Composed
by Carl August Nielsen.
Music Sales America.
Classical. Vocal Score.
Composed 2007. 72 pages.
Edition Wilhelm Hansen
#WH30703. Published by
Edition Wilhelm Hansen
(HL.14022922).
12.0x16.5x0.475
inches.
English.
Springtime
On Funen Op.42 by Carl
Nielsen for Soprano Solo,
Tenor Solo, Bass Baritone
Solo, SATB and Children's
choirs and Orchestra.
Full Score.
Springtime On Funen
Op.42 by Carl
Nielsen for Soprano Solo,
Tenor Solo, Bass Baritone
Solo, SATB and Children's
choirs and Orchestra.
Full Score.
Mixed Choir [STBar],
Mixed Choir [SATB],
Unison Voices and
Orchestra
SKU:
BT.WH30703
Composed
by Carl August Nielsen.
Classical. Vocal Score.
Composed 2007. 148 pages.
Edition Wilhelm Hansen
#WH30703. Published by
Edition Wilhelm Hansen
(BT.WH30703).
English.
Springt
ime On Funen Op.42 by
Carl Nielsen for Soprano
Solo, Tenor Solo, Bass
Baritone Solo, SATB and
Children's choirs and
Orchestra. Full
Score.
Book/CD Pack Vocal SKU: HL.154003 Composed by Various. Music Minus One. B...(+)
Book/CD Pack Vocal
SKU: HL.154003
Composed by Various.
Music Minus One.
Broadway. Softcover with
CD. 32 pages. Music Minus
One #MMO2145. Published
by Music Minus One
(HL.154003).
ISBN
9781941566459. UPC:
888680098087.
9.0x12.0x0.216
inches.
Men with a
falsetto will shine with
this collection of ten
Broadway songs. In
addition to the book, the
CD provides example
vocals and separate
background tracks in an
actual professional
setting. Songs include:
Younger Than Springtime *
Miracle of Miracles * Oh
What a Beautiful Morning
* It Ain't Necessarily So
* Till Good Luck Comes My
Way * You've Got to Be
Carefully Taught * The
Highest Judge of All *
There's a Boat Dat's
Leavin' Soon for N.Y. *
Shipoopi * Bring Him
Home.
Organ SKU: HL.14015106 Composed by Alfred Hollins. Music Sales America. C...(+)
Organ
SKU:
HL.14015106
Composed
by Alfred Hollins. Music
Sales America. Classical.
Book [Softcover]. 10
pages. Music Sales
#NOV580406. Published by
Music Sales
(HL.14015106).
Electronic Keyboard; Organ; Piano/Keyboard SKU: HL.266435 E-Z Play Tod...(+)
Electronic Keyboard;
Organ; Piano/Keyboard
SKU: HL.266435
E-Z Play Today Volume
16. Composed by
Various. E-Z Play Today.
Broadway. Softcover. 112
pages. Published by Hal
Leonard (HL.266435).
ISBN 9781540022714.
UPC: 888680732929.
9.0x12.0x0.324
inches.
30 songs
from early Broadway
standards to the most
recent blockbusters are
featured in this 3rd
edition: Bali Ha'i *
Cabaret * Dear Theodosia
* Defying Gravity *
Edelweiss * Getting to
Know You * Hair * It
Might As Well Be Spring *
Oh, What a Beautiful
Mornin' * Put on Your
Sunday Clothes * The
Surrey with the Fringe on
Top * Time Warp * Waving
Through a Window *
Younger Than Springtime *
and more.
About Hal
Leonard E-Z Play
Today
For
organs, pianos, and
electronic keyboards. E-Z
Play Today is the
shortest distance between
beginning music and
playing fun. Now there
are more than 300 reasons
why you should play E-Z
Play Today. * World's
largest series of music
folios * Full-size books
- large 9 x 12 format
features easy-to-read,
easy-to-play music *
Accurate arrangements...
simple enough for the
beginner, but accurate
chords and melody lines
are maintained *
Eye-catching, full-color
covers * Lyrics... most
arrangements include
words and music * Most
up-to-date registrations
- books in the series
contain a general
registration guide, as
well as individual song
rhythm suggestions *
Guitar Chord Chart - all
songs in the series can
also be played on
guitar.
Choral (Unison choir) SKU: HL.153580 Composed by Georg Philipp Telemann. ...(+)
Choral (Unison choir)
SKU: HL.153580
Composed by Georg Philipp
Telemann. Arranged by
Eloise Porter. Henry Leck
Creating Artistry.
Concert, Festival,
German. Octavo. 12 pages.
Published by Hal Leonard
(HL.153580).
UPC:
888680096427. 6.75x10.5
inches.
This joyful
da capo aria by Telemann
with violin will showcase
developing vocal skills
for treble singers in
middle school or
community children's
choir. A delightful
introduction to Baroque
style!
Orchestra SKU: HL.14022923 Composed by Carl August Nielsen. Music Sales A...(+)
Orchestra
SKU:
HL.14022923
Composed
by Carl August Nielsen.
Music Sales America.
Classical. Set of Parts.
Composed 2007. 356 pages.
Edition Wilhelm Hansen
#WH30703A. Published by
Edition Wilhelm Hansen
(HL.14022923).
ISBN
9788759814413.
English.
Springtime
On Funen Op.42 by Carl
Nielsen for Soprano Solo,
Tenor Solo, Bass Baritone
Solo, SATB and Children's
choirs and Orchestra.
Orchestral parts.
Guitar SKU: SU.80111303 For Guitar. Composed by Meyer Kupferman. G...(+)
Guitar
SKU:
SU.80111303
For
Guitar. Composed by
Meyer Kupferman. Guitar,
Solo Guitar. Score.
Subito Music Corporation
#80111303. Published by
Subito Music Corporation
(SU.80111303).
Guitar
Duration: 7' Composed:
1984 Published by:
Soundspells Productions
The Widow's Lament in
Springtime (1984) is
a 7 minute fantasy
inspired by the poem by
William Carlos
Williams.
Springtime.
Composed by Ruth Elaine
Schram. Young String
Orchestra. Set of Score
and Parts. With Standard
notation. 8+8+2+5+5+5+2+8
pages. Duration 2
minutes, 16 seconds. Carl
Fischer Music #YAS178.
Published by Carl Fischer
Music (CF.YAS178).
ISBN 9781491151433.
UPC: 680160908936. 9 x 12
inches. Key: D
major.
The title of
this piece,?Le
Printemps,?is French for
the springtime. This
piece brings images of
springtime to the
listener's mind. ?The
rhythmic pattern that
begins in the bass and
works its way up to the
violins illustrates the
patter of raindrops or of
flowers bursting into
bloom. The beautiful
melodies in the piece
engage players and
audiences. The title
Le Printemps is
French for the
springtime. This piece is
meant to bring images of
springtime to the
listeners mind. The
rhythmic pattern that
begins in the bass and
works its way up through
the sections to the
violins could be the
patter of raindrops, or
indicative of flowers
pushing their way up
through the ground and
bursting into bloom. All
the instruments that have
the staccato notes are
the backup; the
instruments who have the
slurred notes are playing
the melody in these
sections and should bring
the melody out a little
bit. The middle section
is a little softer
(mp<
/em>) and more legato,
and could bring to mind a
lovely, warm breeze that
is gently moving across
the new, green grass and
the budding leaves of the
trees. It should be
played with tenderness
and feeling, paying
careful attention to the
crescendo in mm. 2528,
building up to the
mf
em>. In m. 34, make the
most of the poco
rall. as you prepare
to reiterate the staccato
portion that begins again
in m. 35. Again, the
moving parts here with
the slurs have the melody
and should not be
overwhelmed by the
staccato instruments. At
m. 55 should begin to
build slightly into the
crescendo at m. 57 and
really build that up
through beat 3 of m. 58.
At m. 59, be suddenly
very soft to begin the
final ascent into the
climactic ending. Build
steadily through the last
four measures and give a
good solid bowing of your
last note. Enjoy Le
Printemps!. The
title Le
PrintempsA is French
for athe springtime.a
This piece is meant to
bring images of
springtime to the
listeneras mind. A The
rhythmic pattern that
begins in the bass and
works its way up through
the sections to the
violins could be the
patter of raindrops, or
indicative of flowers
pushing their way up
through the ground and
bursting into bloom. All
the instruments that have
the staccato notes are
the backup; the
instruments who have the
slurred notes are playing
the melody in these
sections and should bring
the melody out a little
bit. The middle section
is a little softer
(mp<
/em>) and more legato,
and could bring to mind a
lovely, warm breeze that
is gently moving across
the new, green grass and
the budding leaves of the
trees. It should be
played with tenderness
and feeling, paying
careful attention to the
crescendo in mm. 25a28,
building up to the
mf
em>. In m. 34, make the
most of the poco
rall. as you prepare
to reiterate the staccato
portion that begins again
in m. 35. Again, the
moving parts here with
the slurs have the melody
and should not be
overwhelmed by the
staccato instruments. At
m. 55 should begin to
build slightly into the
crescendo at m. 57 and
really build that up
through beat 3 of m. 58.
At m. 59, be suddenly
very soft to begin the
final ascent into the
climactic ending. Build
steadily through the last
four measures and give a
good solid bowing of your
last note. A Enjoy Le
Printemps!. The
title Le
Printemps is French
for the springtime. This
piece is meant to bring
images of springtime to
the listener's mind. The
rhythmic pattern that
begins in the bass and
works its way up through
the sections to the
violins could be the
patter of raindrops, or
indicative of flowers
pushing their way up
through the ground and
bursting into bloom. All
the instruments that have
the staccato notes are
the backup; the
instruments who have the
slurred notes are playing
the melody in these
sections and should bring
the melody out a little
bit. The middle section
is a little softer
(mp<
/em>) and more legato,
and could bring to mind a
lovely, warm breeze that
is gently moving across
the new, green grass and
the budding leaves of the
trees. It should be
played with tenderness
and feeling, paying
careful attention to the
crescendo in mm. 25-28,
building up to the
mf
em>. In m. 34, make the
most of the poco
rall. as you prepare
to reiterate the staccato
portion that begins again
in m. 35. Again, the
moving parts here with
the slurs have the melody
and should not be
overwhelmed by the
staccato instruments. At
m. 55 should begin to
build slightly into the
crescendo at m. 57 and
really build that up
through beat 3 of m. 58.
At m. 59, be suddenly
very soft to begin the
final ascent into the
climactic ending. Build
steadily through the last
four measures and give a
good solid bowing of your
last note. Enjoy Le
Printemps!. The
title Le Printemps is
French for the
springtime. This piece is
meant to bring images of
springtime to the
listener's mind. The
rhythmic pattern that
begins in the bass and
works its way up through
the sections to the
violins could be the
patter of raindrops, or
indicative of flowers
pushing their way up
through the ground and
bursting into bloom. All
the instruments that have
the staccato notes are
the backup; the
instruments who have the
slurred notes are playing
the melody in these
sections and should bring
the melody out a little
bit. The middle section
is a little softer (mp)
and more legato, and
could bring to mind a
lovely, warm breeze that
is gently moving across
the new, green grass and
the budding leaves of the
trees. It should be
played with tenderness
and feeling, paying
careful attention to the
crescendo in mm. 25-28,
building up to the mf. In
m. 34, make the most of
the poco rall. as you
prepare to reiterate the
staccato portion that
begins again in m. 35.
Again, the moving parts
here with the slurs have
the melody and should not
be overwhelmed by the
staccato instruments. At
m. 55 should begin to
build slightly into the
crescendo at m. 57 and
really build that up
through beat 3 of m. 58.
At m. 59, be suddenly
very soft to begin the
final ascent into the
climactic ending. Build
steadily through the last
four measures and give a
good solid bowing of your
last note. Enjoy Le
Printemps!. The title
Le Printemps is French
for “the
springtime.†This
piece is meant to bring
images of springtime to
the listener’s
mind. Â The rhythmic
pattern that begins in
the bass and works its
way up through the
sections to the violins
could be the patter of
raindrops, or indicative
of flowers pushing their
way up through the ground
and bursting into bloom.
All the instruments that
have the staccato notes
are the backup; the
instruments who have the
slurred notes are playing
the melody in these
sections and should bring
the melody out a little
bit.The middle section is
a little softer (mp) and
more legato, and could
bring to mind a lovely,
warm breeze that is
gently moving across the
new, green grass and the
budding leaves of the
trees. It should be
played with tenderness
and feeling, paying
careful attention to the
crescendo in mm.
25–28, building up
to the mf. In m. 34, make
the most of the poco
rall. as you prepare to
reiterate the staccato
portion that begins again
in m. 35. Again, the
moving parts here with
the slurs have the melody
and should not be
overwhelmed by the
staccato instruments.At
m. 55 should begin to
build slightly into the
crescendo at m. 57 and
really build that up
through beat 3 of m. 58.
At m. 59, be suddenly
very soft to begin the
final ascent into the
climactic ending. Build
steadily through the last
four measures and give a
good solid bowing of your
last note. Â Enjoy Le
Printemps!
Composed by Ruth Elaine
Schram. Young String
Orchestra (YAS). Full
score. With Standard
notation. 8 pages. Carl
Fischer Music #YAS178F.
Published by Carl Fischer
Music (CF.YAS178F).
ISBN 9781491151808.
UPC: 680160909308. 9 x 12
inches.
The title
of this piece,?Le
Printemps,?is French for
the springtime. This
piece brings images of
springtime to the
listener's mind. ?The
rhythmic pattern that
begins in the bass and
works its way up to the
violins illustrates the
patter of raindrops or of
flowers bursting into
bloom. The beautiful
melodies in the piece
engage players and
audiences. The title
Le Printemps is
French for the
springtime. This piece is
meant to bring images of
springtime to the
listeners mind. The
rhythmic pattern that
begins in the bass and
works its way up through
the sections to the
violins could be the
patter of raindrops, or
indicative of flowers
pushing their way up
through the ground and
bursting into bloom. All
the instruments that have
the staccato notes are
the backup; the
instruments who have the
slurred notes are playing
the melody in these
sections and should bring
the melody out a little
bit. The middle section
is a little softer
(mp<
/em>) and more legato,
and could bring to mind a
lovely, warm breeze that
is gently moving across
the new, green grass and
the budding leaves of the
trees. It should be
played with tenderness
and feeling, paying
careful attention to the
crescendo in mm. 2528,
building up to the
mf
em>. In m. 34, make the
most of the poco
rall. as you prepare
to reiterate the staccato
portion that begins again
in m. 35. Again, the
moving parts here with
the slurs have the melody
and should not be
overwhelmed by the
staccato instruments. At
m. 55 should begin to
build slightly into the
crescendo at m. 57 and
really build that up
through beat 3 of m. 58.
At m. 59, be suddenly
very soft to begin the
final ascent into the
climactic ending. Build
steadily through the last
four measures and give a
good solid bowing of your
last note. Enjoy Le
Printemps!. The
title Le
PrintempsA is French
for athe springtime.a
This piece is meant to
bring images of
springtime to the
listeneras mind. A The
rhythmic pattern that
begins in the bass and
works its way up through
the sections to the
violins could be the
patter of raindrops, or
indicative of flowers
pushing their way up
through the ground and
bursting into bloom. All
the instruments that have
the staccato notes are
the backup; the
instruments who have the
slurred notes are playing
the melody in these
sections and should bring
the melody out a little
bit. The middle section
is a little softer
(mp<
/em>) and more legato,
and could bring to mind a
lovely, warm breeze that
is gently moving across
the new, green grass and
the budding leaves of the
trees. It should be
played with tenderness
and feeling, paying
careful attention to the
crescendo in mm. 25a28,
building up to the
mf
em>. In m. 34, make the
most of the poco
rall. as you prepare
to reiterate the staccato
portion that begins again
in m. 35. Again, the
moving parts here with
the slurs have the melody
and should not be
overwhelmed by the
staccato instruments. At
m. 55 should begin to
build slightly into the
crescendo at m. 57 and
really build that up
through beat 3 of m. 58.
At m. 59, be suddenly
very soft to begin the
final ascent into the
climactic ending. Build
steadily through the last
four measures and give a
good solid bowing of your
last note. A Enjoy Le
Printemps!. The
title Le
Printemps is French
for the springtime. This
piece is meant to bring
images of springtime to
the listener's mind. The
rhythmic pattern that
begins in the bass and
works its way up through
the sections to the
violins could be the
patter of raindrops, or
indicative of flowers
pushing their way up
through the ground and
bursting into bloom. All
the instruments that have
the staccato notes are
the backup; the
instruments who have the
slurred notes are playing
the melody in these
sections and should bring
the melody out a little
bit. The middle section
is a little softer
(mp<
/em>) and more legato,
and could bring to mind a
lovely, warm breeze that
is gently moving across
the new, green grass and
the budding leaves of the
trees. It should be
played with tenderness
and feeling, paying
careful attention to the
crescendo in mm. 25-28,
building up to the
mf
em>. In m. 34, make the
most of the poco
rall. as you prepare
to reiterate the staccato
portion that begins again
in m. 35. Again, the
moving parts here with
the slurs have the melody
and should not be
overwhelmed by the
staccato instruments. At
m. 55 should begin to
build slightly into the
crescendo at m. 57 and
really build that up
through beat 3 of m. 58.
At m. 59, be suddenly
very soft to begin the
final ascent into the
climactic ending. Build
steadily through the last
four measures and give a
good solid bowing of your
last note. Enjoy Le
Printemps!. The
title Le Printemps is
French for the
springtime. This piece is
meant to bring images of
springtime to the
listener's mind. The
rhythmic pattern that
begins in the bass and
works its way up through
the sections to the
violins could be the
patter of raindrops, or
indicative of flowers
pushing their way up
through the ground and
bursting into bloom. All
the instruments that have
the staccato notes are
the backup; the
instruments who have the
slurred notes are playing
the melody in these
sections and should bring
the melody out a little
bit. The middle section
is a little softer (mp)
and more legato, and
could bring to mind a
lovely, warm breeze that
is gently moving across
the new, green grass and
the budding leaves of the
trees. It should be
played with tenderness
and feeling, paying
careful attention to the
crescendo in mm. 25-28,
building up to the mf. In
m. 34, make the most of
the poco rall. as you
prepare to reiterate the
staccato portion that
begins again in m. 35.
Again, the moving parts
here with the slurs have
the melody and should not
be overwhelmed by the
staccato instruments. At
m. 55 should begin to
build slightly into the
crescendo at m. 57 and
really build that up
through beat 3 of m. 58.
At m. 59, be suddenly
very soft to begin the
final ascent into the
climactic ending. Build
steadily through the last
four measures and give a
good solid bowing of your
last note. Enjoy Le
Printemps!. The title
Le Printemps is French
for “the
springtime.†This
piece is meant to bring
images of springtime to
the listener’s
mind. Â The rhythmic
pattern that begins in
the bass and works its
way up through the
sections to the violins
could be the patter of
raindrops, or indicative
of flowers pushing their
way up through the ground
and bursting into bloom.
All the instruments that
have the staccato notes
are the backup; the
instruments who have the
slurred notes are playing
the melody in these
sections and should bring
the melody out a little
bit.The middle section is
a little softer (mp) and
more legato, and could
bring to mind a lovely,
warm breeze that is
gently moving across the
new, green grass and the
budding leaves of the
trees. It should be
played with tenderness
and feeling, paying
careful attention to the
crescendo in mm.
25–28, building up
to the mf. In m. 34, make
the most of the poco
rall. as you prepare to
reiterate the staccato
portion that begins again
in m. 35. Again, the
moving parts here with
the slurs have the melody
and should not be
overwhelmed by the
staccato instruments.At
m. 55 should begin to
build slightly into the
crescendo at m. 57 and
really build that up
through beat 3 of m. 58.
At m. 59, be suddenly
very soft to begin the
final ascent into the
climactic ending. Build
steadily through the last
four measures and give a
good solid bowing of your
last note. Â Enjoy Le
Printemps!
American Primitive Guitar Guitare notes et tablatures [Partition + CD] - Intermédiaire Grossman's Guitar Workshop
Taught by John Fahey. For Guitar (Fingerpicking). Solos. Grossman Audio. America...(+)
Taught by John Fahey. For
Guitar (Fingerpicking).
Solos. Grossman Audio.
American. Level:
Intermediate. Book/CD
Set. Size 8.5x11. 56
pages. Published by
Grossman's Guitar
Workshop.
Unison Voices and Piano - Grade 1 SKU: HL.14012906 Composed by Alison Hed...(+)
Unison Voices and Piano -
Grade 1
SKU:
HL.14012906
Composed
by Alison Hedger. Music
Sales America. Musical
Education. Book and CD.
Composed 2015. 32 pages.
Golden Apple Productions
#GA11605. Published by
Golden Apple Productions
(HL.14012906).
ISBN
9781844494828.
9.0x12.0x0.139 inches.
English.
Sixteen
sparkling new musical
items for Easter and
Springtime from some of
today's best-loved
children's composers,
including Sheila Wilson,
Niki Davies, Alison
Hedger and others.This
invaluable resource
provides teachers and
leaders of youth singing
groups with songs and
instrumentals suitable
for all children within
the Primary age range.The
first part of the
compilation follows the
Biblical story and can be
used as a musical
framework for a sacred
Easter presentation. The
second part of the
selection contains more
general Easter and
Springtime songs for use
in class and concerts.
Also includes a class
activity - making a Mini
Easter Egg Box from a
cross!
(John Thompson's Modern Course Compiled and edited by Philip Low, Sonya Schumann...(+)
(John Thompson's Modern
Course Compiled and
edited by Philip Low,
Sonya Schumann and
Charmaine Siagian).
Composed by Various. For
Piano. Willis. Early to
Later Elementary.
Softcover. Published by
Willis Music