| Hal Leonard Songwriting Method Formation musicale - Solfège [Partition + Accès audio] Hal Leonard
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| Hymn Creations Piano seul [Partition] Willis Music
(Intermediate to Advanced Level). By Various. Arranged by Randall Hartsell. For ...(+)
(Intermediate to Advanced
Level). By Various.
Arranged by Randall
Hartsell. For
Piano/Keyboard. Willis.
Intermediate to Advanced.
Softcover. 32 pages.
Published by Willis Music
$9.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Concerto - Piano And Orchestra - Solo Part Schott
Piano and orchestra - difficult SKU: HL.49046544 For piano and orchest...(+)
Piano and orchestra -
difficult SKU:
HL.49046544 For
piano and orchestra.
Composed by Gyorgy
Ligeti. This edition:
Saddle stitching. Sheet
music. Edition Schott.
Softcover. Composed
1985-1988. Duration 24'.
Schott Music #ED23178.
Published by Schott Music
(HL.49046544). ISBN
9781705122655. UPC:
842819108726.
9.0x12.0x0.224
inches. I composed
the Piano Concerto in two
stages: the first three
movements during the
years 1985-86, the next
two in 1987, the final
autograph of the last
movement was ready by
January, 1988. The
concerto is dedicated to
the American conductor
Mario di Bonaventura. The
markings of the movements
are the following: 1.
Vivace molto ritmico e
preciso 2. Lento e
deserto 3. Vivace
cantabile 4. Allegro
risoluto 5. Presto
luminoso.The first
performance of the
three-movement Concerto
was on October 23rd, 1986
in Graz. Mario di
Bonaventura conducted
while his brother,
Anthony di Bonaventura,
was the soloist. Two days
later the performance was
repeated in the Vienna
Konzerthaus. After
hearing the work twice, I
came to the conclusion
that the third movement
is not an adequate
finale; my feeling of
form demanded
continuation, a
supplement. That led to
the composing of the next
two movements. The
premiere of the whole
cycle took place on
February 29th, 1988, in
the Vienna Konzerthaus
with the same conductor
and the same pianist. The
orchestra consisted of
the following: flute,
oboe, clarinet, bassoon,
horn, trumpet, tenor
trombone, percussion and
strings. The flautist
also plays the piccoIo,
the clarinetist, the alto
ocarina. The percussion
is made up of diverse
instruments, which one
musician-virtuoso can
play. It is more
practical, however, if
two or three musicians
share the instruments.
Besides traditional
instruments the
percussion part calls
also for two simple wind
instruments: the swanee
whistle and the
harmonica. The string
instrument parts (two
violins, viola, cello and
doubles bass) can be
performed soloistic since
they do not contain
divisi. For balance,
however, the ensemble
playing is recommended,
for example 6-8 first
violins, 6-8 second, 4-6
violas, 4-6 cellos, 3-4
double basses. In the
Piano Concerto I realized
new concepts of harmony
and rhythm. The first
movement is entirely
written in bimetry:
simultaneously 12/8 and
4/4 (8/8). This relates
to the known triplet on a
doule relation and in
itself is nothing new.
Because, however, I
articulate 12 triola and
8 duola pulses, an
entangled, up till now
unheard kind of polymetry
is created. The rhythm is
additionally complicated
because of asymmetric
groupings inside two
speed layers, which means
accents are
asymmetrically
distributed. These
groups, as in the talea
technique, have a fixed,
continuously repeating
rhythmic structures of
varying lengths in speed
layers of 12/8 and 4/4.
This means that the
repeating pattern in the
12/8 level and the
pattern in the 4/4 level
do not coincide and
continuously give a
kaleidoscope of renewing
combinations. In our
perception we quickly
resign from following
particular rhythmical
successions and that what
is going on in time
appears for us as
something static,
resting. This music, if
it is played properly, in
the right tempo and with
the right accents inside
particular layers, after
a certain time 'rises, as
it were, as a plane after
taking off: the rhythmic
action, too complex to be
able to follow in detail,
begins flying. This
diffusion of individual
structures into a
different global
structure is one of my
basic compositional
concepts: from the end of
the fifties, from the
orchestral works
Apparitions and
Atmospheres I
continuously have been
looking for new ways of
resolving this basic
question. The harmony of
the first movement is
based on mixtures, hence
on the parallel leading
of voices. This technique
is used here in a rather
simple form; later in the
fourth movement it will
be considerably
developed. The second
movement (the only slow
one amongst five
movements) also has a
talea type of structure,
it is however much
simpler rhythmically,
because it contains only
one speed layer. The
melody is consisted in
the development of a
rigorous interval mode in
which two minor seconds
and one major second
alternate therefore nine
notes inside an octave.
This mode is transposed
into different degrees
and it also determines
the harmony of the
movement; however, in
closing episode in the
piano part there is a
combination of diatonics
(white keys) and
pentatonics (black keys)
led in brilliant,
sparkling quasimixtures,
while the orchestra
continues to play in the
nine tone mode. In this
movement I used isolated
sounds and extreme
registers (piccolo in a
very low register,
bassoon in a very high
register, canons played
by the swanee whistle,
the alto ocarina and
brass with a harmon-mute'
damper, cutting sound
combinations of the
piccolo, clarinet and
oboe in an extremely high
register, also
alternating of a
whistle-siren and
xylophone). The third
movement also has one
speed layer and because
of this it appears as
simpler than the first,
but actually the rhythm
is very complicated in a
different way here. Above
the uninterrupted, fast
and regular basic pulse,
thanks to the asymmetric
distribution of accents,
different types of
hemiolas and inherent
melodical patterns appear
(the term was coined by
Gerhard Kubik in relation
to central African
music). If this movement
is played with the
adequate speed and with
very clear accentuation,
illusory
rhythmic-melodical
figures appear. These
figures are not played
directly; they do not
appear in the score, but
exist only in our
perception as a result of
co-operation of different
voices. Already earlier I
had experimented with
illusory rhythmics,
namely in Poeme
symphonique for 100
metronomes (1962), in
Continuum for harpsichord
(1968), in Monument for
two pianos (1976), and
especially in the first
and sixth piano etude
Desordre and Automne a
Varsovie (1985). The
third movement of the
Piano Concerto is up to
now the clearest example
of illusory rhythmics and
illusory melody. In
intervallic and chordal
structure this movement
is based on alternation,
and also inter-relation
of various modal and
quasi-equidistant harmony
spaces. The tempered
twelve-part division of
the octave allows for
diatonical and other
modal interval
successions, which are
not equidistant, but are
based on the alternation
of major and minor
seconds in different
groups. The tempered
system also allows for
the use of the
anhemitonic pentatonic
scale (the black keys of
the piano). From
equidistant scales,
therefore interval
formations which are
based on the division of
an octave in equal
distances, the
twelve-tone tempered
system allows only
chromatics (only minor
seconds) and the six-tone
scale (the whole-tone:
only major seconds).
Moreover, the division of
the octave into four
parts only minor thirds)
and three parts (three
major thirds) is
possible. In several
music cultures different
equidistant divisions of
an octave are accepted,
for example, in the
Javanese slendro into
five parts, in Melanesia
into seven parts, popular
also in southeastern
Asia, and apart from
this, in southern Africa.
This does not mean an
exact equidistance: there
is a certain tolerance
for the inaccurateness of
the interval tuning.
These exotic for us,
Europeans, harmony and
melody have attracted me
for several years.
However I did not want to
re-tune the piano
(microtone deviations
appear in the concerto
only in a few places in
the horn and trombone
parts led in natural
tones). After the period
of experimenting, I got
to pseudo- or
quasiequidistant
intervals, which is
neither whole-tone nor
chromatic: in the
twelve-tone system, two
whole-tone scales are
possible, shifted a minor
second apart from each
other. Therefore, I
connect these two scales
(or sound resources), and
for example, places occur
where the melodies and
figurations in the piano
part are created from
both whole tone scales;
in one band one six-tone
sound resource is
utilized, and in the
other hand, the
complementary. In this
way whole-tonality and
chromaticism mutually
reduce themselves: a type
of deformed
equidistancism is formed,
strangely brilliant and
at the same time
slanting; illusory
harmony, indeed being
created inside the
tempered twelve-tone
system, but in sound
quality not belonging to
it anymore. The
appearance of such
slantedequidistant
harmony fields
alternating with modal
fields and based on
chords built on fifths
(mainly in the piano
part), complemented with
mixtures built on fifths
in the orchestra, gives
this movement an
individual, soft-metallic
colour (a metallic sound
resulting from
harmonics). The fourth
movement was meant to be
the central movement of
the Concerto. Its
melodc-rhythmic elements
(embryos or fragments of
motives) in themselves
are simple. The movement
also begins simply, with
a succession of
overlapping of these
elements in the mixture
type structures. Also
here a kaleidoscope is
created, due to a limited
number of these elements
- of these pebbles in the
kaleidoscope - which
continuously return in
augmentations and
diminutions. Step by
step, however, so that in
the beginning we cannot
hear it, a compiled
rhythmic organization of
the talea type gradually
comes into daylight,
based on the simultaneity
of two mutually shifted
to each other speed
layers (also triplet and
duoles, however, with
different asymmetric
structures than in the
first movement). While
longer rests are
gradually filled in with
motive fragments, we
slowly come to the
conclusion that we have
found ourselves inside a
rhythmic-melodical whirl:
without change in tempo,
only through increasing
the density of the
musical events, a
rotation is created in
the stream of successive
and compiled, augmented
and diminished motive
fragments, and increasing
the density suggests
acceleration. Thanks to
the periodical structure
of the composition,
always new but however of
the same (all the motivic
cells are similar to
earlier ones but none of
them are exactly
repeated; the general
structure is therefore
self-similar), an
impression is created of
a gigantic, indissoluble
network. Also, rhythmic
structures at first
hidden gradually begin to
emerge, two independent
speed layers with their
various internal
accentuations. This
great, self-similar whirl
in a very indirect way
relates to musical
associations, which came
to my mind while watching
the graphic projection of
the mathematical sets of
Julia and of Mandelbrot
made with the help of a
computer. I saw these
wonderful pictures of
fractal creations, made
by scientists from Brema,
Peitgen and Richter, for
the first time in 1984.
From that time they have
played a great role in my
musical concepts. This
does not mean, however,
that composing the fourth
movement I used
mathematical methods or
iterative calculus;
indeed, I did use
constructions which,
however, are not based on
mathematical thinking,
but are rather craftman's
constructions (in this
respect, my attitude
towards mathematics is
similar to that of the
graphic artist Maurits
Escher). I am concerned
rather with intuitional,
poetic, synesthetic
correspondence, not on
the scientific, but on
the poetic level of
thinking. The fifth, very
short Presto movement is
harmonically very simple,
but all the more
complicated in its
rhythmic structure: it is
based on the further
development of ''inherent
patterns of the third
movement. The
quasi-equidistance system
dominates harmonically
and melodically in this
movement, as in the
third, alternating with
harmonic fields, which
are based on the division
of the chromatic whole
into diatonics and
anhemitonic pentatonics.
Polyrhythms and harmonic
mixtures reach their
greatest density, and at
the same time this
movement is strikingly
light, enlightened with
very bright colours: at
first it seems chaotic,
but after listening to it
for a few times it is
easy to grasp its
content: many autonomous
but self-similar figures
which crossing
themselves. I present my
artistic credo in the
Piano Concerto: I
demonstrate my
independence from
criteria of the
traditional avantgarde,
as well as the
fashionable
postmodernism. Musical
illusions which I
consider to be also so
important are not a goal
in itself for me, but a
foundation for my
aesthetical attitude. I
prefer musical forms
which have a more
object-like than
processual character.
Music as frozen time, as
an object in imaginary
space evoked by music in
our imagination, as a
creation which really
develops in time, but in
imagination it exists
simultaneously in all its
moments. The spell of
time, the enduring its
passing by, closing it in
a moment of the present
is my main intention as a
composer. (Gyorgy
Ligeti). $34.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| More Colors of Music Santorella Publications
SKU: SP.TS572 Composed by Tony Santorella. Collection; Recreational. Book...(+)
SKU: SP.TS572
Composed by Tony
Santorella. Collection;
Recreational. Book.
Santorella Publications
#TS572. Published by
Santorella Publications
(SP.TS572). ISBN
9781585607587. The
next book in this
exciting series has
arrived! The popularity
of coloring books for the
middle school aged to
adult artist, while
relatively recent, has
become one of the faster
growing recreational
activities for artists of
all skill levels. It took
the innovation of the
publisher you've known
for many years, however,
to marry the visual arts
with music in this never
seen before original
concept and series,
exclusively available
from Santorella
Publications. Experience
the high quality you've
come to expect from
Santorella Publications
in More Colors of Music,
with over 60 musical
instruments from around
the world depicted with
intricate background
patterns. Each image is
printed on heavy stock on
only one side of the page
to avoid bleed-through.
Printed in the larger 9 x
12 size, with Santorella
s lay-flat binding, the
book is designed to last
for years, while each
page is perforated for
easy removal and
coloring. Every
illustration, while a
work of art on its own,
will become a
one-of-a-kind original
piece with your personal
touch; a work of art
truly suitable for
framing. The foreword
from, More Colors of
Music. The Colors of
Music began the journey.
Artist and musicians
experienced a new level
of meditative creativity
with over 60 familiar
musical instruments to
color and make their own.
More Colors of Music
continues this journey
with over 60 additional
images dedicated to
instruments from around
the world. This
collection of unusual
instruments, both past
and present offers an
additional cultural
context, reminding us how
art and music not only
enable us to share
cultural similarities,
but also explore our
differences in a way
which makes the world a
little smaller. From the
dawn of time, coloring
has been one of the most
basic forms of
self-expression and is
often the first creative
process which many of us
experience. Taking an
existing image or pattern
and making it our own is
a uniquely personal
experience. We decide
which creative implements
to use, perhaps crayons,
pencils, or markers, and
which colors to apply. As
we color, we find we are
in control of the entire
process, limited only by
our imagination, and when
we are done, we have an
artistic embodiment of
our own personality, as
unique and individual as
each of us is to the
other. It makes no
difference if we are
relatively skilled or
unskilled; we express
what is in our heart and
mind each and every time
we set pencil to paper.
As we become more
experienced and skilled,
we acquire the power
through technique and
style to more freely
express what is so clear
in our imagination. In
time, our creations
become freely expressed
works of art. Both art
and music have creativity
at their core. They allow
the artist or musician,
both young and old, to
freely express feelings
within while providing a
sense of joy,
tranquility, and
meditative focus. The
Colors of Music and More
Colors of Music literally
remind us that art and
music are on the same
page. This highly
sought-after series, by
Santorella Publications,
will provide both the
artist and musician with
yet another creative
channel for
self-expression and
individualism, as well as
the opportunity for some
much-needed downtown from
the hard work of
practicing and the rigors
of everyday life.
Experience the fun and
satisfaction of The
Colors of Music and More
Colors of Music for
yourself, and turn each
page to discover the
endless possibilities and
opportunities for
creativity and
relaxation, as you
nurture and cultivate
your inner spirit, while
feeding your soul with
peace, tranquility,
color, and harmony. The
journey continues, so
have some fun! $16.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Colors of Music Santorella Publications
SKU: SP.TS571 Composed by Tony Santorella. Collection; Recreational. Book...(+)
SKU: SP.TS571
Composed by Tony
Santorella. Collection;
Recreational. Book.
Santorella Publications
#TS571. Published by
Santorella Publications
(SP.TS571). ISBN
9781585607570. The
popularity of coloring
books for the adult and
young adult, while
relatively recent, has
become one of the faster
growing recreational
activities for artists of
all skill levels. It took
the innovation of the
publisher you've known
for many years, however,
to marry the visual arts
with music in this never
before seen original
concept and series,
exclusively available
from Santorella
Publications.
Experience the high
quality you've come to
expect from Santorella
Publications in The
Colors of Music, with
over 60 musical
instruments depicted with
intricate background
patterns. Each image is
printed on heavy stock on
only one side of the page
to avoid bleed-through.
Printed in the larger 9 x
12 size, with
Santorella's lay-flat
binding, the book is
designed to last for
years, while each page is
perforated for easy
removal and coloring.
Every illustration, while
a work of art on its own,
will become a
one-of-a-kind original
piece with your personal
touch; a work of art
truly suitable for
framing.
Th
e foreword from, The
Colors of
Music.
From
the dawn of time,
coloring has been one of
the most basic forms of
self-expression and is
often the first creative
process which many of us
experience. Taking an
existing image or pattern
and making it our own is
a uniquely personal
experience. We decide
which creative implements
to use, perhaps crayons,
pencils, or markers, and
which colors to apply. As
we color, we find we are
in control of the entire
process, limited only by
our imagination, and when
we are done, we have an
artistic embodiment of
our own personality, as
unique and individual as
each of us is to the
other.
It makes no
difference if we are
relatively skilled or
unskilled; we express
what is in our heart and
mind each and every time
we set pencil to paper.
As we become more
experienced and skilled,
we acquire the power
through technique and
style to more freely
express what is so clear
in our imagination. In
time, our creations
become freely expressed
works of
art.
The
same can be said of
music. The musician
chooses their instrument,
then takes an existing
pattern of melody and
chords and adds unique
colors to them to make
that piece of music
uniquely their own. As
musicians, we practice to
become more experienced
in order to acquire the
skills to more freely add
our own brand of
expression and style to
the
music.
Both
of these art forms have
creativity at their core.
They allow the artist or
musician, both young and
old, to freely express
feelings within while
providing a sense of joy,
tranquility, and
meditative
focus.
The
Colors of Music literally
reminds us that art and
music are on the same
page. This trend-setting
series, by Santorella
Publications, will
provide both the artist
and musician with yet
another creative channel
for self-expression and
individualism.
<
br/>Amateur and
professional alike will
also appreciate the
opportunity for some
much-needed downtime from
the hard work of
practicing, or simply the
rigors of everyday life,
while still being able to
enjoy the art form they
love. After all, creating
art and music is supposed
to be fun. $16.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Dj Mixing And Remixing Dj Stlyes Series [Livre + DVD] Alfred Publishing
DJ Mixing and Remixing. By Featuring DJ KNS. Books and DVDs; Method/Instruction;...(+)
DJ Mixing and Remixing.
By Featuring DJ KNS.
Books and DVDs;
Method/Instruction; Pro
Audio; Pro Audio DJ DVD.
DJ Styles Series. DVD.
Alfred Music #00-904926.
Published by Alfred Music
$16.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Bläserquintett EMB (Editio Musica Budapest)
Wind Quintet SKU: BT.EMBZ14152 Composed by Endre Szervánszky. Book Onl...(+)
Wind Quintet SKU:
BT.EMBZ14152 Composed
by Endre Szervánszky.
Book Only. Composed 1997.
128 pages. Editio Musica
Budapest #EMBZ14152.
Published by Editio
Musica Budapest
(BT.EMBZ14152).
First published
in 1957, this work has
been reprinted multiple
times and appears now as
both a full score as well
as the individual parts
that comprise it. Endre
Szervanszky (1911-1977)
created this work during
a creative period when
the basic starting point
for musical invention was
Hungarian folk song.
However, the demanding
and expert reshaping of
this musical material
also characterized his
musical creations. This
quintet for winds has
also earned recognition
from instrumental
musicians with its
sophistication,
intensity, superb
instrumental arrangement,
and classical
four-movement
structure.This
publication is printed on
high-quality,
age-resistant paper that
is producedin an
environmentally-friendly,
climate-neutral manner
using renewable raw
materials. $42.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Recreations, Volume 2. 12 etudes pour continuer les timbales Timbales [Partition] Dhalmann
By Daniel Sauvage. For Timpani. Method Book. Published by Editions Francois Dhal...(+)
By Daniel Sauvage. For
Timpani. Method Book.
Published by Editions
Francois Dhalmann
$29.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Alfred's Kid's Guitar Course 1 Guitare [Partition + CD + DVD] - Débutant Alfred Publishing
(The Easiest Guitar Method Ever!). By Ron Manus and L. C. Harnsberger. For Guita...(+)
(The Easiest Guitar
Method Ever!). By Ron
Manus and L. C.
Harnsberger. For Guitar.
This edition: Books, CDs
and DVD. Book; DVD;
Enhanced CD; Guitar
Method or Supplement;
Method/Instruction. Kid's
Guitar Course. Children.
Beginner. Published by
Alfred Music
$39.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Keyboard Secrets Piano seul Willis Music
60 Daily Recreations to Solve First Keyboard Problems/Early to Mid-Elementary Le...(+)
60 Daily Recreations to
Solve First Keyboard
Problems/Early to
Mid-Elementary Level.
Willis. Book only. Size
9x12 inches. 60 pages.
Published by Willis
Music.
$6.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Konzert für Oboe und Orchester Hautbois, Piano (duo) EMB (Editio Musica Budapest)
Oboe and Piano SKU: BT.EMBZ1852 Composed by Frigyes Hidas. Book Only. Com...(+)
Oboe and Piano SKU:
BT.EMBZ1852 Composed
by Frigyes Hidas. Book
Only. Composed 1955. 68
pages. Editio Musica
Budapest #EMBZ1852.
Published by Editio
Musica Budapest
(BT.EMBZ1852).
Hungarian. It s
quite rare when a
composer s diploma work
becomes a successful,
popular piece even after
70 years. Frigyes Hidas
(1928 2007) Oboe
Concerto, written in
1951, is a work that
Péter Pongrácz,
Lajos Lencsés, and
many other Hungarian and
foreign oboists gladly
add to their concert
programs. It is difficult
to pinpoint exactly what
stylistic conventions
helped to form the
musical language of the
Oboe Concerto: the
three-movement form is
suggestive of Viennese
Classicism, and Hungarian
motifs of the era can
also be detected here and
there. However, the main
influences can be felt
from the Neoclassicism of
the 1920s and 1930s, the
Baroque era, and the
French woodwind school.
Aswith all of his musical
creations, Hidas
demonstrates here that he
is a master of
instrumental knowledge,
consideration towards his
works performers, and
tasteful moderation. This
publication is printed on
high-quality,
age-resistant,
pale-yellow paper that is
produced in an
environmentally-friendly,
climate-neutral manner
using renewable raw
materials. $23.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Alfred's Teach Yourself to Play Harmonica Harmonica Alfred Publishing
(For Beginners of All Ages). By Steven Manus. For Harmonica. Method/Instruction;...(+)
(For Beginners of All
Ages). By Steven Manus.
For Harmonica.
Method/Instruction;
Miscellaneous Instrument
- Harmonica. Teach
Yourself Series.
Beginner. Book and
Harmonica. 160 pages.
Published by Alfred Music
Publishing
$16.99 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Thompson's Easiest Piano Course: First Mozart Piano seul Willis Music
Piano SKU: BT.WMR101464 Arranged by Christopher Hussey. John Thompson's E...(+)
Piano SKU:
BT.WMR101464 Arranged
by Christopher Hussey.
John Thompson's Easiest
Piano Course. Book Only.
Composed 2016. 32 pages.
Willis Music #WMR101464.
Published by Willis Music
(BT.WMR101464). ISBN
9781783056507.
English. 15 easy
arrangements of Mozart's
most well-known musical
creations for the
beginning pianist.
Progresses from early to
late elementary level.
Pieces include: Ave verum
corpus · The
Birdcatcher's Song ·
Clarinet Concerto ·
Diesirae · Eine Kleine
Nachtmusik · Gran
Partita · La ci darem
la mano · A Musical
Joke · Piano Sonata in
C Major, and more! $11.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Romantische Miniaturen [Romantic Miniatures] Violon et Piano Schott
For Violin and Piano. Composed by Various. Edited by Wolfgang Birtel. String...(+)
For Violin and Piano.
Composed by Various.
Edited
by Wolfgang Birtel.
String
Solo. Softcover. 111
pages.
Schott Music #ED22404.
Published by Schott Music
$29.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Fantasia Noel - Choral Book Word Music
Intermediate SKU: WD.080689526176 Composed by Joshua Bryant Spacht. Chora...(+)
Intermediate SKU:
WD.080689526176
Composed by Joshua Bryant
Spacht. Choral, cantatas.
Christmas. Book. Word
Music #080689526176.
Published by Word Music
(WD.080689526176).
UPC:
080689526176. Impro
visatory yet structured,
wildly imaginative yet
comfortably familiar,
these musical creations
for choir and orchestra
evoke an energy best
expressed in the realm of
the fantastical while
simultaneously embracing
an obsessively
intentional focus on the
joy and significance of
NOEL in the life of every
believer. It is an
anthology of songs and
arrangements designed to
soar on wings constructed
of myriad forms and
styles, lifted by the
hearts and voices that
sing them. At the same
time, its message keeps
us firmly grounded and
anchored by the message
of love, hope and
redemption that is the
heart of the Christmas
story and which is the
heartbeat of a loving
God. Fantasia Noel,
Christ is born! $12.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Love's Old Sweet Song - Facile Excelcia Music Publishing
Chorus SATB chorus a cappella SKU: XC.DJS2404 Composed by James Lynam Mol...(+)
Chorus SATB chorus a
cappella SKU:
XC.DJS2404 Composed
by James Lynam Molloy.
Arranged by Derric
Johnson. Intermezzo Grade
2.0-2.5. Octavo. Excelcia
Music Publishing
#DJS2404. Published by
Excelcia Music Publishing
(XC.DJS2404). 10.5 x
6.75 inches. Derric
Johnson's arrangement of
Love's Old Sweet Song
stands out as one of his
most accessible yet
breathtaking creations,
offering a perfect
balance of simplicity and
beauty. Tailored for all
levels of SATB choirs,
this arrangement serves
as an ideal middle piece
in any concert,
resonating with the
timeless charm of the
beautiful love song while
accommodating singers of
varying skill levels with
its approachable yet
enchanting harmonies. $2.75 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Mostly Scotch (Wid A Wee Bit A' Soda) for Pedal Free Harp Harpe [Partition + Accès audio] Mel Bay
By Chuck Bird and Susan Peters. For Harp (Folk/Celtic). Solos. Bill's Music She...(+)
By Chuck Bird and Susan
Peters. For Harp
(Folk/Celtic). Solos.
Bill's Music Shelf.
Ragtime.
Beginning-Intermediate.
Book Online Audio. 120
pages. Published by Mel
Bay Publications, Inc
$24.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| I Wonder - Vocal Solo Voix moyenne, Piano Jackman Music Corporation
Medium voice and piano - Medium-easy / medium acc. SKU: JK.19046 Composed...(+)
Medium voice and piano -
Medium-easy / medium acc.
SKU: JK.19046
Composed by Janice Kapp
Perry. Difficulty Easy
Medium, Children, Vocal
Solo. Christian,
Inspirational. Jackman
Music Corporation #19046.
Published by Jackman
Music Corporation
(JK.19046).
Original vocal
solo for medium voice and
piano accompaniment,
arranged in A flat to D
flat major, with
easy-to-play notes. This
piece is sung through a
child's eyes, who ponders
on the creations of the
earth. Composer:
Janice Kapp Perry
Lyricist: Ruth S.
Kapp Difficulty:
Medium-easy / medium
acc. *** Some Janice
Kapp Perry products may
require a few days
additional shipping time.
Thank you! $2.98 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Dresden Sonata No. 2 Violon, Basse continue Edition HH
Composed by Martino Bitti. Edited by Alessandro Borin / Antonio Frige. Full scor...(+)
Composed by Martino
Bitti. Edited by
Alessandro Borin /
Antonio Frige. Full score
and parts. Published by
Edition HH Music
Publishers
(HH.HH337-FSP).
$19.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Scott: String Quartet No.2 (Parts) Quatuor à cordes: 2 violons, alto, violoncelle Music Sales
String Quartet SKU: HL.14028274 Composed by Cyril Scott. Music Sales Amer...(+)
String Quartet SKU:
HL.14028274 Composed
by Cyril Scott. Music
Sales America. Classical.
Book [Softcover]. Music
Sales #NOV26253001.
Published by Music Sales
(HL.14028274).
Stri
ng Quartet No.2
was written in 1951, and
dedicated to Percy and
Ella Grainger. It is
recognised as one of his
least extravagant
creations, but is
nevertheless a solid work
which is continually
underappreciated. This is
the set of
parts. Cyril
Scott (1879-1970)
was a British composer,
pianist and poet. His
most popular works, which
he is largely remembered
by today, were written in
the years preceding the
Second World War, however
he continued to compose
prolifically, in the face
of indifference from the
outside world, right up
until his death at the
age of 91. His music is
predominantly in the
Romantic style, and
serves as atasteful
reminder of a bygone age.
$40.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Scott: String Quartet No.2 (Score) Quatuor à cordes: 2 violons, alto, violoncelle Music Sales
String Quartet SKU: HL.14028275 Composed by Cyril Scott. Music Sales Amer...(+)
String Quartet SKU:
HL.14028275 Composed
by Cyril Scott. Music
Sales America. Classical.
Score. Music Sales
#NOV262530. Published by
Music Sales
(HL.14028275).
Stri
ng Quartet No.2
was written in 1951, and
dedicated to Percy and
Ella Grainger. It is
recognised as one of his
least extravagant
creations, but is
nevertheless a solid work
which is continually
underappreciated. <
em>Cyril Scott
(1879-1970) was a British
composer, pianist and
poet. His most popular
works, which he is
largely remembered by
today, were written in
the years preceding the
Second World War, however
he continued to compose
prolifically, in the face
of indifference from the
outside world, right up
until his death at the
age of 91. His music is
predominantly in the
Romantic style, and
serves as a tasteful
reminder of a bygoneage.
$21.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Arranging Barbershop [Partition + Accès audio] Barbershop Harmony Society
Book with Online Audio and Video Choral SKU: HL.1255398 Volume 2: The ...(+)
Book with Online Audio
and Video Choral SKU:
HL.1255398 Volume
2: The Arranging
Journey. Reference. A
Cappella, Barbershop,
Choral Resources,
Resource, Vocal
Reference. Softcover. 760
pages. Published by
Barbershop Harmony
Society (HL.1255398).
ISBN 9798350100525.
UPC: 196288155836.
8.5x11.0x1.787
inches. Barbershop
singing is often thought
of as a genre of music
when, in fact, it is a
style of arranging. Any
song can be arranged in
the barbershop style,
provided that the
arranger be familiar with
the tenets of this
originally
American--though now
global--art form.
Arranging Barbershop
provides this framework.
It follows in the
footsteps of arranging
legends, both from the
early days of barbershop
and those since the
preservationist movement,
including our modern,
living arrangers. All of
these artists shaped
barbershop to what it is
today: a vibrant, unique
musical experience that
has the capacity to be
compelling both for the
singers and the eager
listeners. This book is
intended to empower
current and future
generations of barbershop
arrangers of all skill
levels, providing them
the tools and knowledge
they need to bring their
creations to life.
Arranging Barbershop is
divided into four
volumes: 1) Getting
Started, 2) The Arranging
Journey, 3) Visions of
Excellence, and 4) Learn
from the Experts. Each
volume is meant to be
standalone but also a
part of the greater
whole: ⢠Vol. 1,
âGetting
Started,â provides
foundational tools and
approaches for the
budding arranger. â¢
Vol. 2, âThe
Arranging Journey,â
seeks to provide guidance
for arrangers at three
levels: beginning,
intermediate, and
advanced. 714 pages! Vol.
3, âVisions of
Excellence,â is a
virtual roundtable with
38 of barbershop's
greatest arrangers.
⢠Vol. 4,
âLearn from the
Experts,â contains
two parts: Arranging in
Action--dozens of hours
of videos, with arrangers
discussing and
deconstructing their
works; Arrangers'
Toolbox-deep dive
chapters on specialized
topics by top arrangers
Filled with case studies,
specific examples (with
audio and video clips)
and lessons learned, each
volume aims to unlock new
skills and expertise for
everyone interested in
arranging barbershop! $79.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Recreations Vol.1. 12 etudes pour debuter les timbales Timbales [Partition] Dhalmann
By Daniel Sauvage. For Timpani. Easy - Intermediate. Method Book. Published by E...(+)
By Daniel Sauvage. For
Timpani. Easy -
Intermediate. Method
Book. Published by
Editions Francois
Dhalmann
$24.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
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