| 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 Book - Volume 2: Second Edition Instruments en Do [Partition + Accès audio] Hal Leonard
Online Play-Along Tracks. Composed by Various. Real Book Play-Along. Audio Fil...(+)
Online Play-Along Tracks.
Composed by Various. Real
Book Play-Along. Audio
File.
4 pages. Published by Hal
Leonard
$45.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Real Book - Volume 2 Instruments en Do [Partition + Accès audio] Hal Leonard
Backing Tracks on USB Flash Drive. Composed by Various. Real Book Play-Along. ...(+)
Backing Tracks on USB
Flash
Drive. Composed by
Various.
Real Book Play-Along. USB
Flash Drive. 4 pages.
Published by Hal Leonard
$55.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| 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 | | |
| Seventy-Six Trombones (trombone choir) Quatuor de cuivres: 4 trombones [Conducteur et Parties séparées] Amis Musical Circle
By Meredith Willson (1902-1984). Arranged by Kenneth Amis. Trombone Quartet. For...(+)
By Meredith Willson
(1902-1984). Arranged by
Kenneth Amis. Trombone
Quartet. For 4 part
trombones choir. A short
encore rendition this
famous Broadway tune from
The Music Man.. Broadway,
Classical. Full score and
set of parts. Duration
2:00. Published by Amis
Musical Circle
$20.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| On the Beaten Path Jazz Batterie [Partition + CD] Alfred Publishing
(The Drummer's Guide to the Genre and the Legends Who Defined It). By Rich Lacko...(+)
(The Drummer's Guide to
the Genre and the Legends
Who Defined It). By Rich
Lackowski and John
O'Reilly, Jr.. For
Drumset.
Artist/Personality; Book;
CD; Method/Instruction;
Percussion - Drum Set
Method or Collection. On
the Beaten Path. Jazz.
108 pages. Published by
Alfred Music Publishing
$19.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Children, Go Where I Send Thee Carl Fischer
Choral Percussion, Piano, alto voice, bass Guitar, bass voice, soprano voice, te...(+)
Choral Percussion, Piano,
alto voice, bass Guitar,
bass voice, soprano
voice, tenor voice
SKU: CF.CM9743IN
Composed by Traditional
African-American
Spiritual. Arranged by
Kevin Phillip Johnson.
Set of Score and Parts.
44+32+2 pages. Duration 4
minutes, 5 seconds. Carl
Fischer Music #CM9743IN.
Published by Carl Fischer
Music (CF.CM9743IN).
ISBN 9781491162231.
UPC: 680160920990. Key: E
minor. English. Iyana
Davis. Negro Spiritual
with Rap crafter by Ayana
Davis. This Negro
Spiritual was made
popular by the Golden
Gate Quartet in the
1930s. Willie T. Johnson,
the lead singer of the
group, is the father of
Kevin P. Johnson the
arranger of this version.
The composer, like his
father, uses rhythm in
exciting new ways to
deliver Negro Spirituals
to contemporary
audiences. The text of
this spiritual has been
interpreted in many
different ways over the
years. Here's a popular
interpretation of the
text. One for the little
bitty baby born, born,
born in Bethlehem: This
refers to the infant
Jesus. Two for Paul and
Silas: This verse honors
Paul and Silas who went
on many missionary
journeys to spread the
teachings of Christ.
Three for the Hebrew
children: The three
Hebrew children could be
Shadrach, Meshach and
Abednego. Four for the
four that stood at the
door: Many people
interpret the four to be
the four writers of the
Gospel books - Matthew,
Mark, Luke and John,
though this does not
explain the part about
standing at the door.
Five for the gospel
preachers: The five are
Matthew, Mark, Luke, John
and Peter. Paul is
already mentioned above,
in line two. Six for the
six that never got fixed:
Could this mean the
sinners who never change
their ways? Seven for the
seven that went up to
heaven: The seven in
heaven could be the seven
stars in Ursa Major or
the sevenfold spirit of
God or the seven early
Christian churches or the
seven stars in the right
hand of Christ mentioned
in the Revelation. Eight
for the eight that stood
at the gate: This could
refer to the eight people
who entered Noah's ark
(Noah, his wife, their
three sons and their
wives). Nine for the nine
that dressed so fine:
This could refer to the
nine orders of Angels in
heaven. Ten for the ten
commandments: This refers
to the ten commandments
given to Moses.
Performance notes: Swing
the 8th notes Djembe
drums should be played
freely with flexible
precision The rap can be
optional The ending solo
can be sung down an
octave and can be changed
to match the ability of
the soloist. Do not clap
louder than you sing If
doing choral movement on
the piece, pay attention
to detail synchronizing
movements as much as
possible. While the rap
is words in rhythm, if
adding one is not
possible for your
performance, consider a
spoken word of your own
choosing Have
fun!. This Negro
Spiritual was made
popular by the Golden
Gate Quartet in the
1930s. Willie T. Johnson,
the lead singer of the
group, is the father of
Kevin P. Johnson the
arranger of this
version. The
composer, like his
father, uses rhythm in
exciting new ways to
deliver Negro Spirituals
to contemporary
audiences.The text of
this spiritual has been
interpreted in many
different ways over the
 years. Here's a
popular interpretation of
the text. One for the
little bitty baby born,
born, born in
Bethlehem:Â This refers
to the infant Jesus. Two
for Paul and
Silas:Â This verse
honors Paul and Silas who
went on many missionary
journeys to spread the
teachings of Christ.Â
Three for the Hebrew
children: The three
Hebrew children could be
Shadrach, Meshach and
Abednego. Four for
the four that stood at
the door:Â Many people
interpret the four
to be the four writers
of the Gospel books
– Matthew, Mark,
Luke and John, though
this does not explain the
part about standing at
the door. Five for the
gospel preachers: The
five are Matthew, Mark,
Luke, John and Peter.
Paul is already mentioned
above, in line two. Six
for the six that never
got fixed: Could this
mean the sinners who
never change their
ways? Seven for the
seven that went up to
heaven: The seven in
heaven could be
the seven stars in
Ursa
Major or the sev
enfold
spirit of God or
 the seven early
 Christian churches
 or the sevenÂ
stars in the
right hand of Ch
rist mentioned inÂ
the Revelation.
Eight for the eight that
stood at the gate: This
could refer to the eight
people who entered
Noah’s ark (Noah,
his wife, their three
sons and their wives).
Nine for the nine that
dressed so fine: This
could refer to the nine
orders of Angels in
heaven. Ten for the
ten commandments: This
refers to the ten
commandments given to
Moses.Performance notes:
Swing the 8th notes
Djembe drums should be
played freely with
flexible precision The
rap can be optional The
ending solo can be sung
down an octave and can be
changed to match the
ability of the soloist.
Do not clap louder than
you sing If doing choral
movement on the piece,
pay attention to detail
synchronizing movements
as much as possible.
While the rap is words in
rhythm, if adding one is
not possible for your
performance, consider a
spoken word of your own
choosing Have fun! $50.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Children, Go Where I Send Thee Carl Fischer
Choral SATB Choir, Bass Guitar, Percussion, Piano SKU: CF.CM9743 Composed...(+)
Choral SATB Choir, Bass
Guitar, Percussion, Piano
SKU: CF.CM9743
Composed by Traditional
African-American
Spiritual. Arranged by
Kevin Phillip Johnson. 20
pages. Duration 4
minutes, 5 seconds. Carl
Fischer Music #CM9743.
Published by Carl Fischer
Music (CF.CM9743).
ISBN 9781491161562.
UPC: 680160920211. Key: E
minor. English. Iyana
Davis. Negro Spiritual
with Rap crafter by Ayana
Davis. This Negro
Spiritual was made
popular by the Golden
Gate Quartet in the
1930s. Willie T. Johnson,
the lead singer of the
group, is the father of
Kevin P. Johnson the
arranger of this version.
The composer, like his
father, uses rhythm in
exciting new ways to
deliver Negro Spirituals
to contemporary
audiences. The text of
this spiritual has been
interpreted in many
different ways over the
years. Here's a popular
interpretation of the
text. One for the little
bitty baby born, born,
born in Bethlehem: This
refers to the infant
Jesus. Two for Paul and
Silas: This verse honors
Paul and Silas who went
on many missionary
journeys to spread the
teachings of Christ.
Three for the Hebrew
children: The three
Hebrew children could be
Shadrach, Meshach and
Abednego. Four for the
four that stood at the
door: Many people
interpret the four to be
the four writers of the
Gospel books - Matthew,
Mark, Luke and John,
though this does not
explain the part about
standing at the door.
Five for the gospel
preachers: The five are
Matthew, Mark, Luke, John
and Peter. Paul is
already mentioned above,
in line two. Six for the
six that never got fixed:
Could this mean the
sinners who never change
their ways? Seven for the
seven that went up to
heaven: The seven in
heaven could be the seven
stars in Ursa Major or
the sevenfold spirit of
God or the seven early
Christian churches or the
seven stars in the right
hand of Christ mentioned
in the Revelation. Eight
for the eight that stood
at the gate: This could
refer to the eight people
who entered Noah's ark
(Noah, his wife, their
three sons and their
wives). Nine for the nine
that dressed so fine:
This could refer to the
nine orders of Angels in
heaven. Ten for the ten
commandments: This refers
to the ten commandments
given to Moses.
Performance notes: Swing
the 8th notes Djembe
drums should be played
freely with flexible
precision The rap can be
optional The ending solo
can be sung down an
octave and can be changed
to match the ability of
the soloist. Do not clap
louder than you sing If
doing choral movement on
the piece, pay attention
to detail synchronizing
movements as much as
possible. While the rap
is words in rhythm, if
adding one is not
possible for your
performance, consider a
spoken word of your own
choosing Have
fun!. This Negro
Spiritual was made
popular by the Golden
Gate Quartet in the
1930s. Willie T. Johnson,
the lead singer of the
group, is the father of
Kevin P. Johnson the
arranger of this
version. The
composer, like his
father, uses rhythm in
exciting new ways to
deliver Negro Spirituals
to contemporary
audiences.The text of
this spiritual has been
interpreted in many
different ways over the
 years. Here's a
popular interpretation of
the text. One for the
little bitty baby born,
born, born in
Bethlehem:Â This refers
to the infant Jesus. Two
for Paul and
Silas:Â This verse
honors Paul and Silas who
went on many missionary
journeys to spread the
teachings of Christ.Â
Three for the Hebrew
children: The three
Hebrew children could be
Shadrach, Meshach and
Abednego. Four for
the four that stood at
the door:Â Many people
interpret the four
to be the four writers
of the Gospel books
– Matthew, Mark,
Luke and John, though
this does not explain the
part about standing at
the door. Five for the
gospel preachers: The
five are Matthew, Mark,
Luke, John and Peter.
Paul is already mentioned
above, in line two. Six
for the six that never
got fixed: Could this
mean the sinners who
never change their
ways? Seven for the
seven that went up to
heaven: The seven in
heaven could be
the seven stars in
Ursa
Major or the sev
enfold
spirit of God or
 the seven early
 Christian churches
 or the sevenÂ
stars in the
right hand of Ch
rist mentioned inÂ
the Revelation.
Eight for the eight that
stood at the gate: This
could refer to the eight
people who entered
Noah’s ark (Noah,
his wife, their three
sons and their wives).
Nine for the nine that
dressed so fine: This
could refer to the nine
orders of Angels in
heaven. Ten for the
ten commandments: This
refers to the ten
commandments given to
Moses.Performance notes:
Swing the 8th notes
Djembe drums should be
played freely with
flexible precision The
rap can be optional The
ending solo can be sung
down an octave and can be
changed to match the
ability of the soloist.
Do not clap louder than
you sing If doing choral
movement on the piece,
pay attention to detail
synchronizing movements
as much as possible.
While the rap is words in
rhythm, if adding one is
not possible for your
performance, consider a
spoken word of your own
choosing Have fun! $3.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Children, Go Where I Send Thee Carl Fischer
Choral Bass Guitar, Percussion, Piano, alto voice, soprano 1, soprano 2 SKU: ...(+)
Choral Bass Guitar,
Percussion, Piano, alto
voice, soprano 1, soprano
2 SKU: CF.CM9742
Composed by Traditional
African American
Spiritual. Arranged by
Kevin Phillip Johnson. 16
pages. Duration 4
minutes, 5 seconds. Carl
Fischer Music #CM9742.
Published by Carl Fischer
Music (CF.CM9742).
ISBN 9781491161555.
UPC: 680160920204. Key: E
minor. English. Iyana
Davis. This Negro
Spiritual was made
popular by the Golden
Gate Quartet in the
1930s. Willie T. Johnson,
the lead singer of the
group, is the father of
Kevin P. Johnson the
arranger of this version.
The composer, like his
father, uses rhythm in
exciting new ways to
deliver Negro Spirituals
to contemporary
audiences. The text of
this spiritual has been
interpreted in many
different ways over the
years. Here's a popular
interpretation of the
text. One for the little
bitty baby born, born,
born in Bethlehem: This
refers to the infant
Jesus. Two for Paul and
Silas: This verse honors
Paul and Silas who went
on many missionary
journeys to spread the
teachings of Christ.
Three for the Hebrew
children: The three
Hebrew children could be
Shadrach, Meshach and
Abednego. Four for the
four that stood at the
door: Many people
interpret the four to be
the four writers of the
Gospel books - Matthew,
Mark, Luke and John,
though this does not
explain the part about
standing at the door.
Five for the gospel
preachers: The five are
Matthew, Mark, Luke, John
and Peter. Paul is
already mentioned above,
in line two. Six for the
six that never got fixed:
Could this mean the
sinners who never change
their ways? Seven for the
seven that went up to
heaven: The seven in
heaven could be the seven
stars in Ursa Major or
the sevenfold spirit of
God or the seven early
Christian churches or the
seven stars in the right
hand of Christ mentioned
in the Revelation. Eight
for the eight that stood
at the gate: This could
refer to the eight people
who entered Noah's ark
(Noah, his wife, their
three sons and their
wives). Nine for the nine
that dressed so fine:
This could refer to the
nine orders of Angels in
heaven. Ten for the ten
commandments: This refers
to the ten commandments
given to Moses.
Performance notes: Swing
the 8th notes Djembe
drums should be played
freely with flexible
precision The rap can be
optional The ending solo
can be sung down an
octave and can be changed
to match the ability of
the soloist. Do not clap
louder than you sing If
doing choral movement on
the piece, pay attention
to detail synchronizing
movements as much as
possible. While the rap
is words in rhythm, if
adding one is not
possible for your
performance, consider a
spoken word of your own
choosing Have
fun!. This Negro
Spiritual was made
popular by the Golden
Gate Quartet in the
1930s. Willie T. Johnson,
the lead singer of the
group, is the father of
Kevin P. Johnson the
arranger of this
version. The
composer, like his
father, uses rhythm in
exciting new ways to
deliver Negro Spirituals
to contemporary
audiences.The text of
this spiritual has been
interpreted in many
different ways over the
 years. Here's a
popular interpretation of
the text. One for the
little bitty baby born,
born, born in
Bethlehem:Â This refers
to the infant Jesus. Two
for Paul and
Silas:Â This verse
honors Paul and Silas who
went on many missionary
journeys to spread the
teachings of Christ.Â
Three for the Hebrew
children: The three
Hebrew children could be
Shadrach, Meshach and
Abednego. Four for
the four that stood at
the door:Â Many people
interpret the four
to be the four writers
of the Gospel books
– Matthew, Mark,
Luke and John, though
this does not explain the
part about standing at
the door. Five for the
gospel preachers: The
five are Matthew, Mark,
Luke, John and Peter.
Paul is already mentioned
above, in line two. Six
for the six that never
got fixed: Could this
mean the sinners who
never change their
ways? Seven for the
seven that went up to
heaven: The seven in
heaven could be
the seven stars in
Ursa
Major or the sev
enfold
spirit of God or
 the seven early
 Christian churches
 or the sevenÂ
stars in the
right hand of Ch
rist mentioned inÂ
the Revelation.
Eight for the eight that
stood at the gate: This
could refer to the eight
people who entered
Noah’s ark (Noah,
his wife, their three
sons and their wives).
Nine for the nine that
dressed so fine: This
could refer to the nine
orders of Angels in
heaven. Ten for the
ten commandments: This
refers to the ten
commandments given to
Moses.Performance notes:
Swing the 8th notes
Djembe drums should be
played freely with
flexible precision The
rap can be optional The
ending solo can be sung
down an octave and can be
changed to match the
ability of the soloist.
Do not clap louder than
you sing If doing choral
movement on the piece,
pay attention to detail
synchronizing movements
as much as possible.
While the rap is words in
rhythm, if adding one is
not possible for your
performance, consider a
spoken word of your own
choosing Have fun! $2.75 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Playing the Recorder: Folk Songs of Many Nations (an instructional method for all types of recorder) Flûte à Bec [Partition + CD] Music Minus One
For Recorder (soprano). Includes a high-quality printed music score and a compac...(+)
For Recorder (soprano).
Includes a high-quality
printed music score and a
compact disc containing
the accompaniments for
each piece. Published by
Music Minus One.
(1)$14.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Real Book - Selections from Volume 1 Instruments en Do [Partition + Accès audio] Hal Leonard
Play-Along Audio Tracks. Composed by Various. Real Book Play-Along. Audio File...(+)
Play-Along Audio Tracks.
Composed by Various. Real
Book Play-Along. Audio
File.
4 pages. Published by Hal
Leonard
$49.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Downshifting Theodore Presser Co.
Band Bass Clarinet, Clarinet 1, Clarinet 2, Clarinet 3, Contrabass Clarinet, Eup...(+)
Band Bass Clarinet,
Clarinet 1, Clarinet 2,
Clarinet 3, Contrabass
Clarinet, Euphonium,
Flute 1, Flute 2, Horn 1,
Horn 2, Horn 3, Horn 4,
Oboe 1, Oboe 2,
Percussion 1, Percussion
2, Percussion 3,
Percussion 4, Percussion
5, Piccolo, String Bass
and more. SKU:
PR.165000970 For
Band. Composed by Dan
Welcher. Folder.
Premiered by the
University of Texas
Symphony Band, Scott S.
Hanna, conductor, at
Butler School of Music,
UT/Austin, Austin, Texas.
Contemporary. Set of
Score and Parts. With
Standard notation.
Composed 14-Sep. 40
pages. Duration 7
minutes. Theodore Presser
Company #165-00097.
Published by Theodore
Presser Company
(PR.165000970). ISBN
9781491100462. UPC:
680160626717. 9x12
inches. Commissione
d by a consortium of 20
high school and
university bands
coordinated by Scott
Hanna of the University
of Texas at Austin,
Downshifting is inspired
by Welcher’s joy
of bicycle riding.
Welcher explains in the
program note: When I
decided to write a piece
for band that was
basically entertaining
and uplifting, it made
perfect sense to call it
Downshifting... With
three gears on the front
sprocket and seven on the
rear, it’s
possible to keep
one’s legs going
at a constant speed (for
me, q = 126) while the
bike itself may be moving
very slowly or very
quickly. I determined to
capitalize on this in
writing Downshifting,
which keeps the same
mathematical inner pulse,
‘shifting’
(with a ratchet) as the
terrain changes.. One
of the joys of life for
me is riding my 21-speed
bicycle. As a
basically non-athletic
person who nonetheless
likes to stay in shape, I
have found that riding my
bike provides just the
exercise I need. The
workout is strenuous, but
pleasant—and the
infinite variety of
scenery I pass keeps me
alert and wide awake.Â
When I decided to write a
piece for band that was
basically entertaining
and uplifting, it made
perfect sense to call it
Downshifting.With three
gears on the front
sprocket and seven on the
rear, it’s
possible to keep ones
legs going at a constant
speed (for me,
that’s 126 to the
quarter note) while the
bike itself may be moving
very slowly or very
quickly. I determined
to capitalize on this in
writing the music, which
manages to keep the same
mathematical inner pulse,
“shiftingâ€
(with a ratchet) as the
terrain changes. So
Downshifting begins with
that steady pulse, on a
grid of eighth notes in
2/4 to propel the little
vehicle forward.Â
There’s a joyous
little tune in our heads
as we begin our ride.Â
As the initial thrill of
riding on the flat gives
way to monotony, we stay
in that pulse for the
first minute or so of the
ride. Then, as the
first hill becomes
visible, we shift the
bike down: even though
the eighths are equal,
the pulse feels slower
(and we’re now in
6/8 time). Ultimately
the compound meter shifts
again as the climb
begins, and we’re
now plodding doggedly up
the hill. (The music
reflects all of these
changes, with subtitles
such as “Working
harder—Seeing the
climb, aheadâ€,
“Steady and
committed…the climb
begins!â€,
“Straining against
the gradeâ€,
etc.).There are two
hills, and two long
climbs (but in different
keys, reflecting the
change in scenery).Â
When at last the summit
of the second hill is
reached (“Flying,
Over the Topâ€), we
coast at last down the
other side at breakneck
speed. The initial
joyous melody returns,
but now in a spread-out
coasting pulse. At
the end of the ride, we
slow to a
stop—then take one
last sprint (shifting
five times in the
process) in order to end
on a biker’s
high.Downshifting was
commissioned by a
consortium of fourteen
high school and college
bands, overseen by my
longtime colleague at the
University of Texas,
Scott Hanna. The
piece is dedicated to him
(and to all bicycle
enthusiasts). $175.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Mel Bay Modern Guitar Method - Grade 4 Guitare - Intermédiaire Mel Bay
Guitar - Intermediate SKU: MB.93203 Saddle-stitched, Classical, Jazz, Con...(+)
Guitar - Intermediate
SKU: MB.93203
Saddle-stitched,
Classical, Jazz,
Contemporary, Rock,
Method, Christian. Modern
Guitar Method. Learn To
Play. Instructional book.
With instructional text,
standard guitar notation,
chord names and
fingerings. 48 pages. Mel
Bay Publications, Inc
#93203. Published by Mel
Bay Publications, Inc
(MB.93203). ISBN
9780871663634. UPC:
796279000222. 8.75x11.75
inches. Now clearly
at the intermediate
level, Grade 4 begins by
introducing the E major
scale in three octaves
plus the principal chords
in E major. The C#
harmonic and melodic
minor scales are
introduced followed by a
wealth of carefully
arranged solo and duet
study material in various
keys in the fourth,
fifth, seventh, and ninth
position. Three basic
shapes for major and
minor chords are reviewed
through chord studies in
various keys through the
seventh position. Theory
lessons address
identification of
intervals, the dominant
seventh chord, and
modulation. Written in
standard notation
only. $14.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Ein Spanier fur Elise ( CD) 1 Piano, 4 mains [Partition + CD] Breitkopf & Härtel
By Michael Proksch. For Piano, 4-hands. This edition: Piano, 4-hands. Edition Br...(+)
By Michael Proksch. For
Piano, 4-hands. This
edition: Piano, 4-hands.
Edition Breitkopf.
Attached. 48 pages.
Published by Breitkopf
and Haertel (German
import).
$31.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| The 1950s Paroles Seulement [Partition] Hal Leonard
Paperback Lyrics. By Various. Paperback Lyrics. Softcover. Size 4.25x6.75 inches...(+)
Paperback Lyrics. By
Various. Paperback
Lyrics. Softcover. Size
4.25x6.75 inches. 256
pages. Published by Hal
Leonard.
$7.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Contemporary Fiddle Tunes from the Northeast of Ireland - Intermédiaire Mel Bay
Fiddle - Beginning - Intermediate SKU: MB.30670 Composed by Rowan Leslie....(+)
Fiddle - Beginning -
Intermediate SKU:
MB.30670 Composed by
Rowan Leslie. Perfect
binding. Celtic / Irish.
Book. 156 pages. Mel Bay
Publications, Inc #30670.
Published by Mel Bay
Publications, Inc
(MB.30670). ISBN
9781513465296. 8.75 x
11.75 inches. This
unique collection
celebrates the
contemporary fiddle music
of northeast Ireland,
much of it for the first
time in print. Not
surprisingly, given its
location and long history
of traditional music, the
fiddle music of this
region shares some
characteristics with
Scottish music, yet it
has its own distinct
style. For those who are
not familiar with this
ruggedly attractive part
of Ireland, this book
will introduce you to
some of its music and
musicians. The tunes
presented here, collected
by County Antrim fiddler,
Rowan Leslie, have all
been written relatively
recently by local
musicians. Each tune is
offered in two
versions?one with the
barebones melody and
suggested accompaniment
chords, and a second with
ornamentation,
articulation and bowing
details. All tune types
from northeast Ireland
are represented,
including jigs and reels,
polkas and hornpipes,
marches, barn dances and
waltzes, plus set dances
and slow airs. Moreover,
the biographical sketches
and backstories provided
for each composer and
tune demonstrate how the
land itself, along with
personal experiences and
relationships, influence
the fiddle music of
northeast Ireland. $22.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Bassist's Fake Book Basse electrique Hal Leonard
250 Songs. By Various. Bass. Blues, Pop, Rock. Softcover. 500 pages. Published...(+)
250 Songs. By Various.
Bass.
Blues, Pop, Rock.
Softcover.
500 pages. Published by
Hal
Leonard
$49.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The All-Jazz Real Book - C Edition Instruments en Do [Fake Book] Sher Music Company
By Various. Jazz. Fake Book. 550 pages. Published by Sher Music Company. CD Incl...(+)
By Various. Jazz. Fake
Book. 550 pages.
Published by Sher Music
Company. CD Included with
the book contains 37
melodies played by the
following artists:
Bob Sheppard - saxes and
flute
Steve Houghton - drums
Dave Carpenter - acoustic
bass
Paul van Wageningen -
drums
Marc van Wageningen -
electric bass
Larry Dunlap - piano and
synthesizer
Dave Mac Nab - guitar.
(3)$44.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| 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 | | |
| Piano Lessons, Level 4 Piano seul [Partition] - Facile Kjos Music Company
By James Bastien. For piano. Bastien Piano. Bastien Piano Library. Level: Level ...(+)
By James Bastien. For
piano. Bastien Piano.
Bastien Piano Library.
Level: Level 4. Music
Book. Published by Neil
A. Kjos Music Company.
$6.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| 24 Varied Scales And Exercises For Clarinet
Clarinette Carl Fischer
In All Major and Minor Keys. Composed by J. B. Albert. Edited by Julie DeRoche...(+)
In All Major and Minor
Keys.
Composed by J. B. Albert.
Edited by Julie DeRoche.
Book.
With Standard notation.
32
pages. Carl Fischer Music
#O99X. Published by Carl
Fischer Music
$12.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Drummer's Guide to Odd Time Signatures Batterie [Partition + CD] Alfred Publishing
(Master the Art of Playing in Odd Time Signatures). By Rick Landwer. For Drum. P...(+)
(Master the Art of
Playing in Odd Time
Signatures). By Rick
Landwer. For Drum.
Percussion -
Miscellaneous Educational
Books and Manuals.
Drummer's Guide. Book and
CD. 96 pages. Published
by Alfred Music
Publishing
$20.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Adonai Malach Theodore Presser Co.
Chamber Music Clarinet, Horn, Oboe, Piccolo, Voice SKU: PR.111402780 P...(+)
Chamber Music Clarinet,
Horn, Oboe, Piccolo,
Voice SKU:
PR.111402780 Psalm
93. Composed by
Shulamit Ran. Set of
Score and Parts. With
Standard notation.
16+4+4+4+4 pages.
Duration 5 minutes.
Theodore Presser Company
#111-40278. Published by
Theodore Presser Company
(PR.111402780). 9 x 12
inches. Text: Biblical
Text. Adonai
Malach (Psalm 93) was
commissioned by
Congregation Emanu-El
B'ne Jeshurun in
Milwaukee, as part of a
1985 conference of
composers and cantors,
where each composer was
paired with a cantor and
assigned a text from the
Jewish liturgy. The
challenge I set for
myself was to make this
short piece melodically
appropriate for Cantor
Abraham Lubin's beautiful
cantorial style, while,
at the same time, at
least hinting at a
harmonic style more
inclusive than that what
is generally heard in a
Shabbat Service setting.
As I found out, there is
a Jewish mode
specifically associated
with Adonai Malach, and
bearing its name, the
intervallic properties
which are quite
intriguing: taking a
major scale as a point of
reference, this mode as a
major third for third
scale degree, but minor
third at the tenth, a
minor seventh at the
seventh scale degree, but
a half-step leading tone.
The vocal and horn parts
of my piece,
complementing one
another, loosely conform
to this pitch arrangement
through much of the
piece. The woodwind trio
(piccolo, oboe and
clarinet) treated for the
most part in block
fashion, offer a
counter-part of a
considerably more
dissonant, one might say
pungent, style.
Throughout I have
attempted to preserve the
exultant quality of the
text. Adonai Malach is a
small offering to my
beloved father, to whom
it is
dedicated.. $31.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Mikrokosmos for piano Volume 5-6, BB 105 Piano seul EMB (Editio Musica Budapest)
Piano SKU: BT.EMBZ20085 Urtext (1932-1939). Composed by Bela Barto...(+)
Piano SKU:
BT.EMBZ20085
Urtext
(1932-1939). Composed
by Bela Bartok. Arranged
by Yusuke Nakahara. EMB
Music of Bela Bartok.
Educational Tool. Book
Only. Composed 2021. 116
pages. Editio Musica
Budapest #EMBZ20085.
Published by Editio
Musica Budapest
(BT.EMBZ20085).
English-Hungarian.
Bartók's
Mikrokosmos has been one
of the milestones in
pedagogical piano
repertoire for 80 years -
and yet it is also far
more than a classical
piano primer. These 153
piano pieces, organized
in ascending order of
difficulty, engage not
only with technical
aspects of piano playing
but also with the
fundamentals of
composition - from
Imitation and Inversion,
Ostinato, and Free
Variations, concerning
compositional technique,
to mood pieces and pieces
with programmatic ideas
such as Notturno,
Boating, From the Diary
of a Fly, or the famous
Six Dances in Bulgarian
Rhythm. Mikrokosmos first
appeared in 1940 in six
volumes. Based on volume
40 of the Bartók
CompleteEdition published
in 2020(Z. 15040), the
present Urtext edition
offers the series
gathered in three
volumes. This edition
includes Bartók's
preface, exercises, and
notes written for the
first edition.
Furthermore, it also
features a preface and
comments by the editor,
which not only discuss
the genesis and the
compositional sources but
also provide performers,
teachers and pupils
alike, with authentic and
detailed information
about Bartók's
notation and the specific
performing problems of
Mikrokosmos. $28.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Leopold Godowsky: Miniatures, Volume II: Ancient and Modern Dances 1 Piano, 4 mains [Partition + CD] Alfred Publishing
By Leopold Godowsky. Edited by and perf. Joseph Banowetz and Alton Chung Ming Ch...(+)
By Leopold Godowsky.
Edited by and perf.
Joseph Banowetz and Alton
Chung Ming Chan. For
Piano. Piano Duet (One
Piano, Four Hands). The
Performing Artist Series.
Masterwork. Book and CD.
104 pages. Published by
Alfred Publishing.
$12.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Lyric Library: Early Rock 'N' Roll Paroles Seulement Hal Leonard
Complete Lyrics for 200 Songs. Performed by Various. Lyric Library. Size 6x9 inc...(+)
Complete Lyrics for 200
Songs. Performed by
Various. Lyric Library.
Size 6x9 inches. 224
pages. Published by Hal
Leonard.
$14.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
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