| The Ultimate Fake Book - C Instruments (3rd Edition)
Fake Book [Fake Book] Hal Leonard
C Edition. Fake Book (Includes melody line and chords). Size 9x12 inches. 816 pa...(+)
C Edition. Fake Book
(Includes melody line and
chords). Size 9x12
inches. 816 pages.
Published by Hal Leonard.
(31)$55.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Acoustic Guitar Method, Book Three Guitare notes et tablatures [Partition + CD] String Letter Publishing
By David Hamburger. Hal Leonard Guitar Method. Book and CD package. With notes a...(+)
By David Hamburger. Hal
Leonard Guitar Method.
Book and CD package. With
notes and tablature.
Published by String
Letter Publishing.
(1)$9.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Real Book - Volume 3 (Bass Clef Instruments) Bass Clef Instruments [Fake Book] Hal Leonard
Bass Clef Edition. By Various. Fake Book (Includes melody line and chords). Soft...(+)
Bass Clef Edition. By
Various. Fake Book
(Includes melody line and
chords). Softcover. 464
pages. Published by Hal
Leonard.
$49.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Nutcracker Suite Selections - Intermédiaire Carl Fischer
Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade ...(+)
Orchestra Cello,
Contrabass, Piano, Viola,
Violin 1, Violin 2,
Violin 3 - Grade 3.5
SKU: CF.CAS110
Composed by Peter Ilyich
Tchaikovsky. Arranged by
Bud Caputo. Concert
String Orchestra (CAS).
Set of Score and Parts.
With Standard notation.
24+24+6+15+15+15+7+24
pages. Duration 5:57.
Carl Fischer Music
#CAS110. Published by
Carl Fischer Music
(CF.CAS110). ISBN
9781491151297. UPC:
680160908790. 9 x 12
inches. Key: E
minor. Bud Caputo
presents Nutcracker Suite
Selections for string
orchestra featuring three
abridged movements
of?Tchaikovsky's
Nutcracker Suite:?Dance
of the Sugar Plum Fairy,
March, and Trepak. These
abridged movements are
sure to be crowd-pleasers
around the?winter
holidays or a favorite
for?any time of the
year. This arrangement
will challenge students,
while fostering rhythmic
independence, execution
of bowing and pizzicato,
and the ability to
balance the melody with
the accompaniment
throughout the
arrangement. However,
ranges remain primarily
in first position with
some optional
8va<
span class=s4> passages,
allowing intermediate
groups to perform this in
time for the winter
holiday concert. Suitable
for Grades 3 through
5. To the
Director:
Dance
of the Sugar Plum
Fairy: A steady tempo
is critical when
performing this movement,
as students may have a
tendency to rush during
the pizzicato sections.
There is a
regularly occurring
descending sixteenth-note
rhythmic figure that is
transcribed form the bass
clarinet part in the
original.
It
is important to maintain
clarity and
balance in performing
these passages as seen
in
mm. 16-19, in the Basses
and m. 34 in the
Cello and Bass.
The
balancing of the chords
will be a challenge
in
the execution of the many
sforzandos
em> in this
movement.
March: Measures 2 and
4, and similar melodic
patterns that follow,
require the performers to
carefully balance their
forte/pianos
on beats 3 and 4,
along with the rapid
diminuendo. The contrasting
rhythmic patterns in mm.
5-8, and later throughout
this movement must line
up precisely. Strings
playing the pizzicato
eight note, walking bass
line, must not rush,
and the upper strings
playing the
eighth-note/eight-rest
figure must
follow their section
leaders in executing this
in a unified manner.
While there is
no formal tempo change
from mm. 40 to 41,
directors may need to
relax the tempo at the
beginning of the
movement to
accommodate the
technical challenge of
the double time feel that
happens in m. 41.
Trepak:
Tchaikovsky was careful
to notate the
p,
f
and
sf,
requiring the performers
to recognize the
difference between all
three markings that frame
the chief melody. The
upper strings must be
careful to support the
melody in the lower
strings that begins in m.
33. Directors will
challenge their students
to have fun in the last
twelve measures with the
accelerando
passage to the
end. Care must
be taken to use
an
accelerando
that works for
all
the players in the
particular
ensemble.. This
arrangement will
challenge students, while
fostering rhythmic
independence, execution
of bowing and pizzicato,
and the ability to
balance the melody with
the accompaniment
throughout the
arrangement. However,
ranges remain primarily
in first position with
some optional
8va<
span class=s4> passages,
allowing intermediate
groups to perform this in
time for the winter
holiday concert.A
Suitable for Grades 3
through 5. To the
Director:
Dance
of the Sugar Plum
Fairy: A steady tempo
is critical when
performing this movement,
as students may have a
tendency to rush during
the pizzicato sections.
There is a
regularly occurring
descending sixteenth-note
rhythmic figure that is
transcribed form the bass
clarinet part in the
original.
It
is important to maintain
clarity and
balance in performing
these passages as seen
in
mm.A 16-19, in the Basses
and m.A 34A in the
Cello and Bass.
The
balancing of the chords
will be a challenge
in
the execution of the many
sforzandos
em>A in this
movement.
March: A Measures 2 and
4, and similar melodic
patterns that follow,
require the performers to
carefully balance their
forte/pianos
on beats 3 and 4,
along with the rapid
diminuendo. The contrasting
rhythmic patterns in mm.
5-8, and later throughout
this movement must line
up precisely. Strings
playing the pizzicato
eight note, walking bass
line, must not rush,
and the upper strings
playing the
eighth-note/eight-restA
figure must
follow their section
leaders in executing this
in a unified manner.
While there is
no formal tempo change
from mm. 40 to 41,
directors may need to
relax the tempo at the
beginning of the
movement toA
accommodate the
technical challenge of
the double time feel that
happens in m. 41.
Trepak:
A
Tchaikovsky was careful
to notate the
p,
f
and
sf,
requiring the performers
to recognize the
difference between all
three markings that frame
the chief melody. The
upper strings must be
careful to support the
melody in the lower
strings that begins in m.
33. Directors will
challenge their students
to have fun in the last
twelve measures with the
accelerando
passage to the
end. Care must
be taken to use
an
accelerando
that works for
all
the players in the
particular
ensemble.. This
arrangement will
challenge students, while
fostering rhythmic
independence, execution
of bowing and pizzicato,
and the ability to
balance the melody with
the accompaniment
throughout the
arrangement. However,
ranges remain primarily
in first position with
some optional
8va<
span class=s4> passages,
allowing intermediate
groups to perform this in
time for the winter
holiday concert.A
Suitable for Grades 3
through 5. To the
Director:
Dance
of the Sugar Plum
Fairy: A steady tempo
is critical when
performing this movement,
as students may have a
tendency to rush during
the pizzicato sections.
There is a
regularly occurring
descending sixteenth-note
rhythmic figure that is
transcribed form the bass
clarinet part in the
original.
It
is important to maintain
clarity and
balance in performing
these passages as seen
in
mm.A 16-19, in the Basses
and m.A 34A in the
Cello and Bass.
The
balancing of the chords
will be a challenge
in
the execution of the many
sforzandos
em>A in this
movement.
March: A Measures 2 and
4, and similar melodic
patterns that follow,
require the performers to
carefully balance their
forte/pianos
on beats 3 and 4,
along with the rapid
diminuendo. The contrasting
rhythmic patterns in mm.
5-8, and later throughout
this movement must line
up precisely. Strings
playing the pizzicato
eight note, walking bass
line, must not rush,
and the upper strings
playing the
eighth-note/eight-restA
figure must
follow their section
leaders in executing this
in a unified manner.
While there is
no formal tempo change
from mm. 40 to 41,
directors may need to
relax the tempo at the
beginning of the
movement toA
accommodate the
technical challenge of
the double time feel that
happens in m. 41.
Trepak:
A
Tchaikovsky was careful
to notate the
p,
f
and
sf,
requiring the performers
to recognize the
difference between all
three markings that frame
the chief melody. The
upper strings must be
careful to support the
melody in the lower
strings that begins in m.
33. Directors will
challenge their students
to have fun in the last
twelve measures with the
accelerando
passage to the
end. Care must
be taken to use
an
accelerando
that works for
all
the players in the
particular
ensemble.. This
arrangement will
challenge students, while
fostering rhythmic
independence, execution
of bowing and pizzicato,
and the ability to
balance the melody with
the accompaniment
throughout the
arrangement. However,
ranges remain primarily
in first position with
some optional
8va<
span class=s4> passages,
allowing intermediate
groups to perform this in
time for the winter
holiday concert. Suitable
for Grades 3 through
5. To the
Director:
Dance
of the Sugar Plum
Fairy: A steady tempo
is critical when
performing this movement,
as students may have a
tendency to rush during
the pizzicato sections.
There is a
regularly occurring
descending sixteenth-note
rhythmic figure that is
transcribed form the bass
clarinet part in the
original.
It
is important to maintain
clarity and
balance in performing
these passages as seen
in
mm. 16-19, in the Basses
and m. 34 in the
Cello and Bass.
The
balancing of the chords
will be a challenge
in
the execution of the many
sforzandos
em> in this
movement.
March: Measures 2 and
4, and similar melodic
patterns that follow,
require the performers to
carefully balance their
forte/pianos
on beats 3 and 4,
along with the rapid
diminuendo. The contrasting
rhythmic patterns in mm.
5-8, and later throughout
this movement must line
up precisely. Strings
playing the pizzicato
eight note, walking bass
line, must not rush,
and the upper strings
playing the
eighth-note/eight-rest
figure must
follow their section
leaders in executing this
in a unified manner.
While there is
no formal tempo change
from mm. 40 to 41,
directors may need to
relax the tempo at the
beginning of the
movement to
accommodate the
technical challenge of
the double time feel that
happens in m. 41.
Trepak:
Tchaikovsky was careful
to notate the
p,
f
and
sf,
requiring the performers
to recognize the
difference between all
three markings that frame
the chief melody. The
upper strings must be
careful to support the
melody in the lower
strings that begins in m.
33. Directors will
challenge their students
to have fun in the last
twelve measures with the
accelerando
passage to the
end. Care must
be taken to use
an
accelerando
that works for
all
the players in the
particular
ensemble.. This
arrangement will
challenge students, while
fostering rhythmic
independence, execution
of bowing and pizzicato,
and the ability to
balance the melody with
the accompaniment
throughout the
arrangement. However,
ranges remain primarily
in first position with
some optional 8va
passages, allowing
intermediate groups to
perform this in time for
the winter holiday
concert. Suitable for
Grades 3 through 5. To
the Director: Dance of
the Sugar Plum Fairy: A
steady tempo is critical
when performing this
movement, as students may
have a tendency to rush
during the pizzicato
sections. There is a
regularly occurring
descending sixteenth-note
rhythmic figure that is
transcribed form the bass
clarinet part in the
original. It is important
to maintain clarity and
balance in performing
these passages as seen in
mm. 16-19, in the Basses
and m. 34 in the Cello
and Bass. The balancing
of the chords will be a
challenge in the
execution of the many
sforzandos in this
movement. March: Measures
2 and 4, and similar
melodic patterns that
follow, require the
performers to carefully
balance their
forte/pianos on beats 3
and 4, along with the
rapid diminuendo. The
contrasting rhythmic
patterns in mm. 5-8, and
later throughout this
movement must line up
precisely. Strings
playing the pizzicato
eight note, walking bass
line, must not rush, and
the upper strings playing
the
eighth-note/eight-rest
figure must follow their
section leaders in
executing this in a
unified manner. While
there is no formal tempo
change from mm. 40 to 41,
directors may need to
relax the tempo at the
beginning of the movement
to accommodate the
technical challenge of
the double time feel that
happens in m. 41. Trepak:
Tchaikovsky was careful
to notate the p, f and
sf, requiring the
performers to recognize
the difference between
all three markings that
frame the chief melody.
The upper strings must be
careful to support the
melody in the lower
strings that begins in m.
33. Directors will
challenge their students
to have fun in the last
twelve measures with the
accelerando passage to
the end. Care must be
taken to use an
accelerando that works
for all the players in
the particular
ensemble. This
arrangement will
challenge students, while
fostering rhythmic
independence, execution
of bowing and pizzicato,
and the ability to
balance the melody with
the accompaniment
throughout the
arrangement. However,
ranges remain primarily
in first position with
some optional 8va
passages, allowing
intermediate groups to
perform this in time for
the winter holiday
concert. Suitable for
Grades 3 through 5.To the
Director:Dance of the
Sugar Plum Fairy: A
steady tempo is critical
when performing this
movement, as students may
have a tendency to rush
during the pizzicato
sections. There is a
regularly occurring
descending sixteenth-note
rhythmic figure that is
transcribed form the bass
clarinet part in the
original. It is important
to maintain clarity and
balance in performing
these passages as seen in
mm. 16-19, in the
Basses and m. 34 in
the Cello and Bass. The
balancing of the chords
will be a challenge in
the execution of the many
sforzandos in this
movement. March:
 Measures 2 and 4, and
similar melodic patterns
that follow, require the
performers to carefully
balance their
forte/pianos on beats 3
and 4, along with the
rapid diminuendo. The
contrasting rhythmic
patterns in mm. 5-8, and
later throughout this
movement must line up
precisely. Strings
playing the pizzicato
eight note, walking bass
line, must not rush, and
the upper strings playing
the
eighth-note/eight-restÂ
figure must follow their
section leaders in
executing this in a
unified manner. While
there is no formal tempo
change from mm. 40 to 41,
directors may need to
relax the tempo at the
beginning of the movement
to accommodate the
technical challenge of
the double time feel that
happens in m. 41. Trepak:
 Tchaikovsky was
careful to notate the p,
f and sf, requiring the
performers to recognize
the difference between
all three markings that
frame the chief melody.
The upper strings must be
careful to support the
melody in the lower
strings that begins in m.
33. Directors will
challenge their students
to have fun in the last
twelve measures with the
accelerando passage to
the end. Care must be
taken to use an
accelerando that works
for all the players in
the particular
ensemble.
About Carl
Fischer Concert String
Orchestra
Series Thi
s series of pieces (Grade
3 and higher) is designed
for advancing ensembles.
The pieces in this series
are characterized
by: - Expanded use
of rhythms, ranges and
keys but technical
demands are still
carefully
considered
- More
comprehensive bowing
techniques
- Viola
T.C.
included
- Careful
selection of keys and
degree of difficulty for
advancing
musicians
$60.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Nutcracker Suite Selections - Intermédiaire Carl Fischer
Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade ...(+)
Orchestra Cello,
Contrabass, Piano, Viola,
Violin 1, Violin 2,
Violin 3 - Grade 3.5
SKU: CF.CAS110F
Composed by Peter Ilyich
Tchaikovsky. Arranged by
Bud Caputo. Concert
String Orchestra (CAS).
Full score. With Standard
notation. 24 pages. Carl
Fischer Music #CAS110F.
Published by Carl Fischer
Music (CF.CAS110F).
ISBN 9781491151662.
UPC: 680160909162. 9 x 12
inches. Bud Caputo
presents Nutcracker Suite
Selections for string
orchestra featuring three
abridged movements
of?Tchaikovsky's
Nutcracker Suite:?Dance
of the Sugar Plum Fairy,
March, and Trepak. These
abridged movements are
sure to be crowd-pleasers
around the?winter
holidays or a favorite
for?any time of the
year. This arrangement
will challenge students,
while fostering rhythmic
independence, execution
of bowing and pizzicato,
and the ability to
balance the melody with
the accompaniment
throughout the
arrangement. However,
ranges remain primarily
in first position with
some optional
8va<
span class=s4> passages,
allowing intermediate
groups to perform this in
time for the winter
holiday concert. Suitable
for Grades 3 through
5. To the
Director:
Dance
of the Sugar Plum
Fairy: A steady tempo
is critical when
performing this movement,
as students may have a
tendency to rush during
the pizzicato sections.
There is a
regularly occurring
descending sixteenth-note
rhythmic figure that is
transcribed form the bass
clarinet part in the
original.
It
is important to maintain
clarity and
balance in performing
these passages as seen
in
mm. 16-19, in the Basses
and m. 34 in the
Cello and Bass.
The
balancing of the chords
will be a challenge
in
the execution of the many
sforzandos
em> in this
movement.
March: Measures 2 and
4, and similar melodic
patterns that follow,
require the performers to
carefully balance their
forte/pianos
on beats 3 and 4,
along with the rapid
diminuendo. The contrasting
rhythmic patterns in mm.
5-8, and later throughout
this movement must line
up precisely. Strings
playing the pizzicato
eight note, walking bass
line, must not rush,
and the upper strings
playing the
eighth-note/eight-rest
figure must
follow their section
leaders in executing this
in a unified manner.
While there is
no formal tempo change
from mm. 40 to 41,
directors may need to
relax the tempo at the
beginning of the
movement to
accommodate the
technical challenge of
the double time feel that
happens in m. 41.
Trepak:
Tchaikovsky was careful
to notate the
p,
f
and
sf,
requiring the performers
to recognize the
difference between all
three markings that frame
the chief melody. The
upper strings must be
careful to support the
melody in the lower
strings that begins in m.
33. Directors will
challenge their students
to have fun in the last
twelve measures with the
accelerando
passage to the
end. Care must
be taken to use
an
accelerando
that works for
all
the players in the
particular
ensemble.. This
arrangement will
challenge students, while
fostering rhythmic
independence, execution
of bowing and pizzicato,
and the ability to
balance the melody with
the accompaniment
throughout the
arrangement. However,
ranges remain primarily
in first position with
some optional
8va<
span class=s4> passages,
allowing intermediate
groups to perform this in
time for the winter
holiday concert.A
Suitable for Grades 3
through 5. To the
Director:
Dance
of the Sugar Plum
Fairy: A steady tempo
is critical when
performing this movement,
as students may have a
tendency to rush during
the pizzicato sections.
There is a
regularly occurring
descending sixteenth-note
rhythmic figure that is
transcribed form the bass
clarinet part in the
original.
It
is important to maintain
clarity and
balance in performing
these passages as seen
in
mm.A 16-19, in the Basses
and m.A 34A in the
Cello and Bass.
The
balancing of the chords
will be a challenge
in
the execution of the many
sforzandos
em>A in this
movement.
March: A Measures 2 and
4, and similar melodic
patterns that follow,
require the performers to
carefully balance their
forte/pianos
on beats 3 and 4,
along with the rapid
diminuendo. The contrasting
rhythmic patterns in mm.
5-8, and later throughout
this movement must line
up precisely. Strings
playing the pizzicato
eight note, walking bass
line, must not rush,
and the upper strings
playing the
eighth-note/eight-restA
figure must
follow their section
leaders in executing this
in a unified manner.
While there is
no formal tempo change
from mm. 40 to 41,
directors may need to
relax the tempo at the
beginning of the
movement toA
accommodate the
technical challenge of
the double time feel that
happens in m. 41.
Trepak:
A
Tchaikovsky was careful
to notate the
p,
f
and
sf,
requiring the performers
to recognize the
difference between all
three markings that frame
the chief melody. The
upper strings must be
careful to support the
melody in the lower
strings that begins in m.
33. Directors will
challenge their students
to have fun in the last
twelve measures with the
accelerando
passage to the
end. Care must
be taken to use
an
accelerando
that works for
all
the players in the
particular
ensemble.. This
arrangement will
challenge students, while
fostering rhythmic
independence, execution
of bowing and pizzicato,
and the ability to
balance the melody with
the accompaniment
throughout the
arrangement. However,
ranges remain primarily
in first position with
some optional
8va<
span class=s4> passages,
allowing intermediate
groups to perform this in
time for the winter
holiday concert.A
Suitable for Grades 3
through 5. To the
Director:
Dance
of the Sugar Plum
Fairy: A steady tempo
is critical when
performing this movement,
as students may have a
tendency to rush during
the pizzicato sections.
There is a
regularly occurring
descending sixteenth-note
rhythmic figure that is
transcribed form the bass
clarinet part in the
original.
It
is important to maintain
clarity and
balance in performing
these passages as seen
in
mm.A 16-19, in the Basses
and m.A 34A in the
Cello and Bass.
The
balancing of the chords
will be a challenge
in
the execution of the many
sforzandos
em>A in this
movement.
March: A Measures 2 and
4, and similar melodic
patterns that follow,
require the performers to
carefully balance their
forte/pianos
on beats 3 and 4,
along with the rapid
diminuendo. The contrasting
rhythmic patterns in mm.
5-8, and later throughout
this movement must line
up precisely. Strings
playing the pizzicato
eight note, walking bass
line, must not rush,
and the upper strings
playing the
eighth-note/eight-restA
figure must
follow their section
leaders in executing this
in a unified manner.
While there is
no formal tempo change
from mm. 40 to 41,
directors may need to
relax the tempo at the
beginning of the
movement toA
accommodate the
technical challenge of
the double time feel that
happens in m. 41.
Trepak:
A
Tchaikovsky was careful
to notate the
p,
f
and
sf,
requiring the performers
to recognize the
difference between all
three markings that frame
the chief melody. The
upper strings must be
careful to support the
melody in the lower
strings that begins in m.
33. Directors will
challenge their students
to have fun in the last
twelve measures with the
accelerando
passage to the
end. Care must
be taken to use
an
accelerando
that works for
all
the players in the
particular
ensemble.. This
arrangement will
challenge students, while
fostering rhythmic
independence, execution
of bowing and pizzicato,
and the ability to
balance the melody with
the accompaniment
throughout the
arrangement. However,
ranges remain primarily
in first position with
some optional
8va<
span class=s4> passages,
allowing intermediate
groups to perform this in
time for the winter
holiday concert. Suitable
for Grades 3 through
5. To the
Director:
Dance
of the Sugar Plum
Fairy: A steady tempo
is critical when
performing this movement,
as students may have a
tendency to rush during
the pizzicato sections.
There is a
regularly occurring
descending sixteenth-note
rhythmic figure that is
transcribed form the bass
clarinet part in the
original.
It
is important to maintain
clarity and
balance in performing
these passages as seen
in
mm. 16-19, in the Basses
and m. 34 in the
Cello and Bass.
The
balancing of the chords
will be a challenge
in
the execution of the many
sforzandos
em> in this
movement.
March: Measures 2 and
4, and similar melodic
patterns that follow,
require the performers to
carefully balance their
forte/pianos
on beats 3 and 4,
along with the rapid
diminuendo. The contrasting
rhythmic patterns in mm.
5-8, and later throughout
this movement must line
up precisely. Strings
playing the pizzicato
eight note, walking bass
line, must not rush,
and the upper strings
playing the
eighth-note/eight-rest
figure must
follow their section
leaders in executing this
in a unified manner.
While there is
no formal tempo change
from mm. 40 to 41,
directors may need to
relax the tempo at the
beginning of the
movement to
accommodate the
technical challenge of
the double time feel that
happens in m. 41.
Trepak:
Tchaikovsky was careful
to notate the
p,
f
and
sf,
requiring the performers
to recognize the
difference between all
three markings that frame
the chief melody. The
upper strings must be
careful to support the
melody in the lower
strings that begins in m.
33. Directors will
challenge their students
to have fun in the last
twelve measures with the
accelerando
passage to the
end. Care must
be taken to use
an
accelerando
that works for
all
the players in the
particular
ensemble.. This
arrangement will
challenge students, while
fostering rhythmic
independence, execution
of bowing and pizzicato,
and the ability to
balance the melody with
the accompaniment
throughout the
arrangement. However,
ranges remain primarily
in first position with
some optional 8va
passages, allowing
intermediate groups to
perform this in time for
the winter holiday
concert. Suitable for
Grades 3 through 5. To
the Director: Dance of
the Sugar Plum Fairy: A
steady tempo is critical
when performing this
movement, as students may
have a tendency to rush
during the pizzicato
sections. There is a
regularly occurring
descending sixteenth-note
rhythmic figure that is
transcribed form the bass
clarinet part in the
original. It is important
to maintain clarity and
balance in performing
these passages as seen in
mm. 16-19, in the Basses
and m. 34 in the Cello
and Bass. The balancing
of the chords will be a
challenge in the
execution of the many
sforzandos in this
movement. March: Measures
2 and 4, and similar
melodic patterns that
follow, require the
performers to carefully
balance their
forte/pianos on beats 3
and 4, along with the
rapid diminuendo. The
contrasting rhythmic
patterns in mm. 5-8, and
later throughout this
movement must line up
precisely. Strings
playing the pizzicato
eight note, walking bass
line, must not rush, and
the upper strings playing
the
eighth-note/eight-rest
figure must follow their
section leaders in
executing this in a
unified manner. While
there is no formal tempo
change from mm. 40 to 41,
directors may need to
relax the tempo at the
beginning of the movement
to accommodate the
technical challenge of
the double time feel that
happens in m. 41. Trepak:
Tchaikovsky was careful
to notate the p, f and
sf, requiring the
performers to recognize
the difference between
all three markings that
frame the chief melody.
The upper strings must be
careful to support the
melody in the lower
strings that begins in m.
33. Directors will
challenge their students
to have fun in the last
twelve measures with the
accelerando passage to
the end. Care must be
taken to use an
accelerando that works
for all the players in
the particular
ensemble. This
arrangement will
challenge students, while
fostering rhythmic
independence, execution
of bowing and pizzicato,
and the ability to
balance the melody with
the accompaniment
throughout the
arrangement. However,
ranges remain primarily
in first position with
some optional 8va
passages, allowing
intermediate groups to
perform this in time for
the winter holiday
concert. Suitable for
Grades 3 through 5.To the
Director:Dance of the
Sugar Plum Fairy: A
steady tempo is critical
when performing this
movement, as students may
have a tendency to rush
during the pizzicato
sections. There is a
regularly occurring
descending sixteenth-note
rhythmic figure that is
transcribed form the bass
clarinet part in the
original. It is important
to maintain clarity and
balance in performing
these passages as seen in
mm. 16-19, in the
Basses and m. 34 in
the Cello and Bass. The
balancing of the chords
will be a challenge in
the execution of the many
sforzandos in this
movement. March:
 Measures 2 and 4, and
similar melodic patterns
that follow, require the
performers to carefully
balance their
forte/pianos on beats 3
and 4, along with the
rapid diminuendo. The
contrasting rhythmic
patterns in mm. 5-8, and
later throughout this
movement must line up
precisely. Strings
playing the pizzicato
eight note, walking bass
line, must not rush, and
the upper strings playing
the
eighth-note/eight-restÂ
figure must follow their
section leaders in
executing this in a
unified manner. While
there is no formal tempo
change from mm. 40 to 41,
directors may need to
relax the tempo at the
beginning of the movement
to accommodate the
technical challenge of
the double time feel that
happens in m. 41. Trepak:
 Tchaikovsky was
careful to notate the p,
f and sf, requiring the
performers to recognize
the difference between
all three markings that
frame the chief melody.
The upper strings must be
careful to support the
melody in the lower
strings that begins in m.
33. Directors will
challenge their students
to have fun in the last
twelve measures with the
accelerando passage to
the end. Care must be
taken to use an
accelerando that works
for all the players in
the particular
ensemble.
About Carl
Fischer Concert String
Orchestra
Series Thi
s series of pieces (Grade
3 and higher) is designed
for advancing ensembles.
The pieces in this series
are characterized
by: - Expanded use
of rhythms, ranges and
keys but technical
demands are still
carefully
considered
- More
comprehensive bowing
techniques
- Viola
T.C.
included
- Careful
selection of keys and
degree of difficulty for
advancing
musicians
$9.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Real Vocal Book - Volume III Voix basse Hal Leonard
(Low Voice). Composed by Various. For Vocal. Fake Book. 440 pages. Published by ...(+)
(Low Voice). Composed by
Various. For Vocal. Fake
Book. 440 pages.
Published by Hal Leonard
$39.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Hal Leonard Real Jazz Fake Book - C Edition Fake book [Fake Book] - Intermédiaire Hal Leonard
Fake Book (Includes melody line and chords). Size 9x12 inches. 384 pages. Publis...(+)
Fake Book (Includes
melody line and chords).
Size 9x12 inches. 384
pages. Published by Hal
Leonard.
(2)$45.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| String Instrument Setups Hal Leonard
SKU: HL.160580 10 Setups That Will Make Your Instrument Louder, Better...(+)
SKU: HL.160580
10 Setups That Will
Make Your Instrument
Louder, Better, and
Easier to Play. Music
Pro Guides. Guitar
Set-Ups & Maintenance,
String Reference.
Softcover. 114 pages.
Published by Hal Leonard
(HL.160580). ISBN
9781495064999. UPC:
888680623746.
6.0x9.0x0.314 inches.
Chuck Traeger Music Pro
Guides. String
musicians, know only
this: everything is
vibrating. The movement
of the spheres? A guru's
cryptic musing?
Hypersensitivity to plate
tectonics? Not quite.
This is the briefest
possible distillation of
Trager's Principle, which
states, “When a
string instrument is
being played, everything
is vibrating, from the
top of the scroll to the
tip of the endpin.â€
This simple formula, the
purest distillation of
master luthier Chuck
Traeger's lifetime of
learning, holds the key
to configuring your
instrument to your
specifications. It also
forms the crux of his
third and final book:
String Instrument Setups:
10 Setups That Will Make
Your Instrument Louder,
Better, and Easier to
Play. At the height of
the Big Band era,
Traeger, a double
bassist, performed
alongside a veritable
who's who of New York
jazz musicians including
the likes of Louie
Armstrong and Sidney
Bechet. In was in this
capacity – as
Charlie Traeger, one hip
cat and a regularly
frustrated client of
NYC's instrument repair
shops –that he
began his pursuit of
sonic perfection. In
1969, satisfied with his
abilities but devoted to
constant
self-improvement, he
opened his first repair
shop. Before he knew it,
his reputation was
preceding him, and he
found himself handling
the instruments of school
band novices and the New
York Philharmonic alike.
On his seventieth
birthday, Traeger retired
from musicianship and
devoted himself to
comprehensively
documenting all he had
learned about his craft.
Two decades later,
shortly after he put the
finishing touches on
String Instrument Setups,
Chuck Traeger passed away
on November 9, 2016.
Scarcely a month had
elapsed since the death
of his beloved wife,
June, to whom he was
married for over sixty
blissful years. Albeit
with a heavy heart, we at
Hal Leonard Books are
proud to present this
remarkable man's parting
gift to generations of
current and future
musicians. String
Instrument Setups is the
culmination of forty-five
years of acoustic
research involving
Trager's old standby, the
double bass, and, in
turn, any string
instrument with a
moveable bridge and a
moveable tailpiece, or
one that can be made
moveable. Armed with this
book, we're confident
that the average musician
can enter almost any
string instrument maker
or repair shop in the
world (the exception
being a shop that has
already read String
Instrument Setups), ask
for their best repair or
restoration, then make
that instrument sound
louder, better, and
easier to play, every
time. This is neither
braggadocio nor
hyperbole; rather, it's
the confidence instilled
by one man's extensive
research, wholehearted
devotion, and firm belief
in the sacred bond
between instrument and
musician. After reading
String Instrument Setups,
we're sure you'll feel
the same. $25.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Real Vocal Book - Volume II Voix basse [Fake Book] Hal Leonard
Low Voice. By Various. Fake Book (Includes melody line and chords). 368 pages. P...(+)
Low Voice. By Various.
Fake Book (Includes
melody line and chords).
368 pages. Published by
Hal Leonard.
$45.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| De Profundis ad Lucem Orchestre Subito Music
Orchestra (3 flutes (piccolo), 2 oboes, 2 clarinets, 2 bassoons; 4 horns, 3 trum...(+)
Orchestra (3 flutes
(piccolo), 2 oboes, 2
clarinets, 2 bassoons; 4
horns, 3 trumpets, 3
trombones (bass), tuba;
timpani, 3 percussion,
harp, piano; strings)
SKU: SU.90810110
For Orchestra.
Composed by Nancy
Galbraith. Orchestra.
Study Score. Composed
2002. Duration 20'.
Subito Music Corporation
#90810110. Published by
Subito Music Corporation
(SU.90810110).
Instrumentation
: 3fl(picc), 2ob, 2cl,
2bn; 4hn, 3tpt, 3tbn(bs),
tba; timp, 3perc, hrp,
pno; strings Duration:
20' Full Score & Parts:
available on rental
Composed in 2002.
Published by: Subito
Music Publishing
Composer's Note: De
profundis ad lucem (out
of the depths towards
light) opens with an
atmosphere of stillness,
out of which two main
sections emerge, one
reflecting hope and the
other struggle. Hope is
expressed with a
recurring theme that
gradually layers upon
itself, imparting a
feeling of birth. This
section suddenly gives
way to struggle,
represented with loud
brass, biting accents,
and thundering timpani
figures. Following an
extended musical
landscape, these two
sections return, only in
reverse, with struggle
resolving into hope. The
work ends in tranquillity
as it began. --N.G. $45.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Blue Tango Orchestre à Cordes [Conducteur et Parties séparées] - Débutant Alfred Publishing
By Leroy Anderson (1908-1975). Arranged by Bob Cerulli. Orchestra. String Orches...(+)
By Leroy Anderson
(1908-1975). Arranged by
Bob Cerulli. Orchestra.
String Orchestra.
Beginning String
Orchestra. Grade 1.
Conductor Score and
Parts. 94 pages
$54.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Textures - Intermédiaire Carl Fischer
Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade ...(+)
Orchestra Cello,
Contrabass, Piano, Viola,
Violin 1, Violin 2,
Violin 3 - Grade 3
SKU: CF.CAS103
Composed by Bill Calhoun.
SWS FS. Carl Fischer
Concert String Orchestra
Series. Set of Score and
Parts. With Standard
notation.
16+10+16+4+10+10+4+12
pages. Duration 3
minutes, 27 seconds. Carl
Fischer Music #CAS103.
Published by Carl Fischer
Music (CF.CAS103).
ISBN 9781491146637.
UPC: 680160904136. 9 x 12
inches. Key: B
minor. Textures is
a rhythmic and driving
composition from composer
Bill Calhoun. It contains
shifting meters and
ostinato bass lines
underneath jaunty melodic
material. There is a
respite from the angular
textures during a
luscious, slow, lyrical
section that features a
beautiful violin solo.
The pointed textures
return for a dramatic
finish. Textures is an
original composition for
string orchestra set in B
minor . In its
introduction, which
alternates between 4/4
and 6/8, the piece begins
with an ostinato bass
rhythm that sets the time
for the other voices to
add, creating an
interesting texture .
Continuing in its bright
tempo, the main theme is
introduced in 5/4, which
eventually becomes the
unifying feel of this
section . This rhythmic
motif trades back and
forth between the
violins, violas and
cellos before moving into
a full chorus finishing
in 5/4 . There is a brief
return to a tutti
treatment of the
introductory 4/4 to 6/8
material as it moves into
a melodic 3/4 middle
section . A solo violin
begins this dance-like
theme . After a short
ritardando and closing
fermata, this section
moves into a return to
the opening Allegro,
though slightly quicker .
First is the return to
its A-theme, then using
the introductory material
to transition into its
dynamic ending .
About Carl
Fischer Concert String
Orchestra
Series Thi
s series of pieces (Grade
3 and higher) is designed
for advancing ensembles.
The pieces in this series
are characterized
by: - Expanded use
of rhythms, ranges and
keys but technical
demands are still
carefully
considered
- More
comprehensive bowing
techniques
- Viola
T.C.
included
- Careful
selection of keys and
degree of difficulty for
advancing
musicians
$60.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| America's Cup Orchestre à Cordes - Intermédiaire Carl Fischer
Orchestra String Orchestra - Medium Easy/Medium SKU: CF.CAS37 For Stri...(+)
Orchestra String
Orchestra - Medium
Easy/Medium SKU:
CF.CAS37 For
String Orchestra.
Composed by Alan Lee
Silva. This edition:
complete set. FS-SWS.
Carl Fischer Concert
String Orchestra Series.
Classical. Score and
Parts. With Standard
notation.
24+24+6+15+21+15+15+20
pages. Carl Fischer Music
#CAS37. Published by Carl
Fischer Music (CF.CAS37).
ISBN 9780825863660.
UPC: 798408063665. 8.5 X
11 inches. Key: C
major. A salute to
the famous sailboat race,
this rollicking piece in
A minor introduces
compound time with an
opening (and closing)
section in 12/8. The fast
flowing music of the
opening, vividly
suggestive of a ship
slicing through the
waves, returns in a
higher key (B minor)
after a warmly scored,
sweepingly melodic middle
section. This is a piece
whose sophistication is
an excellent showcase for
a more advanced
performing
group. Written in 12/8
in A minor,
America’s Cup
evokes the intensity and
momentum of a wild sea
with driving triplets,
sweeping melodies, and
accented downbeats. The
A-material from the
opening measure is played
aggressively but lightly
enough to keep the
feeling of forward
motion. Strong accents
and rhythmically precise
playing in the cello and
bass provide solid
support for the fast
moving violin and viola
passages. Measure 67
begins the slow, pastoral
setting of the
B-material. A gentle,
lyrical violin motive in
A major grows into a
high, sweeping melody
over sustained harmonies.
This provides a brief
repose before returning
to the fastoriginal tempo
and minor key as the
recapitulation begins at
m. 90. A modulation to B
minor (m. 94) lifts the
energy of the piece and
gives young players the
challenge of playing the
running lines in another
key. Measure 118 builds
to the end, keeping the
intensity a soft dynamic
and growing into the
final syncopated tutti
unison figure in mm.
122–123.
About Carl
Fischer Concert String
Orchestra
Series Thi
s series of pieces (Grade
3 and higher) is designed
for advancing ensembles.
The pieces in this series
are characterized
by: - Expanded use
of rhythms, ranges and
keys but technical
demands are still
carefully
considered
- More
comprehensive bowing
techniques
- Viola
T.C.
included
- Careful
selection of keys and
degree of difficulty for
advancing
musicians
$60.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Library of Easy Piano Pop Songs Piano Facile - Facile Music Sales
By Various. Easy Piano Songbook. Softcover. 288 pages. Music Sales #AM1011461...(+)
By Various. Easy Piano
Songbook. Softcover. 288
pages. Music Sales
#AM1011461. Published by
Music Sales
$22.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Nordic Voyage - Intermédiaire Carl Fischer
Orchestra Cello, Contrabass, Viola, Violin 1, Violin 2 - Grade 3 SKU: CF.CAS1...(+)
Orchestra Cello,
Contrabass, Viola, Violin
1, Violin 2 - Grade 3
SKU: CF.CAS153F
Composed by Erica
Donahoe. Full score. 8
pages. Duration 2
minutes, 58 seconds. Carl
Fischer Music #CAS153F.
Published by Carl Fischer
Music (CF.CAS153F).
ISBN 9781491163191.
UPC: 680160921942. Key: E
minor. This exiting
6/8 piece conveys the
daring adventures of
voyages during the Viking
Age, sailing aboard Norse
longships in the Baltic
Sea. This heavy, accented
melody uses frequent
doubling between sections
for a full hearty sound
that rings out like the
songs of the sailors and
Vikings as they navigated
the high seas. The
bowings and articulations
throughout this piece
create energy and drama,
with Violin I, Bass, and
Cello venturing briefly
out of first position.
Like the push and pull of
the rowers’ oars,
players will feel the
rhythmic pull of 3
against 2 in places,
driving the piece forward
with momentous energy,
exploring new worlds of
music!
About Carl
Fischer Concert String
Orchestra
Series Thi
s series of pieces (Grade
3 and higher) is designed
for advancing ensembles.
The pieces in this series
are characterized
by: - Expanded use
of rhythms, ranges and
keys but technical
demands are still
carefully
considered
- More
comprehensive bowing
techniques
- Viola
T.C.
included
- Careful
selection of keys and
degree of difficulty for
advancing
musicians
$9.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Nordic Voyage - Intermédiaire Carl Fischer
Orchestra Cello, Contrabass, Viola, Violin 1, Violin 2 - Grade 3 SKU: CF.CAS1...(+)
Orchestra Cello,
Contrabass, Viola, Violin
1, Violin 2 - Grade 3
SKU: CF.CAS153
Composed by Erica
Donahoe. Set of Score and
Parts. Duration 2
minutes, 58 seconds. Carl
Fischer Music #CAS153.
Published by Carl Fischer
Music (CF.CAS153).
ISBN 9781491162859.
UPC: 680160921607. Key: E
minor. This exiting
6/8 piece conveys the
daring adventures of
voyages during the Viking
Age, sailing aboard Norse
longships in the Baltic
Sea. This heavy, accented
melody uses frequent
doubling between sections
for a full hearty sound
that rings out like the
songs of the sailors and
Vikings as they navigated
the high seas. The
bowings and articulations
throughout this piece
create energy and drama,
with Violin I, Bass, and
Cello venturing briefly
out of first position.
Like the push and pull of
the rowers’ oars,
players will feel the
rhythmic pull of 3
against 2 in places,
driving the piece forward
with momentous energy,
exploring new worlds of
music!
About Carl
Fischer Concert String
Orchestra
Series Thi
s series of pieces (Grade
3 and higher) is designed
for advancing ensembles.
The pieces in this series
are characterized
by: - Expanded use
of rhythms, ranges and
keys but technical
demands are still
carefully
considered
- More
comprehensive bowing
techniques
- Viola
T.C.
included
- Careful
selection of keys and
degree of difficulty for
advancing
musicians
$60.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Lucky Seven - Intermédiaire Carl Fischer
Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade ...(+)
Orchestra Cello,
Contrabass, Piano, Viola,
Violin 1, Violin 2,
Violin 3 - Grade 3
SKU: CF.CAS85
Composed by Matt Turner.
Concert String Orchestra.
Set of Score and Parts.
With Standard notation.
16+4+16+10+10+10+3+2+16
pages. Duration 3
minutes, 5 seconds. Carl
Fischer Music #CAS85.
Published by Carl Fischer
Music (CF.CAS85). ISBN
9780825899140. UPC:
798408099145. 9x12
inches. Key: D
major. The title
Lucky Seven is a play on
the fact that portions of
this piece are in 7/8
time grouped in 2+2+3. It
gives it a really fresh
groove as the piece
floats in and out of this
7/8 riff into regular 4/4
time. There is even a
nice solo section with a
sample solo if some of
your students want to
take a stab at
improvisation. Matt
Turner always provides
teachers with interesting
alternative music that
can teach students how to
groove and improvise.
This is an infectious
piece that students will
like to play. Lucky
Seven is in arch form
(ABCBA). The A-section
begins in and moves to a
pop-music feel in the B-
section (m. 21). An
Afro-Cuban tumba
bass-line figure is
introduced in the
C-section (m. 33). A
sample solo (m. 53) is
provided, but soloists
are encouraged to
improvise using an
A-Mixolydian mode (A, B,
C≥, D, E, F≥,
G, A). The improvisations
should be rhythmic. Feel
free to borrow ideas from
any of the composed
material to assist in
creating the
improvisations. Perform
with energy!
About Carl
Fischer Concert String
Orchestra
Series Thi
s series of pieces (Grade
3 and higher) is designed
for advancing ensembles.
The pieces in this series
are characterized
by: - Expanded use
of rhythms, ranges and
keys but technical
demands are still
carefully
considered
- More
comprehensive bowing
techniques
- Viola
T.C.
included
- Careful
selection of keys and
degree of difficulty for
advancing
musicians
$60.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
1 |