| Fake Book Of The World's Favorite Songs - C Instruments - 4th Edition
Instruments en Do [Fake Book] Hal Leonard
For voice and C instrument. Format: fakebook. With vocal melody, lyrics and chor...(+)
For voice and C
instrument. Format:
fakebook. With vocal
melody, lyrics and chord
names. Traditional pop
and vocal standards.
Series: Hal Leonard Fake
Books. 424 pages. 9x12
inches. Published by Hal
Leonard.
(14)$34.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Classical Fake Book - 2nd Edition
Fake Book [Fake Book] - Facile Hal Leonard
(Over 850 Classical Themes and Melodies in the Original Keys) For C instrument. ...(+)
(Over 850 Classical
Themes and Melodies in
the Original Keys) For C
instrument. Format:
fakebook (spiral bound).
With vocal melody
(excerpts) and chord
names. Lassical. Series:
Hal Leonard Fake Books.
646 pages. 9x12 inches.
Published by Hal Leonard.
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| Ryan's Mammoth Collection of Fiddle Tunes Violon [Partition] Mel Bay
Edited by Patrick Sky. For fiddle. All styles. Level: Multiple Levels. Book. Son...(+)
Edited by Patrick Sky.
For fiddle. All styles.
Level: Multiple Levels.
Book. Songbook. Size
8.75x11.75. 176 pages.
Published by Mel Bay
Pub., Inc.
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| 24 Varied Scales And Exercises For Clarinet
Clarinette Carl Fischer
In All Major and Minor Keys. Composed by J. B. Albert. Edited by Julie DeRoche...(+)
In All Major and Minor
Keys.
Composed by J. B. Albert.
Edited by Julie DeRoche.
Book.
With Standard notation.
32
pages. Carl Fischer Music
#O99X. Published by Carl
Fischer Music
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| Jumbo Easy Guitar Songbook Guitare notes et tablatures Guitare classique [Partition] - Facile Hal Leonard
Performed by Various. Easy Guitar (Simplified arrangements for guitar). With not...(+)
Performed by Various.
Easy Guitar (Simplified
arrangements for guitar).
With notes and tablature.
Size 9x12 inches. 400
pages. Published by Hal
Leonard.
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| The Real Little Classical Fake Book - 2nd Edition Piano seul - Intermédiaire Hal Leonard
Composed by Various. For Piano/Keyboard. Hal Leonard Fake Books. Classical. Diff...(+)
Composed by Various. For
Piano/Keyboard. Hal
Leonard Fake Books.
Classical. Difficulty:
medium to
medium-difficult.
Fakebook. Melody line,
chord names and lyrics
(on some songs). 413
pages. Published by Hal
Leonard
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| Quintet in F Major, K. 497 Carl Fischer
Chamber Music Cello, Flute, Viola 1, Viola 2, Violin SKU: CF.MXE219 Compo...(+)
Chamber Music Cello,
Flute, Viola 1, Viola 2,
Violin SKU:
CF.MXE219 Composed by
Wolfgang Amadeus Mozart.
Arranged by Robert
Stallman. Sws.
56+16+16+16+16+12 pages.
Carl Fischer Music
#MXE219. Published by
Carl Fischer Music
(CF.MXE219). ISBN
9781491157794. UPC:
680160916399. 9 x 12
inches. Preface In
1990, during an intense
rehearsal of a Mozart
Quartet transcription for
flute and strings by
Franz Anton Hoffmeister,
at the Marblehead Summer
Music Festival, a
disgruntled violist
friend complained about
HoffmeisterAs awkward
string writing, suddenly
daring me to create my
own arrangement. I
balked. But the following
winterA3despite scruples
about treading on
hallowed groundA3I grew
curious and began to
experiment. Soon I was
hooked on the challenge
of learning to speak
MozartAs language with
conviction. This
fascination, encouraged
by pianist Richard Goode
and other Mozarteans,
would eventually generate
a total of thirty-nine
recreations of Mozart
piano sonatas as works
for flute and strings.
With zero tolerance for
alteration of melodic or
harmonic
materialA3MozartAs friend
Hoffmeister had
regrettably attempted
such
A!improvementsA(r)A3I
always tried to envision
what Mozart himself would
have desired. Many of the
sonatas can be heard as
if they were MozartAs
A!blueprintsA(r) of
imagined chamber works.
Hence my task was to
A!flesh outA(r) the
keyboard versions as
Mozart might have done,
had a commission or
performance opportunity
arisen. I spent hours
pondering how Mozart
might have set these
sonatas in four- or
five-part form, providing
the needed textural or
contrapuntal
enhancements. With
immersion in the
composerAs dialect,
various apt solutions
presented themselves. The
search for the
A!rightA(r) one then
became a most absorbing
study. On the eve of
releasing my BognerAs
CafA recording of
Mozart-Stallman New
Quintets (2006), I
discovered to my delight
that a prominent scholar
had long before endorsed
such an effort. Eric Blom
(1888A+-1959), author of
Mozart (1935), had taken
note of the four-hand
piano works as A!a kind
of keyboard chamber
music.A(r) Regarding
Sonata, K. 497, Mr. Blom
had observed that Mozart
is often dealing with,
not the expected four
voices (one to a hand),
but five. Blom states:
A!The F major Sonata (K.
497) removes us to
another worldA3the world
of the great chamber
music, especially of the
string quintets. Indeed
an arrangement of some
sort for a combination of
instruments would make a
magnificent concert work
of this almost
uncomfortably great piece
of domestic music.A(r)
That Mozart was in 1786
writing for piano duo
from a quintet
perspective makes sense,
as we find him returning
to the quintet form with
keen interest in his last
years, writing four
String Quintets, the
Clarinet Quintet,
rearranging a wind
serenade for String
Quintet, and leaving
several other quintets
incomplete. My
arrangement presented
here is made for flute
and strings but is also
intended for string
quintet. Quintet in F
Major for Flute and
Strings, K. 497, was
completed in 1999 and
performed with the Martin
Quartet in the Czech
Republic prior to
recording it in 2004.
Mozart had finished the
original Sonata in F
Major for Piano,
Four-Hands, K. 497, on
August 1, 1786. It shows
the unmistakable
influence of Figaro,
completed and premiered
exactly three months
prior. As signaled by the
imposing introductory
Adagio, the conception is
on a grand symphonic
scale, all three
movements being richly
developed with
contrapuntal episodes and
an abundance of
marvelously contrasting
textures and themes
throughout. Called A!the
crowning work of its
kindA(r) by Alfred
Einstein, the Sonata is
laden with examples of
MozartAs mercurial
originality. Here we have
a perfect synthesis of
concertante brilliance,
operatic intensity and
intimate dialogue. The
work opens in unison with
a probing, minor-tinged
Adagio, whose question
comes to a pause on the
dominant, before being
answered with jaunty
certainty by the opening
theme of the Allegro di
moltoA3an F-major tune as
sunny and confident as an
aria from Figaro itself.
This movementAs
declamatory A!opera
chorusA(r) persistently
intones its rhythmic
motto over a swirling
scale figure. The amorous
second theme (initially
presented in the first
viola) also seems to be
plucked from Figaro. The
Andante opens with a
heavenly melody, which
takes as its springboard
the Romanza theme from
the Horn Concerto in E
Major, K. 495, written
only five weeks before.
The A!love duetA(r)
between flute and first
viola seems to anticipate
the impassioned
A!duettingA(r) between
violin and viola in the
Andante of the String
Quintet in C Major, K.
515, written about nine
months later. The
ingenious stretto canon
of the AndanteAs middle
section requires the
precision of a Swiss
clock (which its chiming
thirds recall). Affecting
bucolic codettas close
each of the main sections
of the movement. In the
final Allegro, a rondo in
6/8a time, the puckish,
yet aristocratic
character of the opening
theme contrasts with the
bumptious, popular tune
used for the second theme
(heard first in the
violin and then the
flute, over pizzicato
cello). Lilting hymn-like
episodes in three, four-
and finally five-part
counterpoint are
repeatedly interrupted by
startling scale figures
that rise up in furioso
episodes throughout the
movement. As in the
A!Swiss clockA(r) section
of the Andante, Mozart
uses a stretto imitation
treatment with this
tempest theme, thereby
heightening both
intensity and sense of
instability. I am most
grateful to the
adventuresome Martin
Quartet for their warm
support and collaboration
over the years with
several of my
arrangements, and to my
friend Edwin Swanborn for
the original typesetting
of this score. Gratitude
is also due Weekend
Edition, Performance
Today and innumerable
classical stations across
the United States for
their enthusiastic and
repeated airings of my
A!newA(r) Mozart Quintet
endeavorsA3and most of
all, to violist Katherine
Murdock for that dare in
1990. A3Compiled from the
writings of Robert
Stallman by Hannah Woods
Stallman, February 2,
2020. Preface In 1990,
during an intense
rehearsal of a Mozart
Quartet transcription for
flute and strings by
Franz Anton Hoffmeister,
at the Marblehead Summer
Music Festival, a
disgruntled violist
friend complained about
Hoffmeisteris awkward
string writing, suddenly
daring me to create my
own arrangement. I
balked. But the following
winterodespite scruples
about treading on
hallowed groundoI grew
curious and began to
experiment. Soon I was
hooked on the challenge
of learning to speak
Mozartis language with
conviction. This
fascination, encouraged
by pianist Richard Goode
and other Mozarteans,
would eventually generate
a total of thirty-nine
recreations of Mozart
piano sonatas as works
for flute and strings.
With zero tolerance for
alteration of melodic or
harmonic
materialoMozartis friend
Hoffmeister had
regrettably attempted
such iimprovementsioI
always tried to envision
what Mozart himself would
have desired. Many of the
sonatas can be heard as
if they were Mozartis
iblueprintsi of imagined
chamber works. Hence my
task was to iflesh outi
the keyboard versions as
Mozart might have done,
had a commission or
performance opportunity
arisen. I spent hours
pondering how Mozart
might have set these
sonatas in four- or
five-part form, providing
the needed textural or
contrapuntal
enhancements. With
immersion in the
composeris dialect,
various apt solutions
presented themselves. The
search for the irighti
one then became a most
absorbing study. On the
eve of releasing my
Bogneris CafE recording
of Mozart-Stallman New
Quintets (2006), I
discovered to my delight
that a prominent scholar
had long before endorsed
such an effort. Eric Blom
(1888n1959), author of
Mozart (1935), had taken
note of the four-hand
piano works as ia kind of
keyboard chamber music.i
Regarding Sonata, K. 497,
Mr. Blom had observed
that Mozart is often
dealing with, not the
expected four voices (one
to a hand), but five.
Blom states: iThe F major
Sonata (K. 497) removes
us to another worldothe
world of the great
chamber music, especially
of the string quintets.
Indeed an arrangement of
some sort for a
combination of
instruments would make a
magnificent concert work
of this almost
uncomfortably great piece
of domestic music.i That
Mozart was in 1786
writing for piano duo
from a quintet
perspective makes sense,
as we find him returning
to the quintet form with
keen interest in his last
years, writing four
String Quintets, the
Clarinet Quintet,
rearranging a wind
serenade for String
Quintet, and leaving
several other quintets
incomplete. My
arrangement presented
here is made for flute
and strings but is also
intended for string
quintet. Quintet in F
Major for Flute and
Strings, K. 497, was
completed in 1999 and
performed with the Martin
Quartet in the Czech
Republic prior to
recording it in 2004.
Mozart had finished the
original Sonata in F
Major for Piano,
Four-Hands, K. 497, on
August 1, 1786. It shows
the unmistakable
influence of Figaro,
completed and premiered
exactly three months
prior. As signaled by the
imposing introductory
Adagio, the conception is
on a grand symphonic
scale, all three
movements being richly
developed with
contrapuntal episodes and
an abundance of
marvelously contrasting
textures and themes
throughout. Called ithe
crowning work of its
kindi by Alfred Einstein,
the Sonata is laden with
examples of Mozartis
mercurial originality.
Here we have a perfect
synthesis of concertante
brilliance, operatic
intensity and intimate
dialogue. The work opens
in unison with a probing,
minor-tinged Adagio,
whose question comes to a
pause on the dominant,
before being answered
with jaunty certainty by
the opening theme of the
Allegro di moltooan
F-major tune as sunny and
confident as an aria from
Figaro itself. This
movementis declamatory
iopera chorusi
persistently intones its
rhythmic motto over a
swirling scale figure.
The amorous second theme
(initially presented in
the first viola) also
seems to be plucked from
Figaro. The Andante opens
with a heavenly melody,
which takes as its
springboard the Romanza
theme from the Horn
Concerto in E Major, K.
495, written only five
weeks before. The ilove
dueti between flute and
first viola seems to
anticipate the
impassioned iduettingi
between violin and viola
in the Andante of the
String Quintet in C
Major, K. 515, written
about nine months later.
The ingenious stretto
canon of the Andanteis
middle section requires
the precision of a Swiss
clock (which its chiming
thirds recall). Affecting
bucolic codettas close
each of the main sections
of the movement. In the
final Allegro, a rondo in
6/8+time, the puckish,
yet aristocratic
character of the opening
theme contrasts with the
bumptious, popular tune
used for the second theme
(heard first in the
violin and then the
flute, over pizzicato
cello). Lilting hymn-like
episodes in three, four-
and finally five-part
counterpoint are
repeatedly interrupted by
startling scale figures
that rise up in furioso
episodes throughout the
movement. As in the
iSwiss clocki section of
the Andante, Mozart uses
a stretto imitation
treatment with this
tempest theme, thereby
heightening both
intensity and sense of
instability. I am most
grateful to the
adventuresome Martin
Quartet for their warm
support and collaboration
over the years with
several of my
arrangements, and to my
friend Edwin Swanborn for
the original typesetting
of this score. Gratitude
is also due Weekend
Edition, Performance
Today and innumerable
classical stations across
the United States for
their enthusiastic and
repeated airings of my
inewi Mozart Quintet
endeavorsoand most of
all, to violist Katherine
Murdock for that dare in
1990. oCompiled from the
writings of Robert
Stallman by Hannah Woods
Stallman, February 2,
2020. Preface In 1990,
during an intense
rehearsal of a Mozart
Quartet transcription for
flute and strings by
Franz Anton Hoffmeister,
at the Marblehead Summer
Music Festival, a
disgruntled violist
friend complained about
Hoffmeister's awkward
string writing, suddenly
daring me to create my
own arrangement. I
balked. But the following
winter--despite scruples
about treading on
hallowed ground--I grew
curious and began to
experiment. Soon I was
hooked on the challenge
of learning to speak
Mozart's language with
conviction. This
fascination, encouraged
by pianist Richard Goode
and other Mozarteans,
would eventually generate
a total of thirty-nine
recreations of Mozart
piano sonatas as works
for flute and strings.
With zero tolerance for
alteration of melodic or
harmonic
material--Mozart's friend
Hoffmeister had
regrettably attempted
such improvements--I
always tried to envision
what Mozart himself would
have desired. Many of the
sonatas can be heard as
if they were Mozart's
blueprints of imagined
chamber works. Hence my
task was to flesh out the
keyboard versions as
Mozart might have done,
had a commission or
performance opportunity
arisen. I spent hours
pondering how Mozart
might have set these
sonatas in four- or
five-part form, providing
the needed textural or
contrapuntal
enhancements. With
immersion in the
composer's dialect,
various apt solutions
presented themselves. The
search for the right one
then became a most
absorbing study. On the
eve of releasing my
Bogner's Cafe recording
of Mozart-Stallman New
Quintets (2006), I
discovered to my delight
that a prominent scholar
had long before endorsed
such an effort. Eric Blom
(1888-1959), author of
Mozart (1935), had taken
note of the four-hand
piano works as a kind of
keyboard chamber music.
Regarding Sonata, K. 497,
Mr. Blom had observed
that Mozart is often
dealing with, not the
expected four voices (one
to a hand), but five.
Blom states: The F major
Sonata (K. 497) removes
us to another world--the
world of the great
chamber music, especially
of the string quintets.
Indeed an arrangement of
some sort for a
combination of
instruments would make a
magnificent concert work
of this almost
uncomfortably great piece
of domestic music. That
Mozart was in 1786
writing for piano duo
from a quintet
perspective makes sense,
as we find him returning
to the quintet form with
keen interest in his last
years, writing four
String Quintets, the
Clarinet Quintet,
rearranging a wind
serenade for String
Quintet, and leaving
several other quintets
incomplete. My
arrangement presented
here is made for flute
and strings but is also
intended for string
quintet. Quintet in F
Major for Flute and
Strings, K. 497, was
completed in 1999 and
performed with the
Martinu Quartet in the
Czech Republic prior to
recording it in 2004.
Mozart had finished the
original Sonata in F
Major for Piano,
Four-Hands, K. 497, on
August 1, 1786. It shows
the unmistakable
influence of Figaro,
completed and premiered
exactly three months
prior. As signaled by the
imposing introductory
Adagio, the conception is
on a grand symphonic
scale, all three
movements being richly
developed with
contrapuntal episodes and
an abundance of
marvelously contrasting
textures and themes
throughout. Called the
crowning work of its kind
by Alfred Einstein, the
Sonata is laden with
examples of Mozart's
mercurial originality.
Here we have a perfect
synthesis of concertante
brilliance, operatic
intensity and intimate
dialogue. The work opens
in unison with a probing,
minor-tinged Adagio,
whose question comes to a
pause on the dominant,
before being answered
with jaunty certainty by
the opening theme of the
Allegro di molto--an
F-major tune as sunny and
confident as an aria from
Figaro itself. This
movement's declamatory
opera chorus persistently
intones its rhythmic
motto over a swirling
scale figure. The amorous
second theme (initially
presented in the first
viola) also seems to be
plucked from Figaro. The
Andante opens with a
heavenly melody, which
takes as its springboard
the Romanza theme from
the Horn Concerto in E<=
Major, K. 495, written
only five weeks before.
The love duet between
flute and first viola
seems to anticipate the
impassioned duetting
between violin and viola
in the Andante of the
String Quintet in C
Major, K. 515, written
about nine months later.
The ingenious stretto
canon of the Andante's
middle section requires
the precision of a Swiss
clock (which its chiming
thirds recall). Affecting
bucolic codettas close
each of the main sections
of the movement. In the
final Allegro, a rondo in
6/8 time, the puckish,
yet aristocratic
character of the opening
theme contrasts with the
bumptious, popular tune
used for the second theme
(heard first in the
violin and then the
flute, over pizzicato
cello). Lilting hymn-like
episodes in three, four-
and finally five-part
counterpoint are
repeatedly interrupted by
startling scale figures
that rise up in furioso
episodes throughout the
movement. As in the Swiss
clock section of the
Andante, Mozart uses a
stretto imitation
treatment with this
tempest theme, thereby
heightening both
intensity and sense of
instability. I am most
grateful to the
adventuresome Martinu
Quartet for their warm
support and collaboration
over the years with
several of my
arrangements, and to my
friend Edwin Swanborn for
the original typesetting
of this score. Gratitude
is also due Weekend
Edition, Performance
Today and innumerable
classical stations across
the United States for
their enthusiastic and
repeated airings of my
new Mozart Quintet
endeavors--and most of
all, to violist Katherine
Murdock for that dare in
1990. --Compiled from the
writings of Robert
Stallman by Hannah Woods
Stallman, February 2,
2020. PrefaceIn 1990,
during an intense
rehearsal of a Mozart
Quartet transcription for
flute and strings by
Franz Anton Hoffmeister,
at the Marblehead Summer
Music Festival, a
disgruntled violist
friend complained about
Hoffmeister’s
awkward string writing,
suddenly daring me to
create my own
arrangement. I balked.
But the following
winter—despite
scruples about treading
on hallowed
ground—I grew
curious and began to
experiment. Soon I was
hooked on the challenge
of learning to speak
Mozart’s language
with conviction. This
fascination, encouraged
by pianist Richard Goode
and other Mozarteans,
would eventually generate
a total of thirty-nine
recreations of Mozart
piano sonatas as works
for flute and
strings.With zero
tolerance for alteration
of melodic or harmonic
material—Mozartâ
™s friend Hoffmeister
had regrettably attempted
such
“improvementsâ€
—I always tried
to envision what Mozart
himself would have
desired. Many of the
sonatas can be heard as
if they were
Mozart’s
“blueprintsâ€
of imagined chamber
works. Hence my task was
to “flesh
out†the keyboard
versions as Mozart might
have done, had a
commission or performance
opportunity arisen. I
spent hours pondering how
Mozart might have set
these sonatas in four- or
five-part form, providing
the needed textural or
contrapuntal
enhancements. With
immersion in the
composer’s
dialect, various apt
solutions presented
themselves. The search
for the
“right†one
then became a most
absorbing study.On the
eve of releasing my
Bogner’s Café
recording of
Mozart-Stallman New
Quintets (2006), I
discovered to my delight
that a prominent scholar
had long before endorsed
such an effort. Eric Blom
(1888–1959),
author of Mozart (1935),
had taken note of the
four-hand piano works as
“a kind of keyboard
chamber music.â€
Regarding Sonata, K. 497,
Mr. Blom had observed
that Mozart is often
dealing with, not the
expected four voices (one
to a hand), but five.
Blom states: “The F
major Sonata (K. 497)
removes us to another
world—the world of
the great chamber music,
especially of the string
quintets. Indeed an
arrangement of some sort
for a combination of
instruments would make a
magnificent concert work
of this almost
uncomfortably great piece
of domestic music.â€
That Mozart was in 1786
writing for piano duo
from a quintet
perspective makes sense,
as we find him returning
to the quintet form with
keen interest in his last
years, writing four
String Quintets, the
Clarinet Quintet,
rearranging a wind
serenade for String
Quintet, and leaving
several other quintets
incomplete. My
arrangement presented
here is made for flute
and strings but is also
intended for string
quintet.Quintet in F
Major for Flute and
Strings, K. 497, was
completed in 1999 and
performed with the
Martinů Quartet in the
Czech Republic prior to
recording it in 2004.
Mozart had finished the
original Sonata in F
Major for Piano,
Four-Hands, K. 497, on
August 1, 1786. It shows
the unmistakable
influence of Figaro,
completed and premiered
exactly three months
prior. As signaled by the
imposing introductory
Adagio, the conception is
on a grand symphonic
scale, all three
movements being richly
developed with
contrapuntal episodes and
an abundance of
marvelously contrasting
textures and themes
throughout. Called
“the crowning work
of its kind†by
Alfred Einstein, the
Sonata is laden with
examples of
Mozart’s mercurial
originality. Here we have
a perfect synthesis of
concertante brilliance,
operatic intensity and
intimate dialogue.The
work opens in unison with
a probing, minor-tinged
Adagio, whose question
comes to a pause on the
dominant, before being
answered with jaunty
certainty by the opening
theme of the Allegro di
molto—an F-major
tune as sunny and
confident as an aria from
Figaro itself. This
movement’s
declamatory “opera
chorusâ€
persistently intones its
rhythmic motto over a
swirling scale figure.
The amorous second theme
(initially presented in
the first viola) also
seems to be plucked from
Figaro.The Andante opens
with a heavenly melody,
which takes as its
springboard the Romanza
theme from the Horn
Concerto in E≤
Major, K. 495, written
only five weeks before.
The “love
duet†between flute
and first viola seems to
anticipate the
impassioned
“duettingâ€
between violin and viola
in the Andante of the
String Quintet in C
Major, K. 515, written
about nine months later.
The ingenious stretto
canon of the
Andante’s middle
section requires the
precision of a Swiss
clock (which its chiming
thirds recall). Affecting
bucolic codettas close
each of the main sections
of the movement.In the
final Allegro, a rondo in
6/8Â time, the puckish,
yet aristocratic
character of the opening
theme contrasts with the
bumptious, popular tune
used for the second theme
(heard first in the
violin and then the
flute, over pizzicato
cello). Lilting hymn-like
episodes in three, four-
and finally five-part
counterpoint are
repeatedly interrupted by
startling scale figures
that rise up in furioso
episodes throughout the
movement. As in the
“Swiss clockâ€
section of the Andante,
Mozart uses a stretto
imitation treatment with
this tempest theme,
thereby heightening both
intensity and sense of
instability.I am most
grateful to the
adventuresome Martinů
Quartet for their warm
support and collaboration
over the years with
several of my
arrangements, and to my
friend Edwin Swanborn for
the original typesetting
of this score. Gratitude
is also due Weekend
Edition, Performance
Today and innumerable
classical stations across
the United States for
their enthusiastic and
repeated airings of my
“new†Mozart
Quintet
endeavors—and most
of all, to violist
Katherine Murdock for
that dare in
1990.—Compiled
from the writings of
Robert Stallmanby Hannah
Woods Stallman,February
2, 2020. $42.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Best of Musical (Clarinet) Clarinette [Partition + CD] - Intermédiaire De Haske Publications
Clarinet - intermediate SKU: BT.DHP-1135443-400 Solo Arrangements of 1...(+)
Clarinet - intermediate
SKU:
BT.DHP-1135443-400
Solo Arrangements of
14 Classic Songs with CD
Accompaniment.
Composed by Various. De
Haske Instrumental
Play-along.
TV-Film-Musical-Show.
Book with CD. Composed
2013. 28 pages. De Haske
Publications #DHP
1135443-400. Published by
De Haske Publications
(BT.DHP-1135443-400).
ISBN 9789043140867.
9x12 inches.
International. Now
solo instrumentalists can
play play along with 14
intermediate-level tunes
from Musicals like The
Sound of Music, Mary
Poppins and Beauty and
the Beast.These books
include CDs with
orchestral accompaniment
tracks. ABC (THRILLER
- The Musical) Always
Look on the Bright Side
(SPAMALOT) Beauty And
The Beast (BEAUTY AND THE
BEAST) Belle (BEAUTY
AND THE BEAST) Circle
of Life (THE LION
KING) Defying Gravity
(WICKED) Good Morning
Baltimore
(HAIRSPRAY) I Just
Cant Wait To Be King (THE
LION KING) My
Favourite Things (THE
SOUND OF MUSIC) One
Short Day
(WICKED) Sixteen Going
On Seventeen (THE SOUND
OF
MUSIC) Supercalifragil
isticexpialidocious (MARY
POPPINS) That Face
(THE PRODUCERS) We Are
The Champions (WE WILL
ROCK YOU)
Wem
BEST OF FILM and TV
gefällt, wird auch
Freude an BEST OF MUSICAL
haben. Die 14
mittelschweren
Solostücke aus
bekannten Musicals
können zur
Orchesterbegleitung der
CD gespielt werden. Das
macht richtig Laune!
Inhalt: ABC (THRILLER
- The Musical) Always
Look on the Bright Side
(SPAMALOT) Beauty And
The Beast (BEAUTY AND THE
BEAST) Belle (BEAUTY
AND THE BEAST) Circle
of Life (THE LION
KING) Defying Gravity
(WICKED) Good Morning
Baltimore
(HAIRSPRAY) I Just
Cant Wait To Be King (THE
LION KING) My
Favourite Things (THE
SOUND OF MUSIC) One
Short Day
(WICKED) Sixteen Going
On Seventeen (THE SOUND
OF
MUSIC) Supercalifragil
isticexpialidocious (MARY
POPPINS) That Face
(THE PRODUCERS) We Are
The Champions (WE WILL
ROCK YOU)
$22.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| 101 Movie Hits for Clarinet Clarinette Hal Leonard
| | |
| Essential Songs for Clarinet Clarinette [Partition] - Intermédiaire Hal Leonard
| | |
| Clarinet Method op. 63 Band 2: No. 34-52 Clarinette [Partition + CD] - Facile Schott
Volume 2, Nos. 34-52 - Book with 2 CDs - Revised Edition. Composed by Car...(+)
Volume 2, Nos. 34-52 -
Book with 2 CDs - Revised
Edition. Composed by
Carl Baermann
(1810-1885). Edited by
Robert Erdt. This
edition: Saddle
stitching. Sheet music
with CD. Woodwind Method.
Die Klarinettenschule op.
63 von Carl Baermann aus
dem Jahr 1867 gilt noch
heute als das
Standardwerk in der
klassischen
Klarinettenausbildung.
Die grundlegend
uberarbeitete Neuausgabe
hat sich zum Ziel
gesetzt, das padagogische
Konzept, das heute immer
n. Educational,
Classical. Edition with 2
CDs, Softcover with CD.
Op. 63. 84 pages. Schott
Music #ED21762-50.
Published by Schott Music
(HL.49044754).
$33.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Best of Film and TV (Clarinet) Clarinette [Partition + CD] - Intermédiaire De Haske Publications
Clarinet - intermediate SKU: BT.DHP-1135435-400 Solo Arrangements of 1...(+)
Clarinet - intermediate
SKU:
BT.DHP-1135435-400
Solo Arrangements of
14 Classic Songs with CD
Accompaniment.
Composed by Various. De
Haske Instrumental
Play-along.
TV-Film-Musical-Show.
Book with CD. Composed
2013. 24 pages. De Haske
Publications #DHP
1135435-400. Published by
De Haske Publications
(BT.DHP-1135435-400).
ISBN 9789043137850.
9x12 inches.
International. Now
solo instrumentalists can
play play along with 14
intermediate-level tunes
from TV-series and movies
like The Lion King,
Family Guy, Pirates of
the Caribbean and
Twilight. These books
include CDs with
orchestral
accompaniment.
Best of Film and TV
bevat 14 nummers uit de
meest bekende film en
TV-series, die geliefd
zijn bij jong en oud. Met
de cd kan men zowel het
volledige nummer
afspelen, alsook enkel de
begeleiding, zodat dit
ook als Play-Along
gebruikt kan
worden
Diese 14
mittelschweren
Play-Along-Versionen
bekannter Film- und
Fernsehmelodien machen
allen
Soloinstrumentalisten
SpaÃ?. Die CDs enthalten
Orchesterbegleitungen
für einen schönen,
vollen Sound.
14
arrangements de grands
classiques du monde
télévisé enfin
disponibles.
15
Melodie di film e serie
TV indimenticabili: A
Whole New World (Aladdin)
â?¢ The Addams Family
â?¢ Bellas Lullaby
(Twilight) â?¢ Can You
Feel the Love Tonight
(The Lion King) â?¢
Chariots of Fire â?¢ Do
Re Mi (The Sound of
Music) â?¢ Family Guy
â?¢ Lady Marmelade
(Moulin Rouge) â?¢ The
Man from Snowy River
â?¢ May It Be (The Lord
of the Rings) â?¢
He´s a Pirate (Pirates
of the Caribbean) â?¢
Somewhere in My Memory
(Home Alone) â?¢ The
Simpsons � You´ve
Got a Friend in Me (Toy
Story). $22.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Solos For Clarinet(100+) Clarinette Music Sales
| | |
| 101 Broadway Songs for Clarinet Clarinette Hal Leonard
Composed by Various. Instrumental Solo. Softcover. 114 pages. Published by Ha...(+)
Composed by Various.
Instrumental Solo.
Softcover. 114 pages.
Published by Hal Leonard
$16.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Learn From A Pro - Clarinet Clarinette [Partition + CD] - Débutant Santorella Publications
Santorella Publications' proudly boasts our connection to some of the best studi...(+)
Santorella Publications'
proudly boasts our
connection to some of the
best studio players in
the Los Angeles studio
circuit. Each one of
these great musicians,
when they are not in a
session or performing on
a new movie soundtrack,
are giving lessons to
horn players of all ages.
Santorella Publications
is setting a new trend in
the industry by making it
possible for you to study
with these talented
professionals in a
virtual world with Learn
From A Pro. Mark
Hollingsworth will walk
you through all 23
lessons as if you're
sitting in a studio by
his side. If you went to
Los Angeles and took 23
lessons, it would cost
over $1,000.00. Now you
can Learn "Clarinet" From
A Pro for only $12.95 and
in the privacy of your
own home. Whether you are
an early beginner or an
adult, here is your
chance to fulfill that
dream. Do something for
yourself and learn to
play today with
Santorella's Learn From A
Pro series. About your
private instructor, Mark
Hollingsworth Mark
Hollingsworth began
studying music at five
years of age. His
background includes both
classical and jazz
training. After high
school Mark won a
scholarship from Berklee
College of Music in
Boston and graduated
Magna Cum Laude, with a
major in woodwind
performance. Mark has
over fifteen years
experience as a studio
musician in Los Angeles
recording for movies,
albums, television
broadcasts and numerous
"jingles" as well as
cartoons for Warner
Brothers and Walt Disney.
He has also performed in
concerts with a wide
range of artists
including Quincy Jones,
Natalie Cole, Celine
Dion, Whitney Houston,
Donna Summer and
Manhattan Transfer to
name a few. Some of
Mark's most significant
accomplishments include
memorable television
appearances with Stevie
Wonder, Ray Charles,
Michael Bolton and
Michael McDonald . He has
worked on numerous
recordings with Tom
Petty, Luther Vandross,
U2, the Library of
Congress and soundtracks
for the Ren and Stimpy
show. Mark's musical
breadth also includes
skills on an extensive
collection of flutes from
around the world. For
more information about
Mark Hollingsworth visit:
www.windshoremusic.com.
$12.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Break Clarinette - Facile Southern Music Ltd
Mastering the Middle Register of the Clarinet. Southern Music. Instruction. S...(+)
Mastering the Middle
Register of the Clarinet.
Southern Music.
Instruction.
Softcover. 28 pages.
Southern Music Company
#B588. Published by
Southern
Music Company
$10.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| BläserKlasse Solo Musical - Klarinette in B Clarinette [Partition + Accès audio] - Facile De Haske Publications
Clarinet - easy SKU: BT.DHP-1196098-404 Kleine Werke aus groÃ?en BÃ...(+)
Clarinet - easy SKU:
BT.DHP-1196098-404
Kleine Werke aus
groÃ?en
Bühnenhits. Yamaha
BläserKlasse Solo.
Studies and Exercises.
Book with Online Audio.
Composed 2021. 28 pages.
De Haske Publications
#DHP 1196098-404.
Published by De Haske
Publications
(BT.DHP-1196098-404).
ISBN 9789043156783.
German. Musicals
sind im Grunde genommen
das, was früher
Operetten waren: eine
spannende Bühnenshow
mit viel Musik, die bei
Gro� und Klein für
beste Unterhaltung sorgt!
Viele Melodien aus den
beliebtesten Musicals
unserer Tage sindbereits
selbst zu Klassikern
geworden. In
BläserKlasse Solo
Musical lernen
Schüler einige davon
kennen: 14 der
schönsten Titel aus
internationalen
Musical-Erfolgen sind
hier versammelt. Die
Ausgabe ist
alsSolo-Mitspielheft
konzipiert und steht
für mehrere
BläserKlassen-Instrume
nte in eigens dafür
eingerichteten
Arrangements zur
Verfügung. Schüler,
die nach der bewährten
BläserKlassen-Methode
Essential Elements
lernen, werdenauch
hiermit bestens
zurechtkommen, da zu
jedem einzelnen Song
genau angegeben ist, ab
welcher Lektion der
Methode er sich eignet.
Die stilechten
Begleitungen, die online
im MP3-Format abgerufen
werden können, lassen
so richtigSpielspaÃ?
aufkommen. $24.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Big Book of Christmas Songs for Clarinet Clarinette Hal Leonard
By Various Composers. Instrumental Folio. Size 9x12 inches. 146 pages. Published...(+)
By Various Composers.
Instrumental Folio. Size
9x12 inches. 146 pages.
Published by Hal Leonard.
(2)$19.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Circus Time Clarinette [Partition + CD] - Facile De Haske Publications
Clarinet - early intermediate SKU: BT.DHP-1125243-400 14 showstoppers ...(+)
Clarinet - early
intermediate SKU:
BT.DHP-1125243-400
14 showstoppers for
clarinet play-along
performance. Composed
by Joachim Johow. Book
with CD. Composed 2012.
20 pages. De Haske
Publications #DHP
1125243-400. Published by
De Haske Publications
(BT.DHP-1125243-400).
ISBN 9789043141727.
9x12 inches.
English-German-French-Dut
ch. The band
strikes up the circus
march for the entrance of
the artistes—the
audience waits
expectantly…Between
the Opening March
and the Grand
Finale the packed
audience is presented
with a colourful
programme: courageous
acrobats, comical clowns,
oriental belly dancers,
knife-throwers and snake
charmers appear one after
the other.Circus
Time is also
available for flute, alto
saxophone and violin (in
the same sounding key).
This opens up all sorts
of choices: musicians can
take turns to perform or
build a real circus band,
or even—with the
help of scenery and
props—put on a
proper circus
performance. There is no
end of
possibilities!Theaccompan
ying CD contains demo and
play-along version of all
the pieces. Alternatively
the chord symbols
(written in concert
pitch) above the music
staff can be used for a
live accompaniment by
guitar and/or keyboard.
An optional piano
accompaniment is
available separately
(order number: DHP
1125344-401).On with the
show!
Het orkest
begint de circusmars te
spelen voordat de
artiesten opkomen - het
publiek wacht vol
spanning af…Van de
openingsmars tot de grand
finale krijgen de
toeschouwers een
kleurrijk programma
voorgeschoteld: moedige
acrobaten,grappige
clowns,
oostersebuikdanseressen,
messenwerpers en
slangenbezweerders volgen
elkaar op in de
piste.Circus Time
is ook beschikbaar voor
dwarsfluit, altsaxofoon
en viool (in dezelfde
klinkende toonsoort). Er
zijn dusallerlei
mogelijkheden: de
muzikanten kunnen elkaar
afwisselen met
solo-optredens of een
echt circusorkest vormen,
of zelfs - in een
geschikte omgeving en met
behulp van decorstukken -
een heus circusoptreden
verzorgen. Laat je
fantasiede vrije loop.De
bijgevoegde cd bevat
zowel demotracks als
begeleidingen voor alle
stukken. Voor live
begeleiding door keyboard
en/of gitaar staan de
akkoordsymbolen (klinkend
genoteerd) boven de
muziek. Optionele
pianobegeleidingenzijn
apart verkrijgbaar
(bestelnummer: DHP
1125344-401).Laat de show
maar beginnen!
Die
Kapelle spielt schon den
Zirkusmarsch zum Einzug
der Artisten - das
Publikum wartet
gespannt...Zwischen dem
Eröffnungsmarsch und dem Großen
Finale wird dem
geneigten Publikum ein
buntes Programm
präsentiert: Mutige
Akrobaten, lustige
Clowns, orientalische
Bauchtänzerinnen,
Messerwerfer und
Schlangenbeschwörer
treten nacheinander
auf.Circus Time
gibt es auch für
Querflöte, Altsaxophon
und Violine (in den
gleichen klingenden
Tonarten). So eröffnen
sich viele
Möglichkeiten
für die
Aufführung: Die
Musiker können
abwechselnd auftreten
oder ein ganzes
Zirkusorchester“
bilden und sogar -
ergänzt durch eine
szenische Umsetzung -
einerichtige
Zirkusvorstellung geben.
Der Fantasie sind keine
Grenzen gesetzt!Die
beiliegende CD enthält
Demo- und
Mitspielversionen aller
Stücke. Alternativ
zu den Mitspiel-Tracks
können die
Akkordsymbole (in
klingenden Tonarten)
über den Noten
für eine
Live-Begleitung durch
Keyboard und/oder Gitarre
genutzt werden. Optional
sind Klavierbegleitungen
separat erhältlich
(Bestellnummer: DHP
1125344-401).Manege frei!
L’orchestr
e du cirque attaque la
marche qui annonce
l’apparition des
artistes - le public
attend
impatiemment…Entre
la marche
d’ouverture et le
finale, grands et petits
savourent un programme
haut en couleurs :
acrobates audacieux,
clowns comiques,
danseuses orientales,
jongleurs et charmeurs de
serpents présentent
tour tour leur
numéro.Circus
Time existe
également pour fl te,
saxophone alto et violon
(dans la même
tonalité). Ce choix
offre de nombreuses
options : les musiciens
peuvent jouer tour tour
ou former un véritable
orchestre de cirque, ou
même - avec des
décors et des
accessoires - monter une
vraie représentation
de cirque. Les
possibilités
sontillimitées !Le
compact-disc ci-joint
contient les versions
intégrales des
morceaux ainsi que les
versions
d’accompagnement.
Les symboles
d’accords (sons
réels) figurant
au-dessus de la portée
facilitent
l’accompagnement
la guitare et/ou au
piano. Les parties
d’accompagnement
de piano optionel sont
rassemblées dans un
recueil vendu
séparément
(référence
:DHP_x001F_1125344-401).Q
ue le spectacle commence
!
Un viaggio nel
mondo circense che
consente ai musicisti di
suonare da soli, ma anche
di formare una vera band.
Il CD contiene una
versione demo e una
play-long di ogni brano.
In alternativa, grazie ai
simboli degli accordi
sopra il pentagramma, ci
si può esibire live
accompagnati dalla
chitarra e/o tastiera
(DHP 1125344-401). $25.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| The Big Book of Disney Songs Clarinette [Partition] Hal Leonard
(Clarinet). By Various. Instrumental Folio. Softcover. 80 pages. Published b...(+)
(Clarinet). By Various.
Instrumental Folio.
Softcover.
80 pages. Published by
Hal
Leonard
(1)$15.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| 101 Jazz Songs for Clarinet Clarinette Hal Leonard
Composed by Various. Instrumental Solo. Softcover. 104 pages. Published by...(+)
Composed by Various.
Instrumental Solo.
Softcover. 104 pages.
Published by Hal Leonard
$17.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Ollie and Me Flûte traversière et Piano [Reduction] Theodore Presser Co.
For Flute and Piano. Composed by Gary Schocker. Solo part with piano redu...(+)
For Flute and
Piano. Composed by
Gary Schocker. Solo part
with piano reduction.
With Standard notation.
10 pages. Duration 4
minutes. Theodore Presser
Company #114-41363.
Published by Theodore
Presser Company
(PR.114413630).
$11.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Paul Harris -- The Clarinet Clarinette - Intermédiaire Faber Music Limited
The Ultimate Companion to Clarinet Playing. Composed by Paul Harris. Method/I...(+)
The Ultimate Companion to
Clarinet Playing.
Composed by
Paul Harris.
Method/Instruction;
Woodwind -
Clarinet Method or
Collection.
Book. Faber Music #12-
0571542182. Published by
Faber
Music
$34.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Thirty-two Rose Etudes for Flute Flûte traversière et Piano [Partition + CD] Carl Fischer
(Based on the Etudes of Franz Whilhelm Ferling). By John Walker, Franz Wilhelm F...(+)
(Based on the Etudes of
Franz Whilhelm Ferling).
By John Walker, Franz
Wilhelm Ferling. Edited
by Amy Porter. Arranged
by Cyrille Rose. For
flute and piano. Carl
Fischer Classic Studies.
Book and CD. 44 pages.
Published by Carl Fischer
$19.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| 101 Disney Songs Clarinette Hal Leonard
Clarinet SKU: HL.244106 For Clarinet. Composed by Various. Instrum...(+)
Clarinet SKU:
HL.244106 For
Clarinet. Composed by
Various. Instrumental
Folio. Children, Disney,
Movies. Softcover. 112
pages. Published by Hal
Leonard (HL.244106).
ISBN 9781540002341.
UPC: 888680707163.
9.0x12.0x0.278
inches. If you play
an instrument and you're
a Disney fan, you'll love
this collection of 101
favorites to learn and
play! Songs include:
Beauty and the Beast
• Can You Feel the
Love Tonight • A
Dream Is a Wish Your
Heart Makes •
Evermore • Go the
Distance • He's a
Pirate • I See the
Light • Kiss the
Girl • Let It Go
• Mickey Mouse
March • Reflection
• A Spoonful of
Sugar • True Love's
Kiss • We're All in
This Together •
When You Wish upon a Star
• A Whole New World
• You've Got a
Friend in Me •
Zip-A-Dee-Doo-Dah •
and more. $19.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Lines Below Subito Music
Solo Voice (Tenor or Soprano) & Ensemble SKU: SU.27110040 For Solo Voi...(+)
Solo Voice (Tenor or
Soprano) & Ensemble
SKU: SU.27110040
For Solo Voice (Tenor
or Soprano) &
Ensemble. Composed by
Raymond J. Lustig.
Performance Score. Subito
Music Corporation
#27110040. Published by
Subito Music Corporation
(SU.27110040).
PLEASE NOTE:
Single copy performance
score. 5 copies required
for performance.With text
fragments from Walt
Whitman’s As I
Ebb’d with the
Ocean of Life, the lines
below conjures mysterious
ocean depths, where
everything is in an
extremely slow state of
motion and evolution,
very little can be
perceived, and everything
is trying to hide itself
within its surroundings.
There is a very high
degree of freedom in how
it is performed, to
convey this sense of
there being no one
controlling element.
Everything is drifting,
slowly, imprecisely,
unpredictably. Nothing is
wrong unless it makes
itself obvious, opening
itself up to danger.
Everyone wishes to be
heard but not noticed;
everyone is seeking to
make as much of their
sound as possible, but
without drawing
attention. So, as the
accumulation of sustained
overall sound builds,
instruments may play
correspondingly louder
and still remain hidden
within it. The composite
texture, color, harmony,
and dynamic will thus
evolve continuously. solo
voice (tenor or soprano),
Clarinet, Violin,
Contrabass & Piano
Duration: 7-9’
Composed: 2018 Published
by: Raymond J. Lustig
Music. $14.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Dip In 100 Graded Clarinet Solos Clarinette Music Sales
| | |
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