| The Best Rock Pop Fake Book Instruments en Do [Fake Book] Hal Leonard
(For C Instruments). By Various. For C Instruments. Fake Book. Softcover. 576 pa...(+)
(For C Instruments). By
Various. For C
Instruments. Fake Book.
Softcover. 576 pages.
Published by Hal Leonard
$39.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Real R&B Book
Instruments en Do [Fake Book] Hal Leonard
C Instruments). Composed by Various. For C Instruments. Fake Book. Softcover...(+)
C Instruments). Composed
by
Various. For C
Instruments.
Fake Book. Softcover. 536
pages. Published by Hal
Leonard
$49.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Real RandB Book [Fake Book] Hal Leonard
B-Flat Instruments. Composed by Various. Fake Book. RandB, Jazz. Softcover. 53...(+)
B-Flat Instruments.
Composed
by Various. Fake Book.
RandB,
Jazz. Softcover. 536
pages.
Published by Hal Leonard
$45.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Reflections Piano seul Theodore Presser Co.
Scott Joplin Reconsidered. Composed by Scott Joplin (1868-1917). Edited by L...(+)
Scott Joplin
Reconsidered.
Composed by Scott Joplin
(1868-1917). Edited by
Lara
Downes. Collection.
Theodore
Presser Company
#440-40028.
Published by Theodore
Presser
Company
$21.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Best of Contemporary Christian
Fake Book [Fake Book] - Intermédiaire Hal Leonard
Over 400 Songs. Fake Book (Includes melody line and chords). Size 9x12 inches. 5...(+)
Over 400 Songs. Fake Book
(Includes melody line and
chords). Size 9x12
inches. 583 pages.
Published by Hal Leonard.
(4)$49.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| tellement froid que [Conducteur] Carus Verlag
Bass Flute, Electronics, Scene SKU: CA.1631000 (georgiques I), fur bas...(+)
Bass Flute, Electronics,
Scene SKU:
CA.1631000
(georgiques I), fur
bass flute and live
electronics. Composed
by Walter Feldmann. This
edition: Paperbound.
(r)TELLEMENT FROID QUE-
(GEORGIQUES I). Full
score. Composed 1995-96.
66 pages. Duration 20
minutes. Carus Verlag #CV
16.310/00. Published by
Carus Verlag
(CA.1631000). ISBN
9790007242800. Language:
all
languages. 1989.
Stay in Aix-en-Provence,
France, doing a language
course. Reading,
discussing and analyzing
Les Georgiques; this
pursuit is going to be
the foundation of the
multiple intellectual and
literary levels of my
composing. 2. THE WOODEN
PLATFORM IS COVERED WITH
FINE WHITE SAND (OR
SALT), THE TWO SHELVES
WITH BLACK CLOTH ... At
the time I work on my
first serious piece,
still a far cry from the
under-standing of writing
music I have today. <<
tellement froid que >>
(georgiques I) for bass
flute, electronics and
scene (1995-96), sections
1-7. << comme si le froid
>> (georgiques II) for
baritone saxophone,
timpani and piano (1998),
sections 18-24. <<
n'etait le froid >>
(georgiques III) for
orchestra (2000-2002),
sections not yet decided.
3. THE INTERPRETER WILL
BE DRESSED IN BLACK AND
WHITE, MAINLY WHITE IF
BLUISH LIGHT IS AT HAND
... The enormously rich
vocabulary and the
accuracy of expression -
in temporal, spatial and
material terms - is
particularly impressive.
To comprehend all of it,
a reading on three
different levels is
called for: a first
reading of one passage,
then the acquisition of
unknown vocabulary;
thirdly a repeated -
knowing - reading, which
points out the utopia of
precise expression: The
text is treated in a
rather problematic (cold:
le froid?) manner: it's
not the semantic content
that is primarily
dominant, but rather the
outward appearance, the
mise en page and the
syntactic structure. 4.
THE INTERPRETER ENTERS
THE STAGE WITH ALL THE
FLUTES (S)HE WILL PLAY
DURING THE CONCERT AND
DEPOSITS THEM - EXCEPT
FOR THE BASS FLUTE - ON
SHELF B; IF (S)HE ONLY
PLAYS THIS PIECE, (S)HE
SHOULD PUT THE PROGRAMME
OF THE CONCERT THERE; IN
ANY CASE THE INSTRUCTIONS
IN BAR 195 MUST BE
FOLLOWED ... In concrete
terms the 10 centimetres
of a line in the minuit
edition correspond to 10
seconds of musical
structure (which is three
times as slow as the
average reading speed).
Only seven years later is
the term / expression
casse ferique changed
into casse ferrique, and
thus its secret is
revealed, which almost
becomes - due to its
unreadability - the key
to the planned musical
cycle. The text is
measured from section to
section (big format: each
section is marked with a
continuous, ,,cold chord
by the bass flute, played
on tape recorder), from
full stop to full stop
(new entry of keynote
material), from comma to
comma (tripling of
continuous resonances)
etc. 5. DURING THE
PERFORMANCE UP TO BAR
195, THE INTERPRETER WILL
TRY - IN A KIND OF
THEATRICAL ADAPTATION -
TO EXPRESS HIS/HER OWN
FEELING OF IRREPRESSIBLY
GROWING FRUSTRATION; FROM
BAR 195 ONWARDS (S)HE
WILL DEFINITELY HAVE PUT
UP WITH THE BASS FLUTE
... Brackets in the text
bring about a reduction
of sound (the
differentiating micro
tones are no longer
used), the syntactical
progression to
subordinate clauses of
the remotest degree has
its immediate effect on
dynamics (degree of
volume). Then: the
perception of a logical
and yet erratic syntax,
vastly progressive layers
of subordinate clauses
and brackets (lowering
tone of voice?), a
polyphony of ,,memoire,
which leads to a
maelstrom of attention, a
tonally centric /
concentrated (main
material?) and
progressive (subordinate
and brackets-material?)
reading, listening and
proceeding. The different
levels are constantly in
touch - transferring the
sensuous moment of scenes
of bodily encounter
(Tryptique) that are
evoked again and again -
in perpetual excitement
of text and imagination,
memory and remembering
sensitivity. 6. THE BODY
MOVEMENTS AND FIXATION
(FIGE) , BOTH CLEARLY
PERCEPTIBLE, WILL EVOKE
AND SUPPORT THE SAME
EMOTIONS ... The basic
moods of the text will be
reflected in the
relationship (which is
very important here) of
the interpreter to the
music; (s)he is somehow
at the mercy of given
(and not always
transparent) structures
on the one hand and the
complexity of musical
sensations on the other,
which has to be defeated
inspite of exhaustion.
It's not only here that
semantic agreement
(besides the
materialistic structure)
of music and text can be
felt: On top of that
there's the existential
helplessness in view of
the mercilessly flowing
polyphony of levels and
events -- as a mirror of
this there are the
remembered scenes of the
Flemish cold in the
second chapter (Les
Georgiques). The
interpreters are
confronted with unusual
directions which
correspond to the
adjectives in the
respective passages of
the text: anachronique,
engourdi, glace et acre,
monotone et desert etc.
The possibilities of
interpretation are
amplified, the ability to
perceive and personal
reaction is opened. The
impression of this
inexorability is
multiplied in the
extremest way by the fact
that the particular
layers can be found in
Simon's complete works.
It's a continuous work of
art in which each novel
turns into a chapter of a
complex, cyclic whole;
its title denoting only
one main strand, as it
were. A personal comment
is made also as regards
the clearly defined
stage; the mise en scene
points out the
extra-musical elements
and the correlation
between text, human being
and music. 7. THE
INTERPRETER IS ASKED TO
MOVE FREELY WITHIN A
DEFINED SPOT WITHOUT
LOOKING ARTIFICIAL;
SOUNDS CAUSED BY THE FEET
MOVING ON THE SAND ARE
WELCOME DURING THE WHOLE
PIECE ... And here the
idea of a cycle is born,
an attempt to transfer
these nuances of
memorized structures,
this clarity and
coldness, to transform
the text into musical
material. Walter
Feldmann. $45.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Blue Horizons - Intermédiaire Carl Fischer
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clar...(+)
Band Bass Clarinet,
Bassoon 1, Bassoon 2,
Clarinet, Clarinet 1,
Clarinet 2, Clarinet 3,
Contrabass Clarinet,
English Horn, Flute 1,
Flute 2, Horn 1, Horn 2,
Horn 3, Horn 4, Oboe 1,
Oboe 2, Piccolo, Trumpet
1, Trumpet 2, Trumpet 3,
alto Saxophone 1 and
more. - Grade 5 SKU:
CF.SPS85 Composed by
Jeremy Martin. Folio.
Sps. Set of Score and
Parts.
4+28+28+14+14+4+14+14+7+2
4+28+28+8+4+8+8+14+8+9+12
+12+8+8+8+8+12+12+9+12+8+
16+4+3+2+6+6+6+7+44
pages. Duration 7
minutes, 8 seconds. Carl
Fischer Music #SPS85.
Published by Carl Fischer
Music (CF.SPS85). ISBN
9781491156421. UPC:
680160914968. 9 x 12
inches. Blue
Horizons is a spirited
tribute to the musical
heritage of the United
States Air Force. The
main theme is a variation
of the U.S. Air Force
Song (Off We Go), with a
secondary theme based on
A Toast to the Host (the
bridge of The Air Force
Song). Throughout the
work, fragments of other
Air Force-related songs
appear: Lord, Guard and
Guide (the Air Force
Hymn), Air Force Blue,
and Those Magnificent Men
in Their Flying Machines.
The original request for
this work was a daunting
task: I was asked to
create an Air Force
companion piece to Robert
Jager's Esprit de Corps
that would mirror the
style and spirit of that
landmark work. The goal
was to use elements of
our various Air Force
tunes in the same way
that Jager incorporated
The Marine's Hymn into
his work - that is, to
weave a musical tapestry
of the Air Force's
musical heritage without
ever becoming a mere
arrangement of the
original material. As a
former student of Robert
Jager at Tennessee
Technological University,
I discussed my plans for
the piece with him,
shared my progress along
the way, and sought his
guidance as I had done so
many times in the past.
He was delighted that I
managed to incorporate a
few Jager-isms into the
music, including one
direct quote from Esprit
de Corps. Although Blue
Horizons was conceived as
a dedication to the Air
Force's musical legacy,
it is also a personal
homage to my teacher and
friend, Robert Jager.
Performance Notes * If
only two flutists are
available, omit the
piccolo part and have
them play Flute 1 and 2;
in this case, Flute 1
should switch over to
piccolo (still playing
from the Flute 1 part) at
m. 81 and back to regular
flute at m. 114. If only
covering the Flute 1 and
2 parts, Flute 2 should
ignore indications to
switch to piccolo and
just play the entire work
on regular flute. * Oboe
1 and 2 parts should be
covered before adding the
English Horn part. * The
clarinet in Eb part
should not be covered
unless there are a
sufficient number of
players on the clarinet
in Bb parts. * The
trumpet cues in mm. 77-80
are only necessary if the
horns need assistance
finishing their soli
phrase with enough
strength to be heard. If
you can hear them without
extra support, leave the
trumpets out. * From mm.
89-95, be sure the wind
players with static
eighth notes do not cover
up the players with
moving lines. * There is
a strong tendency to rush
m. 121. * During the oboe
solo from mm. 157-168,
ensure that the
suspension/resolution
lines in the bassoon and
clarinet parts are heard;
emphasize the importance
of growing into the
suspension with a slight
crescendo. * In the
scherzo section that
begins at m. 217, be sure
that each player knows
how his/her part fits
into the overall sound. I
recommend isolating
different textural items
so the players can hear
those parts on their own.
(The bass line from mm.
243-260, for example, or
the moving inner-voice
line from mm. 251-260.) *
In this same scherzo
section, care should be
taken to not play too
loud and save a little
strength for the climax
fanfare at m. 279. * If
you have an abundance of
tubas, I would recommend
having one or two of them
play up an octave from
mm. 243-271 if the lower
part seems too
heavy. Blue Horizons
is a spirited tribute to
the musical heritage of
the United States Air
Force. The main theme is
a variation of the U.S.
Air Force Song (Off We
Go), with a secondary
theme based on A Toast to
the Host (the bridge of
The Air Force Song).
Throughout the work,
fragments of other Air
Force-related songs
appear: Lord, Guard and
Guide (the Air Force
Hymn), Air Force Blue,
and Those Magnificent Men
in Their Flying
Machines.The original
request for this work was
a daunting task: I was
asked to create an Air
Force “companion
piece†to Robert
Jager’s Esprit de
Corps that would mirror
the style and spirit of
that landmark work. The
goal was to use elements
of our various Air Force
tunes in the same way
that Jager incorporated
The Marine’s Hymn
into his work –
that is, to weave
amusical tapestry of the
Air Force’s
musical heritage without
ever becoming a mere
arrangement of the
original material. As a
former student of Robert
Jager at Tennessee
Technological University,
I discussed my plans for
the piece with him,
shared my progress along
the way, and sought his
guidance as I had done so
many times in the past.
He was delighted that I
managed to incorporate a
few
“Jager-ismsâ€
into the music, including
one direct quote from
Esprit de Corps. Although
Blue Horizons was
conceived asa dedication
to the Air Force’s
musical legacy, it is
also a personal homage to
my teacher and friend,
Robert Jager.Performance
Notes• If only two
flutists are available,
omit the piccolo part and
have them play Flute 1
and 2; in this case,
Flute 1 should switch
over to piccolo (still
playing from the Flute 1
part) at m. 81 and back
to regular flute at m.
114. If only covering the
Flute 1 and 2 parts,
Flute 2 should ignore
indications to switch to
piccolo and just play the
entire work on regular
flute.• Oboe 1 and
2 parts should be covered
before adding the English
Horn part.• The
clarinet in Eb part
should not be covered
unless there are a
sufficient number of
players on the clarinet
in Bb parts.• The
trumpet cues in mm. 77-80
are only necessary if the
horns need assistance
finishing their soli
phrase with enough
strength to be heard. If
you can hear them without
extra support, leave the
trumpets out.• From
mm. 89-95, be sure the
wind players with static
eighth notes do not cover
up the players with
moving lines.•
There is a strong
tendency to rush m.
121.• During the
oboe solo from mm.
157-168, ensure that the
suspension/resolution
lines in the bassoon and
clarinet parts are heard;
emphasize the importance
of growing into the
suspension with a slight
crescendo.• In the
scherzo section that
begins at m. 217, be sure
that each player knows
how his/her part fits
into the overall sound. I
recommend isolating
different textural items
so the players can hear
those parts on their own.
(The bass line from mm.
243-260, for example, or
the moving inner-voice
linefrom mm.
251-260.)• In this
same scherzo section,
care should be taken to
not play too loud and
save a little strength
for the climax fanfare at
m. 279.• If you
have an abundance of
tubas, I would recommend
having one or two of them
play up an octave from
mm. 243-271 if the lower
part seems too heavy. $150.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Blue Horizons [Conducteur] - Intermédiaire Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon 1, Bassoon 2, Chimes, Clarinet, Clarinet ...(+)
Band Bass Clarinet, Bass
Drum, Bassoon 1, Bassoon
2, Chimes, Clarinet,
Clarinet 1, Clarinet 2,
Clarinet 3, Contrabass
Clarinet, Crash Cymbals,
English Horn, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Glockenspiel,
Harp, Horn 1, Horn 2,
Horn 3 and more. - Grade
5 SKU: CF.SPS85F
Composed by Jeremy
Martin. Sws. Sps. Full
score. 44 pages. Duration
7 minutes, 8 seconds.
Carl Fischer Music
#SPS85F. Published by
Carl Fischer Music
(CF.SPS85F). ISBN
9781491156438. UPC:
680160914975. 9 x 12
inches. Blue
Horizons is a spirited
tribute to the musical
heritage of the United
States Air Force. The
main theme is a variation
of the U.S. Air Force
Song (Off We Go), with a
secondary theme based on
A Toast to the Host (the
bridge of The Air Force
Song). Throughout the
work, fragments of other
Air Force-related songs
appear: Lord, Guard and
Guide (the Air Force
Hymn), Air Force Blue,
and Those Magnificent Men
in Their Flying Machines.
The original request for
this work was a daunting
task: I was asked to
create an Air Force
companion piece to Robert
Jager's Esprit de Corps
that would mirror the
style and spirit of that
landmark work. The goal
was to use elements of
our various Air Force
tunes in the same way
that Jager incorporated
The Marine's Hymn into
his work - that is, to
weave a musical tapestry
of the Air Force's
musical heritage without
ever becoming a mere
arrangement of the
original material. As a
former student of Robert
Jager at Tennessee
Technological University,
I discussed my plans for
the piece with him,
shared my progress along
the way, and sought his
guidance as I had done so
many times in the past.
He was delighted that I
managed to incorporate a
few Jager-isms into the
music, including one
direct quote from Esprit
de Corps. Although Blue
Horizons was conceived as
a dedication to the Air
Force's musical legacy,
it is also a personal
homage to my teacher and
friend, Robert Jager.
Performance Notes * If
only two flutists are
available, omit the
piccolo part and have
them play Flute 1 and 2;
in this case, Flute 1
should switch over to
piccolo (still playing
from the Flute 1 part) at
m. 81 and back to regular
flute at m. 114. If only
covering the Flute 1 and
2 parts, Flute 2 should
ignore indications to
switch to piccolo and
just play the entire work
on regular flute. * Oboe
1 and 2 parts should be
covered before adding the
English Horn part. * The
clarinet in Eb part
should not be covered
unless there are a
sufficient number of
players on the clarinet
in Bb parts. * The
trumpet cues in mm. 77-80
are only necessary if the
horns need assistance
finishing their soli
phrase with enough
strength to be heard. If
you can hear them without
extra support, leave the
trumpets out. * From mm.
89-95, be sure the wind
players with static
eighth notes do not cover
up the players with
moving lines. * There is
a strong tendency to rush
m. 121. * During the oboe
solo from mm. 157-168,
ensure that the
suspension/resolution
lines in the bassoon and
clarinet parts are heard;
emphasize the importance
of growing into the
suspension with a slight
crescendo. * In the
scherzo section that
begins at m. 217, be sure
that each player knows
how his/her part fits
into the overall sound. I
recommend isolating
different textural items
so the players can hear
those parts on their own.
(The bass line from mm.
243-260, for example, or
the moving inner-voice
line from mm. 251-260.) *
In this same scherzo
section, care should be
taken to not play too
loud and save a little
strength for the climax
fanfare at m. 279. * If
you have an abundance of
tubas, I would recommend
having one or two of them
play up an octave from
mm. 243-271 if the lower
part seems too
heavy. Blue Horizons
is a spirited tribute to
the musical heritage of
the United States Air
Force. The main theme is
a variation of the U.S.
Air Force Song (Off We
Go), with a secondary
theme based on A Toast to
the Host (the bridge of
The Air Force Song).
Throughout the work,
fragments of other Air
Force-related songs
appear: Lord, Guard and
Guide (the Air Force
Hymn), Air Force Blue,
and Those Magnificent Men
in Their Flying
Machines.The original
request for this work was
a daunting task: I was
asked to create an Air
Force “companion
piece†to Robert
Jager’s Esprit de
Corps that would mirror
the style and spirit of
that landmark work. The
goal was to use elements
of our various Air Force
tunes in the same way
that Jager incorporated
The Marine’s Hymn
into his work –
that is, to weave
amusical tapestry of the
Air Force’s
musical heritage without
ever becoming a mere
arrangement of the
original material. As a
former student of Robert
Jager at Tennessee
Technological University,
I discussed my plans for
the piece with him,
shared my progress along
the way, and sought his
guidance as I had done so
many times in the past.
He was delighted that I
managed to incorporate a
few
“Jager-ismsâ€
into the music, including
one direct quote from
Esprit de Corps. Although
Blue Horizons was
conceived asa dedication
to the Air Force’s
musical legacy, it is
also a personal homage to
my teacher and friend,
Robert Jager.Performance
Notes• If only two
flutists are available,
omit the piccolo part and
have them play Flute 1
and 2; in this case,
Flute 1 should switch
over to piccolo (still
playing from the Flute 1
part) at m. 81 and back
to regular flute at m.
114. If only covering the
Flute 1 and 2 parts,
Flute 2 should ignore
indications to switch to
piccolo and just play the
entire work on regular
flute.• Oboe 1 and
2 parts should be covered
before adding the English
Horn part.• The
clarinet in Eb part
should not be covered
unless there are a
sufficient number of
players on the clarinet
in Bb parts.• The
trumpet cues in mm. 77-80
are only necessary if the
horns need assistance
finishing their soli
phrase with enough
strength to be heard. If
you can hear them without
extra support, leave the
trumpets out.• From
mm. 89-95, be sure the
wind players with static
eighth notes do not cover
up the players with
moving lines.•
There is a strong
tendency to rush m.
121.• During the
oboe solo from mm.
157-168, ensure that the
suspension/resolution
lines in the bassoon and
clarinet parts are heard;
emphasize the importance
of growing into the
suspension with a slight
crescendo.• In the
scherzo section that
begins at m. 217, be sure
that each player knows
how his/her part fits
into the overall sound. I
recommend isolating
different textural items
so the players can hear
those parts on their own.
(The bass line from mm.
243-260, for example, or
the moving inner-voice
linefrom mm.
251-260.)• In this
same scherzo section,
care should be taken to
not play too loud and
save a little strength
for the climax fanfare at
m. 279.• If you
have an abundance of
tubas, I would recommend
having one or two of them
play up an octave from
mm. 243-271 if the lower
part seems too heavy. $18.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Rites for the Afterlife Theodore Presser Co.
Chamber Music Bass Clarinet, Bassoon, Clarinet, English Horn, Oboe, alto Saxopho...(+)
Chamber Music Bass
Clarinet, Bassoon,
Clarinet, English Horn,
Oboe, alto Saxophone,
soprano Saxophone SKU:
PR.114419980 Composed
by Stacy Garrop. Sws. Set
of Score and Parts.
32+16+16+16+16+16 pages.
Duration 16 minutes.
Theodore Presser Company
#114-41998. Published by
Theodore Presser Company
(PR.114419980). UPC:
680160681723. 9 x 12
inches. The ancient
Egyptian empire began
around 3100 B.C. and
continued for over 3000
years until Alexander the
Great conquered the
country in 332 B.C. Over
the centuries, the
Egyptian empire grew and
flourished into a highly
developed society. They
invented hieroglyphics,
built towering pyramids
(including the Great
Pyramid of Giza, the
oldest of the Seven
Wonders of the World),
and the created many
household items we still
use today, including
toothbrushes, toothpaste,
eyeliner, black ink, and
the forerunner of
modern-day paper.
Included among their
achievements were a
series of highly
developed funerary
practices and beliefs in
the Afterlife. As the
average lifespan of an
Egyptian hovered around
30 years, living past the
death of oneAs physical
body was a legitimate
concern. Egyptians
believed that upon death,
their souls would
undertake a harrowing
journey through the
Netherworld. If they
survived the horrific
creatures and arduous
trials that awaited them,
then their souls would be
reunified with their
bodies (hence the need to
preserve the body through
mummification) and live
forever in a perfect
version of the life they
had lived in Egypt. To
achieve this, Egyptians
devised around 200
magical spells and
incantations to aid souls
on the path to the
Afterlife. These spells
are collectively called
The Book of the Dead.
Particular spells would
be chosen by the family
of the deceased and
inscribed on the tombAs
walls and scrolls of
papyrus, as well as on a
stone scarab placed over
the deceasedAs heart.
Subsequent collections of
spells and mortuary
texts, such as The Book
of Gates, assisted a soul
in navigating the twelve
stages of the
Netherworld. Not only did
these spells protect and
guide the soul on this
dangerous path, but they
also served as a
safeguard against any
unbecoming behavior an
Egyptian did while alive.
For instance, if a person
had robbed another while
alive, there was a spell
that would prevent the
soulAs heart from
revealing the truth when
in the Hall of Judgment.
Rites for the Afterlife
follows the path of a
soul to the Afterlife. In
Inscriptions from the
Book of the Dead
(movement 1), the soul
leaves the body and
begins the journey,
protected by spells and
incantations written on
the tombAs walls. In
Passage though the
Netherworld (movement 2),
the soul is now on a
funerary barque, being
towed through the
Netherworld by four of
the regionAs inhabitants.
We hear the soul slowly
chanting incantations as
the barque encounters
demons, serpents,
crocodiles, lakes of
fire, and other terrors.
The soul arrives at The
Hall of Judgment in
movement 3. Standing
before forty-two divine
judges, the soul
addresses each by name
and gives a A!negative
confessionA(r) connected
to each judge (i.e. A!I
did not rob,A(r) A!I did
not do violence,A(r) and
so on). Afterwards, the
soulAs heart is put on a
scale to be weighed
against a feather of
MaAat, the goddess of
truth. If the heart
weighs more than the
feather, it will be eaten
by Ammut, a hideous
creature that lies in
wait below the scale, and
the soul will die a
second and permanent
death (this was the worst
fear of the Egyptians).
But if the heart is in
balance with the feather,
the soul proceeds onward.
The final stage of the
journey is the arrival at
The Field of Reeds
(movement 4), which is a
perfect mirror image of
the soulAs life in
ancient Egypt. The soul
reunites with deceased
family members, makes
sacrifices to the
Egyptian gods and
goddess, harvests crops
from plentiful fields of
wheat under a brilliant
blue sky, and lives
forever next to the
abundant and nourishing
waters of the Nile. Rites
for the Afterlife was
commissioned by the
Barlow Endowment on
behalf of the Akropolis
Reed Quintet, Calefax
Reed Quintet, and the
Brigham Young University
Reed Quintet. -S.G. $53.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Rites for the Afterlife [Conducteur] Theodore Presser Co.
Chamber Music Bass Clarinet, Bassoon, Clarinet, English Horn, Oboe, alto Saxopho...(+)
Chamber Music Bass
Clarinet, Bassoon,
Clarinet, English Horn,
Oboe, alto Saxophone,
soprano Saxophone SKU:
PR.11441998S Composed
by Stacy Garrop. Sws.
Full score. 32 pages.
Duration 16 minutes.
Theodore Presser Company
#114-41998S. Published by
Theodore Presser Company
(PR.11441998S). UPC:
680160681730. 9 x 12
inches. The ancient
Egyptian empire began
around 3100 B.C. and
continued for over 3000
years until Alexander the
Great conquered the
country in 332 B.C. Over
the centuries, the
Egyptian empire grew and
flourished into a highly
developed society. They
invented hieroglyphics,
built towering pyramids
(including the Great
Pyramid of Giza, the
oldest of the Seven
Wonders of the World),
and the created many
household items we still
use today, including
toothbrushes, toothpaste,
eyeliner, black ink, and
the forerunner of
modern-day paper.
Included among their
achievements were a
series of highly
developed funerary
practices and beliefs in
the Afterlife. As the
average lifespan of an
Egyptian hovered around
30 years, living past the
death of oneAs physical
body was a legitimate
concern. Egyptians
believed that upon death,
their souls would
undertake a harrowing
journey through the
Netherworld. If they
survived the horrific
creatures and arduous
trials that awaited them,
then their souls would be
reunified with their
bodies (hence the need to
preserve the body through
mummification) and live
forever in a perfect
version of the life they
had lived in Egypt. To
achieve this, Egyptians
devised around 200
magical spells and
incantations to aid souls
on the path to the
Afterlife. These spells
are collectively called
The Book of the Dead.
Particular spells would
be chosen by the family
of the deceased and
inscribed on the tombAs
walls and scrolls of
papyrus, as well as on a
stone scarab placed over
the deceasedAs heart.
Subsequent collections of
spells and mortuary
texts, such as The Book
of Gates, assisted a soul
in navigating the twelve
stages of the
Netherworld. Not only did
these spells protect and
guide the soul on this
dangerous path, but they
also served as a
safeguard against any
unbecoming behavior an
Egyptian did while alive.
For instance, if a person
had robbed another while
alive, there was a spell
that would prevent the
soulAs heart from
revealing the truth when
in the Hall of Judgment.
Rites for the Afterlife
follows the path of a
soul to the Afterlife. In
Inscriptions from the
Book of the Dead
(movement 1), the soul
leaves the body and
begins the journey,
protected by spells and
incantations written on
the tombAs walls. In
Passage though the
Netherworld (movement 2),
the soul is now on a
funerary barque, being
towed through the
Netherworld by four of
the regionAs inhabitants.
We hear the soul slowly
chanting incantations as
the barque encounters
demons, serpents,
crocodiles, lakes of
fire, and other terrors.
The soul arrives at The
Hall of Judgment in
movement 3. Standing
before forty-two divine
judges, the soul
addresses each by name
and gives a A!negative
confessionA(r) connected
to each judge (i.e. A!I
did not rob,A(r) A!I did
not do violence,A(r) and
so on). Afterwards, the
soulAs heart is put on a
scale to be weighed
against a feather of
MaAat, the goddess of
truth. If the heart
weighs more than the
feather, it will be eaten
by Ammut, a hideous
creature that lies in
wait below the scale, and
the soul will die a
second and permanent
death (this was the worst
fear of the Egyptians).
But if the heart is in
balance with the feather,
the soul proceeds onward.
The final stage of the
journey is the arrival at
The Field of Reeds
(movement 4), which is a
perfect mirror image of
the soulAs life in
ancient Egypt. The soul
reunites with deceased
family members, makes
sacrifices to the
Egyptian gods and
goddess, harvests crops
from plentiful fields of
wheat under a brilliant
blue sky, and lives
forever next to the
abundant and nourishing
waters of the Nile. Rites
for the Afterlife was
commissioned by the
Barlow Endowment on
behalf of the Akropolis
Reed Quintet, Calefax
Reed Quintet, and the
Brigham Young University
Reed Quintet. -S.G. $29.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Dan Fogelberg: Dan Fogelberg - Complete Songs Volume 1 Composed Piano, Voix et Guitare [Partition] - Intermédiaire Hal Leonard
Composed by Dan Fogelberg. For voice, piano and guitar chords. Format: piano/voc...(+)
Composed by Dan
Fogelberg. For voice,
piano and guitar chords.
Format:
piano/vocal/chords
songbook. With vocal
melody, piano
accompaniment, lyrics,
chord names, guitar chord
diagrams, color photos
and black and white
photos. Soft Rock. 272
pages. 9x12 inches.
Published by Hal Leonard.
(10)$39.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Abendstern - Facile Carl Fischer
Orchestra violin 1, violin 2, violin 3, viola, cello, bass - Grade 3 SKU: CF....(+)
Orchestra violin 1,
violin 2, violin 3,
viola, cello, bass -
Grade 3 SKU:
CF.CAS117 Composed by
Lauren Bernofsky. Concert
String Orchestra (CAS).
Set of Score and Parts.
With Standard notation.
8+8+2+5+5+5+8 pages.
Duration 3 minutes, 59
seconds. Carl Fischer
Music #CAS117. Published
by Carl Fischer Music
(CF.CAS117). ISBN
9781491153291. UPC:
680160910793. 9 x 12
inches. Key: A
major. Abendstern,
composed by Lauren
Bernofsky,?evokes an
image of a sunset over
the tree-covered hills of
the Bavarian countryside
with the Abendstern, or
evening star, shining
brightly over the scene.
A hauntingly beautiful
theme in falling
thirds?evokes the
treetops as they become
darker and murkier. This
piece is a wonderful
addition to any concert
program and can be used
as a touching?tribute at
a memorial
service. One summer night
during a visit to Bavaria
in southern Germany, I
stood outside on a
balcony overlooking the
hills of the Bavarian
forest, watching the
beautiful early-evening
sky. It was still light
out, but I could make out
one solitary star in the
sky. As the sun slowly
went down, the landscape
became more and more dark
and indistinct, and the
star shone brighter and
brighter. My
mother-in-law stood there
with me. I asked her the
name of the star, and she
answered, Abendstern (or
Evening Star.)
I was so
moved by what I saw, I
went inside and took out
my manuscript paper and
started to write down
this piece. The
tree-covered hills and
tranquility of the
evening are evoked by the
theme, whose contour
(with little bumps)
mirrors the contour of
the treetops on the
hills. The star is
represented by the
sustained note E; at the
beginning of the piece,
it can be heard in a low
register in the violas,
and over the course of
the piece, it is heard in
higher and higher
octaves, as the star
shines ever more
brightly. By the end, the
landscape has disappeared
into the darkness, and
now all we see is the
star, shining its
brightest, and played by
the upper strings, now
harmonized to convey its
brilliant
light.. One summer night
during a visit to Bavaria
in southern Germany, I
stood outside on a
balcony overlooking the
hills of the Bavarian
forest, watching the
beautiful early-evening
sky. It was still light
out, but I could make out
one solitary star in the
sky. As the sun slowly
went down, the landscape
became more and more dark
and indistinct, and the
star shone brighter and
brighter. My
mother-in-law stood there
with me. I asked her the
name of the star, and she
answered, Abendstern (or
Evening Star.)
I was so
moved by what I saw, I
went inside and took out
my manuscript paper and
started to write down
this piece. The
tree-covered hills and
tranquility of the
evening are evoked by the
theme, whose contour
(with little bumps)
mirrors the contour of
the treetops on the
hills. The star is
represented by the
sustained note E; at the
beginning of the piece,
it can be heard in a low
register in the violas,
and over the course of
the piece, it is heard in
higher and higher
octaves, as the star
shines ever more
brightly. By the end, the
landscape has disappeared
into the darkness, and
now all we see is the
star, shining its
brightest, and played by
the upper strings, now
harmonized to convey its
brilliant
light.. One
summer night during a
visit to Bavaria in
southern Germany, I stood
outside on a balcony
overlooking the hills of
the Bavarian forest,
watching the beautiful
early-evening sky. It was
still light out, but I
could make out one
solitary star in the sky.
As the sun slowly went
down, the landscape
became more and more dark
and indistinct, and the
star shone brighter and
brighter. My
mother-in-law stood there
with me. I asked her the
name of the star, and she
answered, Abendstern (or
Evening Star.) I was so
moved by what I saw, I
went inside and took out
my manuscript paper and
started to write down
this piece. The
tree-covered hills and
tranquility of the
evening are evoked by the
theme, whose contour
(with little bumps)
mirrors the contour of
the treetops on the
hills. The star is
represented by the
sustained note E; at the
beginning of the piece,
it can be heard in a low
register in the violas,
and over the course of
the piece, it is heard in
higher and higher
octaves, as the star
shines ever more
brightly. By the end, the
landscape has disappeared
into the darkness, and
now all we see is the
star, shining its
brightest, and played by
the upper strings, now
harmonized to convey its
brilliant light.
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 | | |
| Pearl Jam - The Complete Scores Partitions De Groupes Hal Leonard
Deluxe Box Set. By Pearl Jam. Transcribed Score. Hardcover. With guitar tabla...(+)
Deluxe Box Set. By Pearl
Jam. Transcribed Score.
Hardcover. With guitar
tablature. 816 pages.
Published by Hal Leonard
$99.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Abendstern [Conducteur] - Facile Carl Fischer
Orchestra violin 1, violin 2, violin 3, viola, cello, bass - Grade 3 SKU: CF....(+)
Orchestra violin 1,
violin 2, violin 3,
viola, cello, bass -
Grade 3 SKU:
CF.CAS117F Composed
by Lauren Bernofsky.
Concert String Orchestra
(CAS). Full score. With
Standard notation. 8
pages. Carl Fischer Music
#CAS117F. Published by
Carl Fischer Music
(CF.CAS117F). ISBN
9781491153307. UPC:
680160910809. 9 x 12
inches. Abendstern,
composed by Lauren
Bernofsky,?evokes an
image of a sunset over
the tree-covered hills of
the Bavarian countryside
with the Abendstern, or
evening star, shining
brightly over the scene.
A hauntingly beautiful
theme in falling
thirds?evokes the
treetops as they become
darker and murkier. This
piece is a wonderful
addition to any concert
program and can be used
as a touching?tribute at
a memorial
service. One summer night
during a visit to Bavaria
in southern Germany, I
stood outside on a
balcony overlooking the
hills of the Bavarian
forest, watching the
beautiful early-evening
sky. It was still light
out, but I could make out
one solitary star in the
sky. As the sun slowly
went down, the landscape
became more and more dark
and indistinct, and the
star shone brighter and
brighter. My
mother-in-law stood there
with me. I asked her the
name of the star, and she
answered, Abendstern (or
Evening Star.)
I was so
moved by what I saw, I
went inside and took out
my manuscript paper and
started to write down
this piece. The
tree-covered hills and
tranquility of the
evening are evoked by the
theme, whose contour
(with little bumps)
mirrors the contour of
the treetops on the
hills. The star is
represented by the
sustained note E; at the
beginning of the piece,
it can be heard in a low
register in the violas,
and over the course of
the piece, it is heard in
higher and higher
octaves, as the star
shines ever more
brightly. By the end, the
landscape has disappeared
into the darkness, and
now all we see is the
star, shining its
brightest, and played by
the upper strings, now
harmonized to convey its
brilliant
light.. One summer night
during a visit to Bavaria
in southern Germany, I
stood outside on a
balcony overlooking the
hills of the Bavarian
forest, watching the
beautiful early-evening
sky. It was still light
out, but I could make out
one solitary star in the
sky. As the sun slowly
went down, the landscape
became more and more dark
and indistinct, and the
star shone brighter and
brighter. My
mother-in-law stood there
with me. I asked her the
name of the star, and she
answered, Abendstern (or
Evening Star.)
I was so
moved by what I saw, I
went inside and took out
my manuscript paper and
started to write down
this piece. The
tree-covered hills and
tranquility of the
evening are evoked by the
theme, whose contour
(with little bumps)
mirrors the contour of
the treetops on the
hills. The star is
represented by the
sustained note E; at the
beginning of the piece,
it can be heard in a low
register in the violas,
and over the course of
the piece, it is heard in
higher and higher
octaves, as the star
shines ever more
brightly. By the end, the
landscape has disappeared
into the darkness, and
now all we see is the
star, shining its
brightest, and played by
the upper strings, now
harmonized to convey its
brilliant
light.. One
summer night during a
visit to Bavaria in
southern Germany, I stood
outside on a balcony
overlooking the hills of
the Bavarian forest,
watching the beautiful
early-evening sky. It was
still light out, but I
could make out one
solitary star in the sky.
As the sun slowly went
down, the landscape
became more and more dark
and indistinct, and the
star shone brighter and
brighter. My
mother-in-law stood there
with me. I asked her the
name of the star, and she
answered, Abendstern (or
Evening Star.) I was so
moved by what I saw, I
went inside and took out
my manuscript paper and
started to write down
this piece. The
tree-covered hills and
tranquility of the
evening are evoked by the
theme, whose contour
(with little bumps)
mirrors the contour of
the treetops on the
hills. The star is
represented by the
sustained note E; at the
beginning of the piece,
it can be heard in a low
register in the violas,
and over the course of
the piece, it is heard in
higher and higher
octaves, as the star
shines ever more
brightly. By the end, the
landscape has disappeared
into the darkness, and
now all we see is the
star, shining its
brightest, and played by
the upper strings, now
harmonized to convey its
brilliant light.
About Carl
Fischer Concert String
Orchestra
Series Thi
s series of pieces (Grade
3 and higher) is designed
for advancing ensembles.
The pieces in this series
are characterized
by: - Expanded use
of rhythms, ranges and
keys but technical
demands are still
carefully
considered
- More
comprehensive bowing
techniques
- Viola
T.C.
included
- Careful
selection of keys and
degree of difficulty for
advancing
musicians
$9.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Legendary Series: Flute Music Sales
| | |
| The Legendary Series: Saxophone Music Sales
| | |
| The Legendary Series: Clarinet Clarinette Music Sales
| | |
| Noona Digital Piano Method Book 1 Piano seul [Partition] Heritage Music Press
By Walter Noona. For piano. Level: Level 1. Piano method. Published by Heritage ...(+)
By Walter Noona. For
piano. Level: Level 1.
Piano method. Published
by Heritage Music Press.
(40/1001)
(1)$19.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Jimi Hendrix Omnibook Instruments en Do [Fake Book] Hal Leonard
(For C Instruments). By Jimi Hendrix. For C Instruments. Guitar Collection. ...(+)
(For C Instruments). By
Jimi
Hendrix. For C
Instruments.
Guitar Collection.
Softcover. 208 pages.
Published by Hal Leonard
$32.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Music From The Movies Big Screen Piano seul Music Sales
| | |
| Billboard No. 1 Hits of the 1980s Piano, Voix et Guitare - Intermédiaire Alfred Publishing
(A Sheet Music Compendium (Piano/Vocal/Guitar)). For Guitar; Keyboard; Piano; Vo...(+)
(A Sheet Music Compendium
(Piano/Vocal/Guitar)).
For Guitar; Keyboard;
Piano; Voice. This
edition:
Piano/Vocal/Guitar. Book;
P/V/C Mixed Folio;
Piano/Vocal/Chords.
Billboard Magazine.
Pop/Rock. 304 pages.
Published by Alfred Music
Publishing
$34.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Robert Starer - Album for Piano Piano seul - Intermédiaire Hal Leonard
Performed by Robert Starer. Piano. Size 9x12 inches. 240 pages. Published by Hal...(+)
Performed by Robert
Starer. Piano. Size 9x12
inches. 240 pages.
Published by Hal Leonard.
$39.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Michael Jackson : Man in the Mirror Orchestre d'harmonie [Conducteur et Parties séparées] - Débutant Hal Leonard
By Michael Jackson. By Glen Ballard and Siedah Garrett. Arranged by Michael Swee...(+)
By Michael Jackson. By
Glen Ballard and Siedah
Garrett. Arranged by
Michael Sweeney. Score
and Parts. Beginning
Pops-Concert Band. Grade
1. Softcover
$40.00 $38 (- 5%) Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Get Set! Piano Pieces Book 2 Piano seul - Débutant Lucks Music Library
Piano SKU: BT.9781408192788 Composed by Karen Marshall. Get Set! Piano. S...(+)
Piano SKU:
BT.9781408192788
Composed by Karen
Marshall. Get Set! Piano.
Studies & Exercises. Book
Only. 24 pages. Collins
Music Publishing
#9781408192788. Published
by Collins Music
Publishing
(BT.9781408192788).
ISBN
9781408192788. D
esigned to complement Get
Set! Piano Tutor Book 2,
Get Set! Piano
Pieces Book 2
contains an exciting
collection of pieces by
Heather Hammond and Karen
Marshall, arranged and
written specially for
thetwenty-first century
child. Get
Set! Piano Pieces Book
2 follows and
supplements the tried and
tested progressive
teaching method of Get
Set! Piano Tutor Book 2
(9781408193075), guiding
the learner fromPrep test
to Grade 1. It includes
favourites like La
Bamba, Frère
Jacques and This
Old Man as well as
engaging new solo and
ensemble pieces in a
variety of styles.
The perfect repertoire
bookforgetting to Grade
1, Get Set! Piano
Pieces Book 2 is
attractively laid out and
fully illustrated, with
quizzes and crosswords to
reinforce
learning. $11.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| NYC Guitar School Book 1 Guitare Hal Leonard
Guitar SKU: HL.381135 A Step-by-Step and Song-by-Song Guide for Absolu...(+)
Guitar SKU:
HL.381135 A
Step-by-Step and
Song-by-Song Guide for
Absolute Beginners.
Guitar Educational.
Instruction, Method.
Softcover. 112 pages.
Published by Hal Leonard
(HL.381135). ISBN
9781705152447. UPC:
196288019466.
9.0x12.0x0.277
inches. Learn how
to play guitar with this
effective guitar method
successfully used by
thousands of busy New
Yorkers in their classes
at New York City Guitar
School. You'll learn the
fundamentals of guitar
with this motivating
step-by-step
comprehensive course for
beginners which covers
all the basics of guitar
playing, and includes
detailed practice session
plans, motivating stories
and great song examples.
Topics covered include:
The fundamental habits of
great guitar players; The
rest stroke; How to read
chord diagrams; The D and
G chords; How to tune
your guitar; How to
practice; The A7 Chord;
How to play with a pick;
The secret to memorizing
songs; How to read tab
and play cool licks;
Pivot changes; G Major; E
Minor; D 7th; The concept
of chord progressions;
The small barre--gateway
to future guitar
greatness; and much more.
You'll get to play great
songs while learning,
too! Songs include: Chain
of Fools • DJ Got
Us Fallin' in Love
• The First Cut Is
the Deepest • I
Fought the Law •
Mirrorball •
Mustang Sally • Old
Town Road (I Got the
Horses in the Back)
• Pumped up Kicks
• Rebel, Rebel
• Sons &
Daughters • Truth
Hurts • Up on the
Roof • and more.
This book is ideal for
use with a teacher or in
a class, and has also
been used successfully
around the world as a
self-study course. $19.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
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