Rally will remind
you of the sight of a
roadrunner traveling
along at breakneck speed.
A crisp spiccato
accompanied by pizzicato
in the cello and bass
paints the picture of the
bird running through the
desert. At m. 17 you will
hear that raucous honk,
honk that is associated
with the roadrunner
saying Out of my way! The
syncopation can easily be
learned by feel as well
as by counting carefully.
At m. 25 and similar
passages, the first
violins will have fun
learning the jazz licks.
The walking bass like at
m.69 with the jerky sound
of the octaves in the
upper strings will remind
you of the awkward
appearance of this
ungainly bird. And of
course, Roadrunner
Rally ends with a
loudly emphasized honking
noise, the beep that we
associate with the
humorous picture of the
roadrunner. When
traveling through the
desert southwest of the
United States, you may be
fortunate enough to come
across a strange looking
brown and white streaked
bird called the
Roadrunner. It has a blue
patch of skin circling
the eyes, a tiny dot of
bright red behind the
eyes, a bushy crest on
the top of its head and a
long tail that bobs up
and down. A member of the
cuckoo family, it is New
Mexico's state bird, and
can run in bursts of
speed from between ten to
twenty miles per hour.
Because it is equipped to
run rather than fly, its
feet are different from
other bird species,
having two toes in front
and two toes in the back.
Its tracks looks like the
letter X. Although
roadrunners can become
airborne, they are
basically ground birds
and do not fly. They eat
insects, scorpions, small
rodents, birds, lizards
and snakes. They do make
noise when in danger;
however, the clicks and
clatters do not resemble
the sound of a honking
horn that we think of
from the Hollywood
cartoon version of
roadrunners. The repeated
notes in the opening
melody of Roadrunner
Rally will remind you of
the sight of a roadrunner
traveling along at
breakneck speed. A crisp
spiccato accompanied by
pizzicato in the cello
and bass paints the
picture of the bird
running through the
desert. At m. 17 you will
hear that raucous honk,
honk that is associated
with the roadrunner
saying Out of my way! The
syncopation can easily be
learned by feel as well
as by counting carefully.
At m. 25 and similar
passages, the first
violins will have fun
learning the jazz licks.
The walking bass like at
m.69 with the jerky sound
of the octaves in the
upper strings will remind
you of the awkward
appearance of this
ungainly bird. And of
course, Roadrunner Rally
ends with a loudly
emphasized honking noise,
the beep that we
associate with the
humorous picture of the
roadrunner. When
traveling through the
desert southwest of the
United States, you may be
fortunate enough to come
across a strange looking
brown and white streaked
bird called the
Roadrunner. It has a blue
patch of skin circling
the eyes, a tiny dot of
bright red behind the
eyes, a bushy crest on
the top of its head and a
long tail that bobs up
and down. A member of the
cuckoo family, it is New
Mexico's state bird, and
can run in bursts of
speed from between ten to
twenty miles per hour.
Because it is equipped to
run rather than fly, its
feet are different from
other bird species,
having two toes in front
and two toes in the back.
Its tracks looks like the
letter X. Although
roadrunners can become
airborne, they are
basically ground birds
and do not fly. They eat
insects, scorpions, small
rodents, birds, lizards
and snakes. They do make
noise when in danger;
however, the clicks and
clatters do not resemble
the sound of a honking
horn that we think of
from the Hollywood
cartoon version of
roadrunners.The repeated
notes in the opening
melody of Roadrunner
Rally will remind you of
the sight of a roadrunner
traveling along at
breakneck speed. A crisp
spiccato accompanied by
pizzicato in the cello
and bass paints the
picture of the bird
running through the
desert. At m. 17 you will
hear that raucous honk,
honk that is associated
with the roadrunner
saying Out of my way! The
syncopation can easily be
learned by feel as well
as by counting carefully.
At m. 25 and similar
passages, the first
violins will have fun
learning the jazz licks.
The walking bass like at
m.69 with the jerky sound
of the octaves in the
upper strings will remind
you of the awkward
appearance of this
ungainly bird. And of
course, Roadrunner
Rally ends with a loudly
emphasized honking noise,
the beep that we
associate with the
humorous picture of the
roadrunner.
Summer Dance Orchestre à Cordes [Conducteur et Parties séparées] - Facile Carl Fischer
Orchestra String Orchestra - Grade 2-2.5 SKU: CF.YAS19 Composed by Alan L...(+)
Orchestra String
Orchestra - Grade 2-2.5
SKU: CF.YAS19
Composed by Alan Lee
Silva. Carl Fischer Young
String Orchestra Series.
Classical. Score and
Parts. With Standard
notation. 12 pages. Carl
Fischer Music #YAS19.
Published by Carl Fischer
Music (CF.YAS19).
ISBN
9780825854859. UPC:
798408054854. 8.5 X 11
inches. Key: D
major.
Summer
Dance is a melodic,
up-tempo piece with
plenty of musical and
technical challenges for
every player. Musicians
should strive to play it
with an energetic yet
legato feel. A
spirited introduction
features an opening
melody in the violins and
active repeated-note
pedal patters in the
violas and low strings.
An AABA form begins at
m.5 and the orchestration
is immediately pared down
to feature violin I and
cello. It then builds
again in density to the B
section, where a quick
dynamic drop allows a
question-and-answer
melody between the two
parts to sing out. In m.
29, the melody is
harmonized and a
countermelody in violin I
introduced. The violins
take the melody soaring
in octaves in m. 33, as
the piece again builds to
the B section and
suddenly quiets. Measure
55 then provides more
question-and-answer
interplay, this time for
viola and cello, while
violin continues with its
newly harmonized melody.
Summer Dance finishes
with a soft recurrence of
the opening figure and a
build toward a powerful
divisi voicing
on beat 3 of m. 63, right
before the final
chord. Summer
Dance is a melodic,
up-tempo piece with
plenty of musical and
technical challenges for
every player. Musicians
should strive to play it
with an energetic yetA
legato feel. A
spirited introduction
features an opening
melody in the violins and
active repeated-note
pedal patters in the
violas and low strings.
An AABA form begins at
m.5 and the orchestration
is immediately pared down
to feature violin I and
cello. It then builds
again in density to the B
section, where a quick
dynamic drop allows a
question-and-answer
melody between the two
parts to sing out. In m.
29, the melody is
harmonized and a
countermelody in violin I
introduced. The violins
take the melody soaring
in octaves in m. 33, as
the piece again builds to
the B section and
suddenly quiets. Measure
55 then provides more
question-and-answer
interplay, this time for
viola and cello, while
violin continues with its
newly harmonized melody.
Summer Dance finishes
with a soft recurrence of
the opening figure and a
build toward a powerfulA
divisi voicing
on beat 3 of m. 63, right
before the final
chord. Summer Dance is
a melodic, up-tempo piece
with plenty of musical
and technical challenges
for every player.
Musicians should strive
to play it with an
energetic yet legato
feel. A spirited
introduction features an
opening melody in the
violins and active
repeated-note pedal
patters in the violas and
low strings. An AABA form
begins at m.5 and the
orchestration is
immediately pared down to
feature violin I and
cello. It then builds
again in density to the B
section, where a quick
dynamic drop allows a
question-and-answer
melody between the two
parts to sing out. In m.
29, the melody is
harmonized and a
countermelody in violin I
introduced. The violins
take the melody soaring
in octaves in m. 33, as
the piece again builds to
the B section and
suddenly quiets. Measure
55 then provides more
question-and-answer
interplay, this time for
viola and cello, while
violin continues with its
newly harmonized melody.
Summer Dance finishes
with a soft recurrence of
the opening figure and a
build toward a powerful
divisi voicing on beat 3
of m. 63, right before
the final
chord. Summer Dance is
a melodic, up-tempo piece
with plenty of musical
and technical challenges
for every player.
Musicians should strive
to play it with an
energetic yet legato
feel.A spirited
introduction features an
opening melody in the
violins and active
repeated-note pedal
patters in the violas and
low strings. An AABA form
begins at m.5 and the
orchestration is
immediately pared down to
feature violin I and
cello. It then builds
again in density to the B
section, where a quick
dynamic drop allows a
question-and-answer
melody between the two
parts to sing out.In m.
29, the melody is
harmonized and a
countermelody in violin I
introduced. The violins
take the melody soaring
in octaves in m. 33, as
the piece again builds to
the B section and
suddenly quiets. Measure
55 then provides more
question-and-answer
interplay, this time for
viola and cello, while
violin continues with its
newly harmonized melody.
Summer Dance finishes
with a soft recurrence of
the opening figure and a
build toward a
powerful divisi
voicing on beat 3 of m.
63, right before the
final chord.
About Carl
Fischer Young String
Orchestra
Series
Thi
s series of Grade 2/Grade
2.5 pieces is designed
for second and third year
ensembles. The pieces in
this series are
characterized
by: --Occasionally
extending to third
position --Keys
carefully considered for
appropriate
difficulty --Addition
of separate 2nd violin
and viola
parts --Viola T.C.
part
included --Increase
in independence of parts
over beginning levels
Composed by Christian Mason. World premiere: Paris, Cite de la musique, Januar...(+)
Composed by Christian
Mason.
World premiere: Paris,
Cite
de la musique, January
14,
2020. Breitkopf and
Haertel
#EB 9377. Published by
Breitkopf and Haertel
String Quartet SKU: HL.14030980 Parts. Composed by Bent Sorensen. ...(+)
String Quartet
SKU:
HL.14030980
Parts. Composed by
Bent Sorensen. Music
Sales America. Classical.
Set of Parts. Edition
Wilhelm Hansen #KP00249.
Published by Edition
Wilhelm Hansen
(HL.14030980).
ISBN
9788759871973.
12.0x16.0x0.285
inches.
Score
available: KP00250 The
composer writes: 'Even
when I was writing Adieu,
I knew that I wished to
write Angel's Music. The
title existed in an
incomplete form in my
mind and gradually more
and more ideas and a few
outlines became clear.
The actual work on
Angel's Music was started
in Rome, where I spent
the autumn of 1987
staying at The Danish
Academy. Whether this
stay has influenced the
quartet or not is
impossible to say.
however, it is true to
say that, in the Roman
churches I visited, I saw
countless angels playing
in the top of frescoes
and altars. Without these
angels, together with the
many crackled-gold
paintings in this city
and my general
fascination with the
Italian renaissance
painter Fra Angelico, (in
fact there are only a few
paintings by him in Rome,
but even his name..!) I
am not sure my quartet
would have been what it
is. Anyway I do feel that
there is a bit of Italy
in the piece. The angels
apart there are, in the
short rhythmic agitating
part of the quartet,
reminiscences of the
Italian medieval Trotto
dance, and in the most
expressive part of the
piece there are flashes
of Puccini-like music.
From the very beginning
of my work on the
quartet, the distant,
extremely muted sound in
the high register which
opens the piece, was on
my mind. A sound satiated
with a dense heterophonic
and polyphonic texture of
elegiac melody and
vibrating trills. I
imagined that little
songs (maybe angel songs)
could be created in this
density, these songs
constantly echoing
themselves. Gradually as
this sound got a more and
more concrete musical and
instrumental form, I
felt, that not only
should the little songs
be created, played and
die out in an echo, but
also that the general
pattern of the quartet
should give the feeling
of music which, from the
distance, is getting
closer and closer,
culminates and at last
disappears like an echo.
Related to this, the
general pattern of
Angel's Music is divided
into three: a pre-echo,
culmination and echo..
The relationship between
the three part is 5: 6:
4. The reason why I can
say this precisely and
prosaically is that it
was necessary to me to
mark the overall
guidelines before I
started to compose. I had
to do this in order to
enable the relationships
to crawl from the general
pattern almost
fractionally into the
smallest cells of the
music, or more correctly;
crawl from the small
cells into the general
pattern.'.
Composed by Loreta Fin.
Orchestra. Part(s);
Score; String Orchestra.
Wilfin String Orchestra:
Young String Ensemble
Series. Grade 1. 128
pages. Published by
Alfred Music
Violon et Piano [Set de Parties séparées] Carl Fischer
(Three Pictures of Chassidic Life) Composed by Ernest Bloch (1880-1959). Set of ...(+)
(Three Pictures of
Chassidic Life) Composed
by Ernest Bloch
(1880-1959). Set of
performance parts for
violin and piano. With
bowings and fingerings.
14 pages. Published by
Carl Fischer.
Score Only.
Composed by Ludwig van
Beethoven. Arranged by
Robert D McCashin.
Series; String Orchestra.
FJH String Orchestra. In
Beethoven's words, The
Pastoral Symphony is more
an expression of feeling
than painting... pleasant
feelings which awaken in
men on arriving in the
countryside. A perfect
introduction to
Beethoven's major works,
the music is exquisitely
orchestrated. Masterwork
Arrangement. Score.
Duration 6:00. The FJH
Music Company Inc
#98-ST6443S. Published by
The FJH Music Company Inc
(FJ.ST6443S).
English.
In
Beethoven's words, The
Pastoral Symphony is more
an expression of feeling
than painting... pleasant
feelings which awaken in
men on arriving in the
countryside. A perfect
introduction to
Beethoven's major works,
the music is exquisitely
orchestrated to retain
the true nature of
Beethoven's original
masterpiece.
About FJH
String
Orchestra
More emphasis on bow
technique and
independence of lines.
For the accomplished
middle, high school,
college, or professional
group. Grade 3 and up
Orchestra String Orchestra - Grade 3.5 SKU: FJ.ST6443 Composed by Ludwig ...(+)
Orchestra String
Orchestra - Grade 3.5
SKU: FJ.ST6443
Composed by Ludwig van
Beethoven. Arranged by
Robert D McCashin.
Series; String Orchestra.
FJH String Orchestra. In
Beethoven's words, The
Pastoral Symphony is more
an expression of feeling
than painting... pleasant
feelings which awaken in
men on arriving in the
countryside. A perfect
introduction to
Beethoven's major works,
the music is exquisitely
orchestrated. Masterwork
Arrangement. Score and
Part(s). Duration 6:00.
The FJH Music Company Inc
#98-ST6443. Published by
The FJH Music Company Inc
(FJ.ST6443).
UPC:
241444384824.
English.
In
Beethoven's words, The
Pastoral Symphony is more
an expression of feeling
than painting... pleasant
feelings which awaken in
men on arriving in the
countryside. A perfect
introduction to
Beethoven's major works,
the music is exquisitely
orchestrated to retain
the true nature of
Beethoven's original
masterpiece.
About FJH
String
Orchestra
More emphasis on bow
technique and
independence of lines.
For the accomplished
middle, high school,
college, or professional
group. Grade 3 and up
Guitar; Vocal SKU: HL.49005191 Edited by Klaus Buhe. Arranged by Klaus Bu...(+)
Guitar; Vocal
SKU:
HL.49005191
Edited by
Klaus Buhe. Arranged by
Klaus Buhe. This edition:
Saddle stitching. Sheet
music. Edition Schott.
Classical. 32 pages.
Schott Music #ED4829.
Published by Schott Music
(HL.49005191).
ISBN
9790001055697. UPC:
073999572148.
5.5x7.25x0.097
inches.
Drum Kit SKU: HL.14002373 Hands & Feet. Composed by Michael Axen. ...(+)
Drum Kit
SKU:
HL.14002373
Hands
& Feet. Composed by
Michael Axen. Music Sales
America. Classical. Book
[Softcover]. Composed
2002. 42 pages. Edition
Wilhelm Hansen #WH30501.
Published by Edition
Wilhelm Hansen
(HL.14002373).
ISBN
9788759810637.
English.
This book
is designed for the
intermediate/advanced
drummer to improve
musical, technical
control and reading
ability, and presents
several rhythmic styles,
such as funk, jazz and
Latin. I'm not trying to
educate you on the
'correct' Cuban or
Brazilian grooves, but
have used this music as
an inspiration for
different phrashings and
concepts. In the notes
you can find book
recommendations to
explore the styles fully.
Please feel free to use
the material creatively,
like repeating bars when
you feel like it. You can
also use the pieces for
advanced sight reading,
but I suggest that you
take time to look
carefully at the dynamics
and stickings. All the
stickings are basedon a
right handed player
(please reverse them if
you are left handed). The
basic concept is to have
rhythmic compositions
with basic classical
notation and technique,
that you can play on a
drumset or on a practice
pad with your feet
stompin' at the floor.
The first part is snare
and bassdrum with hi-hat
foot suggestions. Later
in the book hi-hat (with
stick) and snarerim are
added. The advantage of
these concepts is that
playing through these
etudes is very closely
related to what is going
on in modern music.
Especially important for
players in Jazz, Rock and
Latin, but also very
useful for a classical
percussionist who needs
solid music training. The
last part of this book is
a few pages of technique
studies and rhythmic
concepts that is related
to the compositions. The
purpose is not to include
all basic strokes and
principles (there are
already many great books
for that) but to show you
some concepts that I have
found useful and special
through my years of
playing and teaching.
Michael Axen.
Flute, Clarinet and Oboe SKU: HL.14043012 Composed by Hans Abrahamsen. Mu...(+)
Flute, Clarinet and Oboe
SKU: HL.14043012
Composed by Hans
Abrahamsen. Music Sales
America. Classical.
Softcover. Composed 2014.
Edition Wilhelm Hansen
#WH31940. Published by
Edition Wilhelm Hansen
(HL.14043012).
ISBN
9788759829271.
Hans
Abrahamsen 's Flowersongs
(2012 version) for Flute,
Oboe and Clarinet. Score.
'I wrote Flowersongs for
three Flutes in the
spring of 1973, when I
was 20 years old. Looking
back now, 40 years begins
to feel like a really
long time and sometimes I
think that it is as if
someone in 1973 is
talking about a piece
from 1933! But in spite
of this long time, this
is still a very important
piece for me. In
Flowersongs , along with
works like '10 Preludes'
for String Quartet and
'Stratifications' for
Orchestra, I feel that I
was on my way to finding
my own voice in the
middle of the music of
the great Central
European modernist
tradition from the 50s
and the reaction from the
60s of thenew simplicity,
minimalism and the
possibility of
poly-stilisme. The
English title Flowersongs
links to the flower power
movement and the hippie
culture of the 60s and
the early 70s, and the
work is trying to find
the power inherent in
this imaginary world.
Many of my later works
have titles in German,
for example 'Winternacht'
(1976/78), 'Nacht und
Trumpeten' (1981) and
much later 'Schnee'
(2006-08). If we think of
Flowersongs in German, it
must be Blumenlieder, and
to me it now sounds
suddenly very different,
more romantic and into
the world of Schumann.
Perhaps it is also a way
in which to hear the
piece? Another thing is
that the correct English
title is Flower Songs (as
two words) and not as one
word like in German or
Danish. This is perhaps
the German connection, as
I incorrectly wrote the
title as one word, but
perhaps it is also a kind
of naivety, which is also
part of the work. I
cannot help but carry
with me to this day the
ideas from my early
works. For example, there
are clear links in this
work from the 8th Prelude
from '10 Preludes' and to
Canon 2a from 'Schnee'
from 2008. This work is
written for the wonderful
ensemble recherche and it
was meeting them that
made me consider making a
version of Flowersongs
for Flute, Oboe and
Clarinet.' - Hans
Abrahamsen.
(John Thompson's Modern Course Compiled and edited by Philip Low, Sonya Schumann...(+)
(John Thompson's Modern
Course Compiled and
edited by Philip Low,
Sonya Schumann and
Charmaine Siagian).
Composed by Various. For
Piano. Willis. Early to
Later Elementary.
Softcover. Published by
Willis Music
Flute, Clarinet and Oboe SKU: HL.14043011 Composed by Hans Abrahamsen. Mu...(+)
Flute, Clarinet and Oboe
SKU: HL.14043011
Composed by Hans
Abrahamsen. Music Sales
America. Classical.
Softcover. Composed 2014.
Edition Wilhelm Hansen
#WH31940A. Published by
Edition Wilhelm Hansen
(HL.14043011).
ISBN
9788759829288.
9.7x14.0x0.079
inches.
Hans
Abrahamsen 's Flowersongs
(2012 version) for Flute,
Oboe and Clarinet. Parts.
'I wrote Flowersongs for
three Flutes in the
spring of 1973, when I
was 20 years old. Looking
back now, 40 years begins
to feel like a really
long time and sometimes I
think that it is as if
someone in 1973 is
talking about a piece
from 1933! But in spite
of this long time, this
is still a very important
piece for me. In
Flowersongs , along with
works like '10 Preludes'
for String Quartet and
'Stratifications' for
Orchestra, I feel that I
was on my way to finding
my own voice in the
middle of the music of
the great Central
European modernist
tradition from the 50s
and the reaction from the
60s of thenew simplicity,
minimalism and the
possibility of
poly-stilisme. The
English title Flowersongs
links to the flower power
movement and the hippie
culture of the 60s and
the early 70s, and the
work is trying to find
the power inherent in
this imaginary world.
Many of my later works
have titles in German,
for example 'Winternacht'
(1976/78), 'Nacht und
Trumpeten' (1981) and
much later 'Schnee'
(2006-08). If we think of
Flowersongs in German, it
must be Blumenlieder, and
to me it now sounds
suddenly very different,
more romantic and into
the world of Schumann.
Perhaps it is also a way
in which to hear the
piece? Another thing is
that the correct English
title is Flower Songs (as
two words) and not as one
word like in German or
Danish. This is perhaps
the German connection, as
I incorrectly wrote the
title as one word, but
perhaps it is also a kind
of naivety, which is also
part of the work. I
cannot help but carry
with me to this day the
ideas from my early
works. For example, there
are clear links in this
work from the 8th Prelude
from '10 Preludes' and to
Canon 2a from 'Schnee'
from 2008. This work is
written for the wonderful
ensemble recherche and it
was meeting them that
made me consider making a
version of Flowersongs
for Flute, Oboe and
Clarinet.' - Hans
Abrahamsen.
Flute [Trio-] SKU: HL.14011531 Composed by Hans Abrahamsen. Music Sales A...(+)
Flute [Trio-]
SKU:
HL.14011531
Composed
by Hans Abrahamsen. Music
Sales America. Classical.
Score. 20 pages. Music
Sales #KP00379. Published
by Music Sales
(HL.14011531).
ISBN
9788759877104.
10.25x14.25x0.44 inches.
Danish.
Hans
Abrahamsen 's Flowersongs
(1973) for three Flutes.
Score. 'I wrote
Flowersongs for three
Flutes in the spring of
1973, when I was 20 years
old. Looking back now, 40
years begins to feel like
a really long time and
sometimes I think that it
is as if someone in 1973
is talking about a piece
from 1933! But in spite
of this long time, this
is still a very important
piece for me. In
Flowersongs , along with
works like '10 Preludes'
for String Quartet and
'Stratifications' for
Orchestra, I feel that I
was on my way to finding
my own voice in the
middle of the music of
the great Central
European modernist
tradition from the 50s
and the reaction from the
60s of the new
simplicity,minimalism and
the possibility of
poly-stilisme. The
English title Flowersongs
links to the flower power
movement and the hippie
culture of the 60s and
the early 70s, and the
work is trying to find
the power inherent in
this imaginary world.
Many of my later works
have titles in German,
for example 'Winternacht'
(1976/78), 'Nacht und
Trumpeten' (1981) and
much later 'Schnee'
(2006-08). If we think of
Flowersongs in German, it
must be Blumenlieder, and
to me it now sounds
suddenly very different,
more romantic and into
the world of Schumann.
Perhaps it is also a way
in which to hear the
piece? Another thing is
that the correct English
title is Flower Songs (as
two words) and not as one
word like in German or
Danish. This is perhaps
the German connection, as
I incorrectly wrote the
title as one word: but
perhaps it is also a kind
of naivety, which is also
part of the work. I
cannot help but carry
with me to this day the
ideas from my early
works. For example, there
are clear links in this
work from the 8th Prelude
from '10 Preludes' and to
Canon 2a from 'Schnee'
from 2008. This work is
written for the wonderful
ensemble recherche and it
was meeting them that
made me consider making a
version of Flowersongs
for Flute, Oboe and
Clarinet.' - Hans
Abrahamsen.