| Guide For Jazz And Scat Vocalists - A Survival Manual Voix seule [Partition + CD] - Intermédiaire/avancé Jamey Aebersold Jazz
By Denis Diblasio. Published by Jamey Aebersold Jazz. (SCAT) This book and C...(+)
By Denis Diblasio.
Published by Jamey
Aebersold Jazz. (SCAT)
This book and CD examines
some of the problems that
vocalists encounter and
how to deal with them.
Designed for the vocalist
that feels alone in the
world of
instrumentalists.
Includes chapters on
Jargon, preparing songs,
chord voicings, scat
singing, scales and
chords, ear training and
more...all supported by
actual examples on the
CD!
$12.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Beginning Blues Bass (Book and Cd) Basse electrique [Partition + CD] - Débutant Alfred Publishing
Published by Alfred Publishing. Designed for beginning bassists who want to play...(+)
Published by Alfred
Publishing. Designed for
beginning bassists who
want to play the blues,
this title makes a great
companion to any starter
bass method and the
perfect complement to the
author's Complete
Electric Bass Method.
Learn various grooves in
both straight and swing
feels, all within the
context of such styles as
rock blues, jazz blues,
funk blues and more.
Highlighted with lessons
on scales and chords that
are clear and easy to
understand, this abundant
resource of blues bass
lines not only adds to
your vocabulary, but also
provides the tools you
need to create great bass
lines of your own for any
practical playing
situation.
$19.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Chuck Mangione: Feels So Good Ensemble Jazz [Conducteur et Parties séparées] Alfred Publishing
Composed by Chuck Mangione, arranged by Jeff Tkazyik. Full score and set of perf...(+)
Composed by Chuck
Mangione, arranged by
Jeff Tkazyik. Full score
and set of performance
parts for jazz band. 96
pages. Published by
Alfred Publishing.
$48.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Feels like Today Chorale 3 parties TTB/TBB Hal Leonard
Performed by Rascal Flatts. Arranged by Alan Billingsley. (TTB). Pop Choral Ser...(+)
Performed by Rascal
Flatts. Arranged by Alan
Billingsley. (TTB). Pop
Choral Series. Size
6.8x10.5 inches. 16
pages. Published by Hal
Leonard. (8201768) 6-PACK
includes six original
copies of this piece.
$1.70 $1.615 (- 5%) Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Feels So Good Ensemble Jazz [Conducteur] Alfred Publishing
By Chuck Mangione. Arranged by Victor Lopez. By Chuck Mangione / arr. Victor Lop...(+)
By Chuck Mangione.
Arranged by Victor Lopez.
By Chuck Mangione / arr.
Victor Lopez. For Jazz
Ensemble. Jazz Ensemble.
Conductor Score. 20
pages. Published by
Alfred Publishing.
$10.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Vince Gill: Feels Like Love Piano, Voix et Guitare [Feuillet] - Facile Alfred Publishing
Performed by Vince Gill. Single for voice, piano and guitar chords. Bb Major. 6 ...(+)
Performed by Vince Gill.
Single for voice, piano
and guitar chords. Bb
Major. 6 pages. Published
by Alfred Publishing.
$3.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Bonnie Raitt: Feels Like Home
Piano, Voix et Guitare [Feuillet] - Intermédiaire Alfred Publishing
Performed by Bonnie Raitt, composed by Randy Newman. Single for voice, piano an...(+)
Performed by Bonnie
Raitt, composed by Randy
Newman. Single for voice,
piano and guitar chords.
From the motion picture
"Michael". C Major. 6
pages. Published by
Alfred Publishing.
(3)$3.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Feels So Good Ensemble Jazz [Conducteur et Parties séparées] - Intermédiaire Alfred Publishing
By Chuck Mangione. Arranged by Victor Lopez. By Chuck Mangione / arr. Victor Lop...(+)
By Chuck Mangione.
Arranged by Victor Lopez.
By Chuck Mangione / arr.
Victor Lopez. For Jazz
Ensemble. Jazz Ensemble.
Jazz Band Series. Level:
Medium Easy (grade III).
Conductor Score, Parts
and CD. 104 pages.
Duration 6:36. Published
by Alfred Publishing.
(1)$52.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| It Feels Like Christmas (from “The Muppet Christmas Carol”) Chorale 2 parties - Débutant Hal Leonard
Discovery Level 1. Composed by Paul Williams. Arranged by Audrey Snyder. Dis...(+)
Discovery Level 1.
Composed by
Paul Williams. Arranged
by
Audrey Snyder. Discovery
Choral. Christmas,
Holiday,
Movies, Muppets. Octavo.
Duration 135 seconds.
Published by Hal Leonard
$2.50 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Patterns For Improvisation
Instruments Sib, Mib, Do et Bass clef [Partition] - Intermédiaire Jamey Aebersold Jazz
By Oliver Nelson. For singers, vocalists, drums, bass, guitar, flute, clarinet, ...(+)
By Oliver Nelson. For
singers, vocalists,
drums, bass, guitar,
flute, clarinet, violin,
viola, piano, keyboard,
organ, saxophone,
trombone, trumpet,
harmonica. An exhaustive
collection of
improvisational jazz
patterns in various
meters and feels. Level:
intermediate, advanced.
Book. Published by Jamey
Aebersold Jazz
(3)$12.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Bonnie Raitt, Linda Ronstadt: Feels Like Home from "Michael" - SATB Chorale SATB SATB, Piano [Octavo] Alfred Publishing
Edited by Bob Dingley, performed by Bonnie Raitt, arranged by Greg Gilpin, perfo...(+)
Edited by Bob Dingley,
performed by Bonnie
Raitt, arranged by Greg
Gilpin, performed by
Linda Ronstadt, words and
music by Randy Newman.
Octavo for SATB choir and
piano accompaniment.
Series: Pop choral octavo
(SATB). 12 pages.
Published by Alfred
Publishing.
$2.25 $2.1375 (- 5%) Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Whispering Woods Piano seul Hal Leonard
Piano/Keyboard - Late Elementary SKU: HL.275905 9 Piano Solos with Opt...(+)
Piano/Keyboard - Late
Elementary SKU:
HL.275905 9 Piano
Solos with Optional
Teacher Duets Composer
Showcase Serie.
Composed by Lynda
Lybeck-Robinson.
Educational Piano
Library. Piano Duet,
Recital. Softcover. 32
pages. Published by Hal
Leonard (HL.275905).
ISBN 9781540026613.
UPC: 888680745066. 9x12
inches. Lynda
Lybeck-Robinson Late
Elementary
Level. Nine piano
solos with optional
teacher duets by Lynda
Lybeck-Robinson are
presented in this
Composer Showcase
series volume. Includes:
Cabin Dance • Cool,
Shade! • Feels like
Spring • Gold Creek
• Little Bear Tango
• Loon Song •
Moongaze •
Whispering Woods •
The Wishing Trees. $8.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| It Feels Like Christmas (from “The Muppet Christmas Carol”) Chorale 3 parties 3 parties Mixtes - Débutant Hal Leonard
Discovery Level 1. Composed by Paul Williams. Arranged by Audrey Snyder. Dis...(+)
Discovery Level 1.
Composed by
Paul Williams. Arranged
by
Audrey Snyder. Discovery
Choral. Christmas,
Holiday,
Movies, Muppets. Octavo.
Duration 135 seconds.
Published by Hal Leonard
$2.75 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Remembering Marcel And Chet Guitare [Partition + CD] Lemoine, Henry
Guitar SKU: LM.28218 Composed by Patrice Jania. Pop, jazz. Score and CD. ...(+)
Guitar SKU:
LM.28218 Composed by
Patrice Jania. Pop, jazz.
Score and CD. Editions
Henry Lemoine #28218.
Published by Editions
Henry Lemoine (LM.28218).
ISBN
9790230982184. Give
me a clue - Promenade in
a dream - Song for Tilk -
Tartine - Feels like home
- Sur ton epaule - Garden
party - A night in
Arquata Scrivia - Meeting
your ways - Where are you
now - Week-end a Issoudun
avec Marcel - La
Marcellaise. $42.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Dorian’s Barn - Débutant 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 1.5
SKU: CF.FAS105
Composed by Bud Woodruff.
First-Plus String
Orchestra (FAS). Set of
Score and Parts. With
Standard notation.
8+8+2+5+5+2+5+8 pages.
Duration 1 minute, 46
seconds. Carl Fischer
Music #FAS105. Published
by Carl Fischer Music
(CF.FAS105). ISBN
9781491151365. UPC:
680160908868. 9 x 12
inches. Key: B
minor. Composer Bud
Woodruff continues to
present compositions that
students will love to
perform and will learn
from playing. The title,
Dorian's Barn has a
unique double meaning in
that it is dedicated to a
man named Dorian and it
is in the Dorian mode.
The addition of the word
'barn' in the title also
adds to the music a fun
country backwoods
aesthetic.
I had promised a
piece for my valued
friend, Dorian Barnes, in
exchange for some repair
work he performed on my
violin at an inconvenient
time for him. He is a
very gifted luthier,
which is a very ancient
craft, and in addition to
carving modern
instruments, he has also
carved more archaic
stringed instrument. So I
wanted to write a piece
that captured the gist of
what those original
instruments might have
performed. The title
Dorian's Barn is
a twist on his name
(Dorian Barnes), but also
gave a good bit of
inspiration to the piece,
too. There are many
ancient, deserted, old
barns where I live, and
they are all wonderfully
made, but there is no
telling what one might
find inside of one of
them. There is a real
sense of mystery one
feels when approaching
one for the first time,
and I wanted to capture
that feeling in the
music, too. It turns out
that there was an old
barn on the land where
Dorian grew up, and that
image has really stuck in
his mind, too. As a further
twist on Dorian's name,
the piece is primarily in
the E-Dorian
mode. . I had promised a
piece for my valued
friend, Dorian Barnes, in
exchange for some repair
work he performed on my
violin at an inconvenient
time for him. He is a
very gifted luthier,
which is a very ancient
craft, and in addition to
carving modern
instruments, he has also
carved more archaic
stringed instrument. So I
wanted to write a piece
that captured the gist of
what those original
instruments might have
performed. A The title
Dorian's BarnA
is a twist on his name
(Dorian Barnes), but also
gave a good bit of
inspiration to the piece,
too. There are many
ancient, deserted, old
barns where I live, and
they are all wonderfully
made, but there is no
telling what one might
find inside of one of
them. There is a real
sense of mystery one
feels when approaching
one for the first time,
and I wanted to capture
that feeling in the
music, too. It turns out
that there was an old
barn on the land where
Dorian grew up, and that
image has really stuck in
his mind, too. A As a further
twist on Dorian's name,
the piece is primarily in
the E-Dorian
mode. . I had promised a
piece for my valued
friend, Dorian Barnes, in
exchange for some repair
work he performed on my
violin at an inconvenient
time for him. He is a
very gifted luthier,
which is a very ancient
craft, and in addition to
carving modern
instruments, he has also
carved more archaic
stringed instrument. So I
wanted to write a piece
that captured the gist of
what those original
instruments might have
performed. A The title
Dorian's BarnA
is a twist on his name
(Dorian Barnes), but also
gave a good bit of
inspiration to the piece,
too. There are many
ancient, deserted, old
barns where I live, and
they are all wonderfully
made, but there is no
telling what one might
find inside of one of
them. There is a real
sense of mystery one
feels when approaching
one for the first time,
and I wanted to capture
that feeling in the
music, too. It turns out
that there was an old
barn on the land where
Dorian grew up, and that
image has really stuck in
his mind, too. A As a further
twist on Dorian's name,
the piece is primarily in
the E-Dorian
mode. . I had promised a
piece for my valued
friend, Dorian Barnes, in
exchange for some repair
work he performed on my
violin at an inconvenient
time for him. He is a
very gifted luthier,
which is a very ancient
craft, and in addition to
carving modern
instruments, he has also
carved more archaic
stringed instrument. So I
wanted to write a piece
that captured the gist of
what those original
instruments might have
performed. The title
Dorian's Barn is
a twist on his name
(Dorian Barnes), but also
gave a good bit of
inspiration to the piece,
too. There are many
ancient, deserted, old
barns where I live, and
they are all wonderfully
made, but there is no
telling what one might
find inside of one of
them. There is a real
sense of mystery one
feels when approaching
one for the first time,
and I wanted to capture
that feeling in the
music, too. It turns out
that there was an old
barn on the land where
Dorian grew up, and that
image has really stuck in
his mind, too. As a further
twist on Dorian's name,
the piece is primarily in
the E-Dorian
mode. . I had
promised a piece for my
valued friend, Dorian
Barnes, in exchange for
some repair work he
performed on my violin at
an inconvenient time for
him. He is a very gifted
luthier, which is a very
ancient craft, and in
addition to carving
modern instruments, he
has also carved more
archaic stringed
instrument. So I wanted
to write a piece that
captured the gist of what
those original
instruments might have
performed. The title
Dorian's Barn is a twist
on his name (Dorian
Barnes), but also gave a
good bit of inspiration
to the piece, too. There
are many ancient,
deserted, old barns where
I live, and they are all
wonderfully made, but
there is no telling what
one might find inside of
one of them. There is a
real sense of mystery one
feels when approaching
one for the first time,
and I wanted to capture
that feeling in the
music, too. It turns out
that there was an old
barn on the land where
Dorian grew up, and that
image has really stuck in
his mind, too. As a
further twist on Dorian's
name, the piece is
primarily in the E-Dorian
mode. I had promised a
piece for my valued
friend, Dorian Barnes, in
exchange for some repair
work he performed on my
violin at an inconvenient
time for him. He is a
very gifted luthier,
which is a very ancient
craft, and in addition to
carving modern
instruments, he has also
carved more archaic
stringed instrument. So I
wanted to write a piece
that captured the gist of
what those original
instruments might have
performed. The title
Dorian's Barn is a
twist on his name (Dorian
Barnes), but also gave a
good bit of inspiration
to the piece, too. There
are many ancient,
deserted, old barns where
I live, and they are all
wonderfully made, but
there is no telling what
one might find inside of
one of them. There is a
real sense of mystery one
feels when approaching
one for the first time,
and I wanted to capture
that feeling in the
music, too. It turns out
that there was an old
barn on the land where
Dorian grew up, and that
image has really stuck in
his mind, too. As a
further twist on Dorian's
name, the piece is
primarily in the E-Dorian
mode. $53.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Unleashed - 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.CAS112F
Composed by Peter Terry.
Concert String Orchestra
(CAS). Full score. With
Standard notation. 12
pages. Carl Fischer Music
#CAS112F. Published by
Carl Fischer Music
(CF.CAS112F). ISBN
9781491151686. UPC:
680160909186. 9 x 12
inches. Peter
Terry's Unleashed?makes
for an impressive concert
opener that is the
musical equivalent of
unleashing a caged
animal. The piece is
exciting from start to
finish, with energetic
and bold material that
students will love to
play. Everyone wants
to be unleashed, to be
set free of restraints.
This piece captures the
exhilaration of being set
into motion with
unlimited optimism and
energy. The piece is a
rhythmic and
propulsive gallop that spins
off lyrical material as
it drives to a climactic
finish that is both
exciting and
fun. The piece opens
with a robust
first theme, then
transitions on a rhythmic
figure spun off from the
opening
material. The opening
section
repeats in
variation with different
orchestration. The more
lyrical material that
emerges should be brought
out to balance the first
theme and rhythmic
figures from the first
section. A development of
the material from the
opening follows,
driving to a
brief
pause. This
pause
feels like it
will lead to a
contrasting lyrical
theme, but the energy
is
just suspended for a
second before the piece
takes off again.
The
work finishes with a
repeated-note transition
back to variations on the
opening material and a
propulsive rush to the
end. I enjoyed
writing this piece and
hope your students will
enjoy playing these
contrasting styles and
that you will find the
piece beneficial in
teaching important
musical concepts.
?????????Peter Terry,
2018. Everyone
wants to be unleashed, to
be set free of
restraints. This piece
captures the exhilaration
of being set into motion
with unlimited optimism
and energy.A The piece is a
rhythmic and
propulsive gallop that spins
off lyrical material as
it drives to a climactic
finish that is both
exciting and
fun. The piece opens
with a robust
first theme, then
transitions on a rhythmic
figure spun off from the
opening
material. The opening
section
repeats in
variation with different
orchestration. The more
lyrical material that
emerges should be brought
out to balance the first
theme and rhythmic
figures from the first
section. A development of
the material from the
opening follows,
driving to a
brief
pause. This
pause
feels like it
will lead to a
contrasting lyrical
theme, but the energy
is
just suspended for a
second before the piece
takes off again.
The
work finishes with a
repeated-note transition
back to variations on the
opening material and a
propulsive rush to the
end. I enjoyed
writing this piece and
hope your students will
enjoy playing these
contrasting styles and
that you will find the
piece beneficial in
teaching important
musical concepts.
?????????Peter Terry,
2018. Everyone
wants to be unleashed, to
be set free of
restraints. This piece
captures the exhilaration
of being set into motion
with unlimited optimism
and energy.A The piece is a
rhythmic and
propulsive gallop that spins
off lyrical material as
it drives to a climactic
finish that is both
exciting and
fun. The piece opens
with a robust
first theme, then
transitions on a rhythmic
figure spun off from the
opening
material. The opening
section
repeats in
variation with different
orchestration. The more
lyrical material that
emerges should be brought
out to balance the first
theme and rhythmic
figures from the first
section. A development of
the material from the
opening follows,
driving to a
brief
pause. This
pause
feels like it
will lead to a
contrasting lyrical
theme, but the energy
is
just suspended for a
second before the piece
takes off again.
The
work finishes with a
repeated-note transition
back to variations on the
opening material and a
propulsive rush to the
end. I enjoyed
writing this piece and
hope your students will
enjoy playing these
contrasting styles and
that you will find the
piece beneficial in
teaching important
musical concepts.
?????????Peter Terry,
2018. Everyone
wants to be unleashed, to
be set free of
restraints. This piece
captures the exhilaration
of being set into motion
with unlimited optimism
and energy. The piece is a
rhythmic and
propulsive gallop that spins
off lyrical material as
it drives to a climactic
finish that is both
exciting and
fun. The piece opens
with a robust
first theme, then
transitions on a rhythmic
figure spun off from the
opening
material. The opening
section
repeats in
variation with different
orchestration. The more
lyrical material that
emerges should be brought
out to balance the first
theme and rhythmic
figures from the first
section. A development of
the material from the
opening follows,
driving to a
brief
pause. This
pause
feels like it
will lead to a
contrasting lyrical
theme, but the energy
is
just suspended for a
second before the piece
takes off again.
The
work finishes with a
repeated-note transition
back to variations on the
opening material and a
propulsive rush to the
end. I enjoyed
writing this piece and
hope your students will
enjoy playing these
contrasting styles and
that you will find the
piece beneficial in
teaching important
musical concepts.
?????????Peter Terry,
2018. Eve
ryone wants to be
unleashed, to be set free
of restraints. This piece
captures the exhilaration
of being set into motion
with unlimited optimism
and energy. The piece is
a rhythmic and propulsive
gallop that spins off
lyrical material as it
drives to a climactic
finish that is both
exciting and fun. The
piece opens with a robust
first theme, then
transitions on a rhythmic
figure spun off from the
opening material. The
opening section repeats
in variation with
different orchestration.
The more lyrical material
that emerges should be
brought out to balance
the first theme and
rhythmic figures from the
first section. A
development of the
material from the opening
follows, driving to a
brief pause. This pause
feels like it will lead
to a contrasting lyrical
theme, but the energy is
just suspended for a
second before the piece
takes off again. The work
finishes with a
repeated-note transition
back to variations on the
opening material and a
propulsive rush to the
end. I enjoyed writing
this piece and hope your
students will enjoy
playing these contrasting
styles and that you will
find the piece beneficial
in teaching important
musical concepts. Peter
Terry, 2018. Everyone
wants to be unleashed, to
be set free of
restraints. This piece
captures the exhilaration
of being set into motion
with unlimited optimism
and energy. The piece
is a rhythmic and
propulsive gallop that
spins off lyrical
material as it drives to
a climactic finish that
is both exciting and
fun.The piece opens with
a robust first theme,
then transitions on a
rhythmic figure spun off
from the opening
material. The opening
section repeats in
variation with different
orchestration. The more
lyrical material that
emerges should be brought
out to balance the first
theme and rhythmic
figures from the first
section. A development of
the material from the
opening follows, driving
to a brief pause. This
pause feels like it will
lead to a contrasting
lyrical theme, but the
energy is just suspended
for a second before the
piece takes off again.
The work finishes with a
repeated-note transition
back to variations on the
opening material and a
propulsive rush to the
end.I enjoyed writing
this piece and hope your
students will enjoy
playing these contrasting
styles and that you will
find the piece beneficial
in teaching important
musical
concepts.​​
​​​
€‹â€‹â€‹â
€‹Peter Terry,
2018.
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 | | |
| Unleashed - 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.CAS112
Composed by Peter Terry.
Concert String Orchestra
(CAS). Set of Score and
Parts. With Standard
notation.
16+4+16+10+10+10+4+12
pages. Duration 2
minutes, 57 seconds. Carl
Fischer Music #CAS112.
Published by Carl Fischer
Music (CF.CAS112).
ISBN 9781491151310.
UPC: 680160908813. 9 x 12
inches. Key: E
minor. Peter
Terry's Unleashed?makes
for an impressive concert
opener that is the
musical equivalent of
unleashing a caged
animal. The piece is
exciting from start to
finish, with energetic
and bold material that
students will love to
play. Everyone wants
to be unleashed, to be
set free of restraints.
This piece captures the
exhilaration of being set
into motion with
unlimited optimism and
energy. The piece is a
rhythmic and
propulsive gallop that spins
off lyrical material as
it drives to a climactic
finish that is both
exciting and
fun. The piece opens
with a robust
first theme, then
transitions on a rhythmic
figure spun off from the
opening
material. The opening
section
repeats in
variation with different
orchestration. The more
lyrical material that
emerges should be brought
out to balance the first
theme and rhythmic
figures from the first
section. A development of
the material from the
opening follows,
driving to a
brief
pause. This
pause
feels like it
will lead to a
contrasting lyrical
theme, but the energy
is
just suspended for a
second before the piece
takes off again.
The
work finishes with a
repeated-note transition
back to variations on the
opening material and a
propulsive rush to the
end. I enjoyed
writing this piece and
hope your students will
enjoy playing these
contrasting styles and
that you will find the
piece beneficial in
teaching important
musical concepts.
?????????Peter Terry,
2018. Everyone
wants to be unleashed, to
be set free of
restraints. This piece
captures the exhilaration
of being set into motion
with unlimited optimism
and energy.A The piece is a
rhythmic and
propulsive gallop that spins
off lyrical material as
it drives to a climactic
finish that is both
exciting and
fun. The piece opens
with a robust
first theme, then
transitions on a rhythmic
figure spun off from the
opening
material. The opening
section
repeats in
variation with different
orchestration. The more
lyrical material that
emerges should be brought
out to balance the first
theme and rhythmic
figures from the first
section. A development of
the material from the
opening follows,
driving to a
brief
pause. This
pause
feels like it
will lead to a
contrasting lyrical
theme, but the energy
is
just suspended for a
second before the piece
takes off again.
The
work finishes with a
repeated-note transition
back to variations on the
opening material and a
propulsive rush to the
end. I enjoyed
writing this piece and
hope your students will
enjoy playing these
contrasting styles and
that you will find the
piece beneficial in
teaching important
musical concepts.
?????????Peter Terry,
2018. Everyone
wants to be unleashed, to
be set free of
restraints. This piece
captures the exhilaration
of being set into motion
with unlimited optimism
and energy.A The piece is a
rhythmic and
propulsive gallop that spins
off lyrical material as
it drives to a climactic
finish that is both
exciting and
fun. The piece opens
with a robust
first theme, then
transitions on a rhythmic
figure spun off from the
opening
material. The opening
section
repeats in
variation with different
orchestration. The more
lyrical material that
emerges should be brought
out to balance the first
theme and rhythmic
figures from the first
section. A development of
the material from the
opening follows,
driving to a
brief
pause. This
pause
feels like it
will lead to a
contrasting lyrical
theme, but the energy
is
just suspended for a
second before the piece
takes off again.
The
work finishes with a
repeated-note transition
back to variations on the
opening material and a
propulsive rush to the
end. I enjoyed
writing this piece and
hope your students will
enjoy playing these
contrasting styles and
that you will find the
piece beneficial in
teaching important
musical concepts.
?????????Peter Terry,
2018. Everyone
wants to be unleashed, to
be set free of
restraints. This piece
captures the exhilaration
of being set into motion
with unlimited optimism
and energy. The piece is a
rhythmic and
propulsive gallop that spins
off lyrical material as
it drives to a climactic
finish that is both
exciting and
fun. The piece opens
with a robust
first theme, then
transitions on a rhythmic
figure spun off from the
opening
material. The opening
section
repeats in
variation with different
orchestration. The more
lyrical material that
emerges should be brought
out to balance the first
theme and rhythmic
figures from the first
section. A development of
the material from the
opening follows,
driving to a
brief
pause. This
pause
feels like it
will lead to a
contrasting lyrical
theme, but the energy
is
just suspended for a
second before the piece
takes off again.
The
work finishes with a
repeated-note transition
back to variations on the
opening material and a
propulsive rush to the
end. I enjoyed
writing this piece and
hope your students will
enjoy playing these
contrasting styles and
that you will find the
piece beneficial in
teaching important
musical concepts.
?????????Peter Terry,
2018. Eve
ryone wants to be
unleashed, to be set free
of restraints. This piece
captures the exhilaration
of being set into motion
with unlimited optimism
and energy. The piece is
a rhythmic and propulsive
gallop that spins off
lyrical material as it
drives to a climactic
finish that is both
exciting and fun. The
piece opens with a robust
first theme, then
transitions on a rhythmic
figure spun off from the
opening material. The
opening section repeats
in variation with
different orchestration.
The more lyrical material
that emerges should be
brought out to balance
the first theme and
rhythmic figures from the
first section. A
development of the
material from the opening
follows, driving to a
brief pause. This pause
feels like it will lead
to a contrasting lyrical
theme, but the energy is
just suspended for a
second before the piece
takes off again. The work
finishes with a
repeated-note transition
back to variations on the
opening material and a
propulsive rush to the
end. I enjoyed writing
this piece and hope your
students will enjoy
playing these contrasting
styles and that you will
find the piece beneficial
in teaching important
musical concepts. Peter
Terry, 2018. Everyone
wants to be unleashed, to
be set free of
restraints. This piece
captures the exhilaration
of being set into motion
with unlimited optimism
and energy. The piece
is a rhythmic and
propulsive gallop that
spins off lyrical
material as it drives to
a climactic finish that
is both exciting and
fun.The piece opens with
a robust first theme,
then transitions on a
rhythmic figure spun off
from the opening
material. The opening
section repeats in
variation with different
orchestration. The more
lyrical material that
emerges should be brought
out to balance the first
theme and rhythmic
figures from the first
section. A development of
the material from the
opening follows, driving
to a brief pause. This
pause feels like it will
lead to a contrasting
lyrical theme, but the
energy is just suspended
for a second before the
piece takes off again.
The work finishes with a
repeated-note transition
back to variations on the
opening material and a
propulsive rush to the
end.I enjoyed writing
this piece and hope your
students will enjoy
playing these contrasting
styles and that you will
find the piece beneficial
in teaching important
musical
concepts.​​
​​​
€‹â€‹â€‹â
€‹Peter Terry,
2018.
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 | | |
| Dorian’s Barn - Débutant 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 1.5
SKU: CF.FAS105F
Composed by Bud Woodruff.
First-Plus String
Orchestra (FAS). Full
score. With Standard
notation. 8 pages. Carl
Fischer Music #FAS105F.
Published by Carl Fischer
Music (CF.FAS105F).
ISBN 9781491151730.
UPC: 680160909230. 9 x 12
inches. Composer
Bud Woodruff continues to
present compositions that
students will love to
perform and will learn
from playing. The title,
Dorian's Barn has a
unique double meaning in
that it is dedicated to a
man named Dorian and it
is in the Dorian mode.
The addition of the word
'barn' in the title also
adds to the music a fun
country backwoods
aesthetic.
I had promised a
piece for my valued
friend, Dorian Barnes, in
exchange for some repair
work he performed on my
violin at an inconvenient
time for him. He is a
very gifted luthier,
which is a very ancient
craft, and in addition to
carving modern
instruments, he has also
carved more archaic
stringed instrument. So I
wanted to write a piece
that captured the gist of
what those original
instruments might have
performed. The title
Dorian's Barn is
a twist on his name
(Dorian Barnes), but also
gave a good bit of
inspiration to the piece,
too. There are many
ancient, deserted, old
barns where I live, and
they are all wonderfully
made, but there is no
telling what one might
find inside of one of
them. There is a real
sense of mystery one
feels when approaching
one for the first time,
and I wanted to capture
that feeling in the
music, too. It turns out
that there was an old
barn on the land where
Dorian grew up, and that
image has really stuck in
his mind, too. As a further
twist on Dorian's name,
the piece is primarily in
the E-Dorian
mode. . I had promised a
piece for my valued
friend, Dorian Barnes, in
exchange for some repair
work he performed on my
violin at an inconvenient
time for him. He is a
very gifted luthier,
which is a very ancient
craft, and in addition to
carving modern
instruments, he has also
carved more archaic
stringed instrument. So I
wanted to write a piece
that captured the gist of
what those original
instruments might have
performed. A The title
Dorian's BarnA
is a twist on his name
(Dorian Barnes), but also
gave a good bit of
inspiration to the piece,
too. There are many
ancient, deserted, old
barns where I live, and
they are all wonderfully
made, but there is no
telling what one might
find inside of one of
them. There is a real
sense of mystery one
feels when approaching
one for the first time,
and I wanted to capture
that feeling in the
music, too. It turns out
that there was an old
barn on the land where
Dorian grew up, and that
image has really stuck in
his mind, too. A As a further
twist on Dorian's name,
the piece is primarily in
the E-Dorian
mode. . I had promised a
piece for my valued
friend, Dorian Barnes, in
exchange for some repair
work he performed on my
violin at an inconvenient
time for him. He is a
very gifted luthier,
which is a very ancient
craft, and in addition to
carving modern
instruments, he has also
carved more archaic
stringed instrument. So I
wanted to write a piece
that captured the gist of
what those original
instruments might have
performed. A The title
Dorian's BarnA
is a twist on his name
(Dorian Barnes), but also
gave a good bit of
inspiration to the piece,
too. There are many
ancient, deserted, old
barns where I live, and
they are all wonderfully
made, but there is no
telling what one might
find inside of one of
them. There is a real
sense of mystery one
feels when approaching
one for the first time,
and I wanted to capture
that feeling in the
music, too. It turns out
that there was an old
barn on the land where
Dorian grew up, and that
image has really stuck in
his mind, too. A As a further
twist on Dorian's name,
the piece is primarily in
the E-Dorian
mode. . I had promised a
piece for my valued
friend, Dorian Barnes, in
exchange for some repair
work he performed on my
violin at an inconvenient
time for him. He is a
very gifted luthier,
which is a very ancient
craft, and in addition to
carving modern
instruments, he has also
carved more archaic
stringed instrument. So I
wanted to write a piece
that captured the gist of
what those original
instruments might have
performed. The title
Dorian's Barn is
a twist on his name
(Dorian Barnes), but also
gave a good bit of
inspiration to the piece,
too. There are many
ancient, deserted, old
barns where I live, and
they are all wonderfully
made, but there is no
telling what one might
find inside of one of
them. There is a real
sense of mystery one
feels when approaching
one for the first time,
and I wanted to capture
that feeling in the
music, too. It turns out
that there was an old
barn on the land where
Dorian grew up, and that
image has really stuck in
his mind, too. As a further
twist on Dorian's name,
the piece is primarily in
the E-Dorian
mode. . I had
promised a piece for my
valued friend, Dorian
Barnes, in exchange for
some repair work he
performed on my violin at
an inconvenient time for
him. He is a very gifted
luthier, which is a very
ancient craft, and in
addition to carving
modern instruments, he
has also carved more
archaic stringed
instrument. So I wanted
to write a piece that
captured the gist of what
those original
instruments might have
performed. The title
Dorian's Barn is a twist
on his name (Dorian
Barnes), but also gave a
good bit of inspiration
to the piece, too. There
are many ancient,
deserted, old barns where
I live, and they are all
wonderfully made, but
there is no telling what
one might find inside of
one of them. There is a
real sense of mystery one
feels when approaching
one for the first time,
and I wanted to capture
that feeling in the
music, too. It turns out
that there was an old
barn on the land where
Dorian grew up, and that
image has really stuck in
his mind, too. As a
further twist on Dorian's
name, the piece is
primarily in the E-Dorian
mode. I had promised a
piece for my valued
friend, Dorian Barnes, in
exchange for some repair
work he performed on my
violin at an inconvenient
time for him. He is a
very gifted luthier,
which is a very ancient
craft, and in addition to
carving modern
instruments, he has also
carved more archaic
stringed instrument. So I
wanted to write a piece
that captured the gist of
what those original
instruments might have
performed. The title
Dorian's Barn is a
twist on his name (Dorian
Barnes), but also gave a
good bit of inspiration
to the piece, too. There
are many ancient,
deserted, old barns where
I live, and they are all
wonderfully made, but
there is no telling what
one might find inside of
one of them. There is a
real sense of mystery one
feels when approaching
one for the first time,
and I wanted to capture
that feeling in the
music, too. It turns out
that there was an old
barn on the land where
Dorian grew up, and that
image has really stuck in
his mind, too. As a
further twist on Dorian's
name, the piece is
primarily in the E-Dorian
mode. $7.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| She Walks in Beauty Chorale SATB Carl Fischer
Choral SATB choir, piano accompaniment SKU: CF.CM9607 Composed by Z. Rand...(+)
Choral SATB choir, piano
accompaniment SKU:
CF.CM9607 Composed by
Z. Randall Stroope. Sws.
Performance Score. 16
pages. Duration 4
minutes, 3 seconds. Carl
Fischer Music #CM9607.
Published by Carl Fischer
Music (CF.CM9607).
ISBN 9781491154298.
UPC: 680160912797. 6.875
x 10.5 inches. Key: Db
major. English. Lord
George Gordon Byron
(1788-1824). Lord
George Gordon Byron,
described as mad, bad and
dangerous to know, is one
of the greatest British
poets. He was known for
his brilliant use of the
English language, as well
as his flamboyant
lifestyle and romantic
escapades. Scholars
believe that Byron wrote
She Walks in
Beauty in 1814 when
he met his cousin, Mrs.
John Wilmont. It is an
innocent poem, with
seemingly only admiration
of the subjects outer
physical beauty and inner
peace. Byron feels that
the persons beauty is a
perfect union of dark and
light. The cloudless
night is filled with soft
starlight. She exudes a
captivating purity,
almost an expression of
the divine. This is
arguably Lord Byrons best
known poem.
 . Lord George
Gordon Byron, described
as amad, bad and
dangerous to know,a is
one of the greatest
British poets. He was
known for his brilliant
use of the English
language, as well as his
flamboyant lifestyle and
romantic escapades.
Scholars believe that
Byron wrote She Walks
in Beauty in 1814
when he met his cousin,
Mrs. John Wilmont. It is
an innocent poem, with
seemingly only admiration
of the subjectas outer
physical beauty and inner
peace. Byron feels that
the personas beauty is a
perfect union of dark and
light. The cloudless
night is filled with soft
starlight. She exudes a
captivating purity,
almost an expression of
the divine. This is
arguably Lord Byronas
best known poem.
 . Lord George
Gordon Byron, described
as mad, bad and dangerous
to know, is one of the
greatest British poets.
He was known for his
brilliant use of the
English language, as well
as his flamboyant
lifestyle and romantic
escapades. Scholars
believe that Byron wrote
She Walks in
Beauty in 1814 when
he met his cousin, Mrs.
John Wilmont. It is an
innocent poem, with
seemingly only admiration
of the subject's outer
physical beauty and inner
peace. Byron feels that
the person's beauty is a
perfect union of dark and
light. The cloudless
night is filled with soft
starlight. She exudes a
captivating purity,
almost an expression of
the divine. This is
arguably Lord Byron's
best known poem.
 . Lord George
Gordon Byron, described
as mad, bad and dangerous
to know, is one of the
greatest British poets.
He was known for his
brilliant use of the
English language, as well
as his flamboyant
lifestyle and romantic
escapades. Scholars
believe that Byron wrote
She Walks in Beauty in
1814 when he met his
cousin, Mrs. John
Wilmont. It is an
innocent poem, with
seemingly only admiration
of the subject's outer
physical beauty and inner
peace. Byron feels that
the person's beauty is a
perfect union of dark and
light. The cloudless
night is filled with soft
starlight. She exudes a
captivating purity,
almost an expression of
the divine. This is
arguably Lord Byron's
best known poem.
 . Lord George
Gordon Byron, described
as “mad, bad and
dangerous to know,â€
is one of the greatest
British poets. He was
known for his brilliant
use of the English
language, as well as his
flamboyant lifestyle and
romantic
escapades.Scholars
believe that Byron wrote
She Walks in Beauty in
1814 when he met his
cousin, Mrs. John
Wilmont. It is an
innocent poem, with
seemingly only admiration
of the subject’s
outer physical beauty and
inner peace. Byron feels
that the person’s
beauty is a perfect union
of dark and light. The
cloudless night is filled
with soft starlight. She
exudes a captivating
purity, almost an
expression of the divine.
This is arguably Lord
Byron’s best known
poem. . $3.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Groove Essentials - The Play-Along Batterie [Partition + CD] Hudson Music
A Complete Groove Encyclopedia for the 21st Century Drummer. Performed by Tommy ...(+)
A Complete Groove
Encyclopedia for the 21st
Century Drummer.
Performed by Tommy Igoe.
Percussion. Book and CD
Package. 120 pages.
Published by Hudson
Music.
(1)$24.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Character Orchestre à Cordes - Débutant Carl Fischer
Orchestra String Orchestra - Grade 1.5-2 SKU: CF.FAS21 Composed by Larry ...(+)
Orchestra String
Orchestra - Grade 1.5-2
SKU: CF.FAS21
Composed by Larry Clark.
Edited by Amy Rosen. SWS
- FS. Carl Fischer First
Plus String Orchestra
Series. Classical. Score
and Parts. With Standard
notation. 8+8+2+5+5+5+2+8
pages. Carl Fischer Music
#FAS21. Published by Carl
Fischer Music (CF.FAS21).
ISBN 9780825853067.
UPC: 798408053062. 8.5 X
11 inches. Key: B
minor. Characte
r was composed to
introduce young string
players to contemporary
harmonic techniques while
still being within the
technical limitations of
the developing student.
Quartal and quintal
harmonies open the
composition with a
fanfare gesture that ties
the piece together. This
is followed by an
ostinato in the first
violins that contains a
tricky figuration between
G and A that will work
the pinky finger on the
D-string. Players who are
not capable of
maneuvering their pinky
at this brisk tempo
should play the lower
part. The main theme is
given to the inner voice
for a change! After the
main theme there is a
development section that
combines fragments of the
fanfare material with
fragments of the main
theme. A grand pause and
then a stronger statement
of the main theme then
follow this with the
first violins up an
octave. The piece is then
completed with a short
coda containing fragments
of the ostinato and
fanfare material. It
feels natural for the
tempo to speed up
slightly at this point in
the piece. As with all of
my pieces at this level,
the tempo is merely a
suggestion and should be
adjusted slower or faster
to fit the needs of your
students and the
performance situation. It
has been my pleasure to
have the opportunity to
write this piece. I hope
you and your students
enjoy it and find it
useful for your program.
-Larry Clark New York, NY
2003. Character was
composed to introduce
young string players to
contemporary harmonic
techniques while still
being within the
technical limitations of
the developing student.
Quartal and quintal
harmonies open the
composition with a
fanfare gesture that ties
the piece together. This
is followed by an
ostinato in the first
violins that contains a
tricky figuration between
G and A that will work
the pinky finger on the
D-string. Players who are
not capable of
maneuvering their pinky
at this brisk tempo
should play the lower
part. The main theme is
given to the inner voice
for a change! After the
main theme there is a
development section that
combines fragments of the
fanfare material with
fragments of the main
theme. A grand pause and
then a stronger statement
of the main theme then
follow this with the
first violins up an
octave. The piece is then
completed with a short
coda containing fragments
of the ostinato and
fanfare material. It
feels natural for the
tempo to speed up
slightly at this point in
the piece. As with all of
my pieces at this level,
the tempo is merely a
suggestion and should be
adjusted slower or faster
to fit the needs of your
students and the
performance situation. It
has been my pleasure to
have the opportunity to
write this piece. I hope
you and your students
enjoy it and find it
useful for your program.
-Larry Clark New York, NY
2003. Character was
composed to introduce
young string players to
contemporary harmonic
techniques while still
being within the
technical limitations of
the developing student.
Quartal and quintal
harmonies open the
composition with a
fanfare gesture that ties
the piece together. This
is followed by an
ostinato in the first
violins that contains a
tricky figuration between
G and A that will work
the pinky finger on the
D-string. Players who are
not capable of
maneuvering their pinky
at this brisk tempo
should play the lower
part. The main theme is
given to the inner voice
for a change! After the
main theme there is a
development section that
combines fragments of the
fanfare material with
fragments of the main
theme. A grand pause and
then a stronger statement
of the main theme then
follow this with the
first violins up an
octave. The piece is then
completed with a short
coda containing fragments
of the ostinato and
fanfare material. It
feels natural for the
tempo to speed up
slightly at this point in
the piece.As with all of
my pieces at this level,
the tempo is merely a
suggestion and should be
adjusted slower or faster
to fit the needs of your
students and the
performance situation.It
has been my pleasure to
have the opportunity to
write this piece. I hope
you and your students
enjoy it and find it
useful for your
program.-Larry ClarkNew
York, NY 2003. $53.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Complete Jazz Guitar Method: Intermediate Jazz Guitar Guitare [Partition] Alfred Publishing
By Jody Fisher. For Guitar. Guitar Method or Supplement. Jazz. Book. 96 pages. P...(+)
By Jody Fisher. For
Guitar. Guitar Method or
Supplement. Jazz. Book.
96 pages. Published by
Alfred Publishing.
$10.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Complete Jazz Guitar Method: Intermediate Jazz Guitar Guitare [Partition + CD] Alfred Publishing
By Jody Fisher. For Guitar. Guitar Method or Supplement. Jazz. Book & CD. 96 pag...(+)
By Jody Fisher. For
Guitar. Guitar Method or
Supplement. Jazz. Book &
CD. 96 pages. Published
by Alfred Publishing.
(1)$22.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Complete Jazz Guitar Method (Intermediate Jazz Guitar) Guitare [Partition + CD] - Intermédiaire Alfred Publishing
(Intermediate Jazz Guitar). By Jody Fisher. For Guitar. This edition: Standard N...(+)
(Intermediate Jazz
Guitar). By Jody Fisher.
For Guitar. This edition:
Standard Notation Only.
Book; CD; Guitar Method
or Supplement;
Method/Instruction;
Technique Musicianship.
Complete Method. Jazz.
Intermediate. 96 pages.
Published by Alfred Music
(AP.4
$19.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
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