| ZZ Top : Sharp Dressed Man Fanfare [Conducteur et Parties séparées] - Intermédiaire Hal Leonard
By ZZ Top. By Billy F Gibbons, Dusty Hill, and Frank Lee Beard. Arranged by Paul...(+)
By ZZ Top. By Billy F
Gibbons, Dusty Hill, and
Frank Lee Beard. Arranged
by Paul Murtha. For
Marching Band (Score and
Parts). Contemporary
Marching Band. Grade 3.
Published by Hal Leonard
$65.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Sharp Dressed Man Ensemble Jazz [Conducteur et Parties séparées] - Intermédiaire Hal Leonard
By ZZ Top. By Billy F. Gibbons, Dusty Hill, and Frank Lee Beard. Arranged by Rog...(+)
By ZZ Top. By Billy F.
Gibbons, Dusty Hill, and
Frank Lee Beard. Arranged
by Roger Holmes. Score
and Parts. Young Jazz
(Jazz Ensemble). Grade 3.
Published by Hal Leonard
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| 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
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| The Riffology Music Sales
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| Guitar Tab White Pages Volume 3 Guitare notes et tablatures [Partition] - Intermédiaire Hal Leonard
Performed by Various. Guitar Recorded Versions (Authentic note-for-note transcri...(+)
Performed by Various.
Guitar Recorded Versions
(Authentic note-for-note
transcriptions). With
notes and tablature.
Published by Hal Leonard.
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| Stadium Jams - Vol. 2 Fanfare [Conducteur et Parties séparées] - Intermédiaire Hal Leonard
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| Guitar World's 100 Greatest Guitar Solos of All Time Guitare notes et tablatures Hal Leonard
By Various. For Guitar. Guitar Collection. Softcover. Guitar tablature. 256 page...(+)
By Various. For Guitar.
Guitar Collection.
Softcover. Guitar
tablature. 256 pages.
Published by Hal Leonard
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| Simple Songs (The Easiest Easy Drum Songbook Ever) Batterie - Facile Hal Leonard
The Easiest Easy Drum Songbook Ever. Composed by Various. Drum Book. Pop, Sta...(+)
The Easiest Easy Drum
Songbook Ever. Composed
by
Various. Drum Book. Pop,
Standards. Softcover. 190
pages. Published by Hal
Leonard
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| The Little Black Book Of 5-chord Songs Music Sales
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| ZZ Top: ZZ Top Guitar Anthology
Guitare notes et tablatures [Partition] - Intermédiaire Hal Leonard
Performed by ZZ Top. For guitar and voice. Format: guitar tablature songbook. Wi...(+)
Performed by ZZ Top. For
guitar and voice. Format:
guitar tablature
songbook. With guitar
tablature, standard
notation, vocal melody,
lyrics, chord names,
guitar chord diagrams and
guitar notation legend.
Blues rock and rock.
Series: Hal Leonard
Guitar Recorded Versions.
207 pages. 9x12 inches.
Published by Hal Leonard.
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| The Best of ZZ Top Guitare notes et tablatures [Partition + CD] Hal Leonard
Performed by ZZ Top, written by Dave Rubin. Instructional book and examples CD f...(+)
Performed by ZZ Top,
written by Dave Rubin.
Instructional book and
examples CD for guitar
and voice. With vocal
melody, lyrics, standard
guitar notation, guitar
tablature, chord names,
guitar chord diagrams,
guitar notation legend,
introductory text and
instructional text.
Series: Hal Leonard
Signature Licks
(Authentic guitar
transcriptions in notes
and tab). 71 pages.
Published by Hal Leonard.
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| 1980s Rock Guitare notes et tablatures [Partition] Hal Leonard
(Easy Guitar with Notes and Tab). By Various. Easy Guitar. Softcover. Guitar tab...(+)
(Easy Guitar with Notes
and Tab). By Various.
Easy Guitar. Softcover.
Guitar tablature. 146
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| The Very Best of ZZ Top Piano, Voix et Guitare [Partition] - Intermédiaire Hal Leonard
Performed by ZZ Top. Piano/Vocal/Chords Songbook (Arrangements for piano and voi...(+)
Performed by ZZ Top.
Piano/Vocal/Chords
Songbook (Arrangements
for piano and voice with
guitar chords). Size 9x12
inches. 88 pages.
Published by Hal Leonard
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| ZZ Top (Guitar Play-Along DVD Volume 38) Guitare notes et tablatures [DVD] Hal Leonard
(Guitar Play-Along DVD Volume 38). By ZZ Top. Guitar Play- Along DVD. DVD. Gu...(+)
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Volume
38). By ZZ Top. Guitar
Play-
Along DVD. DVD. Guitar
tablature. Published by
Hal
Leonard
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| ZZ Top (Guitar Play-Along Volume 99) Guitare notes et tablatures [Partition + Accès audio] Hal Leonard
Guitar Play-Along Volume 99. By ZZ Top. Guitar Play-Along. Rock. Softcover Audio...(+)
Guitar Play-Along Volume
99. By ZZ Top. Guitar
Play-Along. Rock.
Softcover Audio Online.
With guitar tablature. 64
pages. Published by Hal
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| Guitar Apprentice - Rock Roots Guitare [DVD] Hal Leonard
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| Easy Rock Songs (Drum Play-Along Volume 42) Batterie [Partition + Accès audio] Hal Leonard
Drum Play-Along Volume 42. By Various. Drum Play-Along. Softcover Audio Online...(+)
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Various. Drum Play-Along.
Softcover Audio Online.
48
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| ZZ Top Guitar Pack Guitare notes et tablatures [Partition + DVD] Hal Leonard
(Includes ZZ Top Guitar Anthology Book and ZZ Top Guitar Play-Along DVD). By...(+)
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Guitar Play-Along DVD).
By
ZZ Top. For Guitar.
Guitar
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Softcover
with DVD. Guitar
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208 pages. Published by
Hal
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| Easy Guitar Big Book Guitare notes et tablatures [Partition] - Facile Warner Brothers
Edited by Aaron Stang. Fretted instrument mixed folio (easy guitar). Includes no...(+)
Edited by Aaron Stang.
Fretted instrument mixed
folio (easy guitar).
Includes notes and tab.
276 pages. Published by
Warner Brothers.
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| String Quartet No. 3 Quatuor à cordes: 2 violons, alto, violoncelle [Conducteur] Theodore Presser Co.
String quartet String Quartet SKU: PR.16400272S Cassatt. Composed ...(+)
String quartet String
Quartet SKU:
PR.16400272S
Cassatt. Composed
by Dan Welcher. Premiere:
Cassatt Quartet,
Northeastern Illinois
University, Chicago, IL.
Contemporary. Full score.
With Standard notation.
Composed 2007. WRT11142.
52 pages. Duration 24
minutes. Theodore Presser
Company #164-00272S.
Published by Theodore
Presser Company
(PR.16400272S). UPC:
680160588442. 8.5 x 11
inches. My third
quartet is laid out in a
three-movement structure,
with each movement based
on an early, middle, and
late work of the great
American impressionist
painter Mary Cassatt.
Although the movements
are separate, with
full-stop endings, the
music is connected by a
common scale-form,
derived from the name
MARY CASSATT, and by a
recurring theme that
introduces all three
movements. I see this
theme as Mary's Theme, a
personality that stays
intact while undergoing
gradual change. I
The Bacchante (1876)
[Pennsylvania Academy of
Fine Arts, Philadelphia,
Pennsylvania] The
painting shows a young
girl of Italian or
Spanish origin, playing a
small pair of cymbals.
Since Cassatt was trying
very hard to fit in at
the French Academy at the
time, she painted a lot
of these subjects, which
were considered typical
and universal. The style
of the painting doesn't
yet show Cassatt's
originality, except
perhaps for certain
details in the face.
Accordingly the music for
this movement is
Spanish/Italian, in a
similar period-style but
using the musical
signature described
above. The music begins
with Mary's Theme,
ruminative and slow, then
abruptly changes to an
alla Spagnola-type fast
3/4 - 6/8 meter. It
evokes the
Spanish-influenced music
of Ravel and Falla.
Midway through,
there's an accompanied
recitative for the viola,
which figures large in
this particular movement,
then back to a truncated
recapitulation of the
fast music. The overall
feeling is of a
well-made, rather
conventional movement in
a contemporary
Spanish/Italian style.
Cassatt's painting, too,
is rather conventional.
II At the Opera
(1880) [Museum of Fine
Arts, Boston,
Massachusetts]
This painting is one of
Cassatt's most well known
works, and it hangs in
the Museum of Fine Arts
in Boston. The painting
shows a woman alone in a
box at the opera house,
completely dressed
(including gloves) and
looking through opera
glasses at someone or
something that is NOT on
the stage. Across the
auditorium from her, but
exactly at eye level, is
a gentleman with opera
glasses intently watching
her - though it is not
him that she's looking
at. It's an intriguing
picture. This
movement is far less
conventional than the
first movement, as the
painting is far less
conventional. The music
begins with a rapid,
Shostakovich-type
mini-overture lasting
less than a minute, based
on Mary's Theme. My
conjecture is that the
woman in the painting has
arrived late to the
opera, busily stumbling
into her box. What
happens next is a kind of
collage, a kind of
surrealistic overlaying
of two different
elements: the foreground
music, at first is a
direct quotation of
Soldier's Chorus from
Gounod's FAUST (an opera
Cassatt would certainly
have heard in the
brand-new Paris Opera
House at that time),
played by Violin II,
Viola, and Cello. This
music is played sul
ponticello in the melody
and col legno in the
marching accompaniment.
On top of this, the first
violin hovers at first on
a high harmonic, then
descends into a slow
melody, completely
separate from the Gounod.
It's as if the woman in
the painting is hearing
the opera onstage but is
not really interested in
it. Then the cello joins
the first violin in a
kind of love-duet (just
the two of them, at
first). This music isn't
at all Gounod-derived;
it's entirely from the
same scale patterns as
the first movement and
derives from Mary's Theme
and its scale. The music
stays in a kind of
dichotomy feeling,
usually
three-against-one, until
the end of the movement,
when another Gounod
melody, Valentin's aria
Avant de quitter ce lieux
reappears in a kind of
coda for all four
players. It ends
atmospherically and
emotionally disconnected,
however. The overall
feeling is a kind of
schizophrenic,
opera-inspired dream.
III Young Woman in
Green, Outdoors in the
Sun (1909) [Worcester Art
Museum, Massachusetts]
The painting, one
of Cassatt's last, is
very simple: just a
figure, looking sideways
out of the picture. The
colors are pastel and yet
bold - and the woman is
likewise very
self-assured and not in
the least demure. It is
eight minutes long, and
is all about melody -
three melodies, to be
exact (Young Woman,
Green, and Sunlight). No
angst, no choppy rhythms,
just ever-unfolding
melody and lush
harmonies. I quote one
other French composer
here, too: Debussy's song
Green, from Ariettes
Oubliees. 1909 would have
been Debussy's heyday in
Paris, and it makes
perfect sense musically
as well as visually to do
this. Mary Cassatt
lived her last several
years in near-total
blindness, and as she
lost visual acuity, her
work became less sharply
defined - something akin
to late water lilies of
Monet, who suffered
similar vision loss. My
idea of making this
movement entirely melodic
was compounded by having
each of the three
melodies appear twice,
once in a pure form, and
the second time in a more
diffuse setting. This
makes an interesting two
ways form:
A-B-C-A1-B1-C1.
String Quartet No.3
(Cassatt) is dedicated,
with great affection and
respect, to the Cassatt
String Quartet, whose
members have dedicated
themselves in large
measure to the furthering
of the contemporary
repertoire for
quartet. $38.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| String Quartet No. 3 Quatuor à cordes: 2 violons, alto, violoncelle Theodore Presser Co.
Chamber Music String Quartet SKU: PR.164002720 Cassatt. Composed b...(+)
Chamber Music String
Quartet SKU:
PR.164002720
Cassatt. Composed
by Dan Welcher. Spiral
and Saddle. Premiere:
Cassatt Quartet,
Northeastern Illinois
University, Chicago, IL.
Contemporary. Set of
Score and Parts. With
Standard notation.
Composed 2007. WRT11142.
52+16+16+16+16 pages.
Duration 24 minutes.
Theodore Presser Company
#164-00272. Published by
Theodore Presser Company
(PR.164002720). UPC:
680160573042. 8.5 x 11
inches. My third
quartet is laid out in a
three-movement structure,
with each movement based
on an early, middle, and
late work of the great
American impressionist
painter Mary Cassatt.
Although the movements
are separate, with
full-stop endings, the
music is connected by a
common scale-form,
derived from the name
MARY CASSATT, and by a
recurring theme that
introduces all three
movements. I see this
theme as Mary's Theme, a
personality that stays
intact while undergoing
gradual change. I
The Bacchante (1876)
[Pennsylvania Academy of
Fine Arts, Philadelphia,
Pennsylvania] The
painting shows a young
girl of Italian or
Spanish origin, playing a
small pair of cymbals.
Since Cassatt was trying
very hard to fit in at
the French Academy at the
time, she painted a lot
of these subjects, which
were considered typical
and universal. The style
of the painting doesn't
yet show Cassatt's
originality, except
perhaps for certain
details in the face.
Accordingly the music for
this movement is
Spanish/Italian, in a
similar period-style but
using the musical
signature described
above. The music begins
with Mary's Theme,
ruminative and slow, then
abruptly changes to an
alla Spagnola-type fast
3/4 - 6/8 meter. It
evokes the
Spanish-influenced music
of Ravel and Falla.
Midway through,
there's an accompanied
recitative for the viola,
which figures large in
this particular movement,
then back to a truncated
recapitulation of the
fast music. The overall
feeling is of a
well-made, rather
conventional movement in
a contemporary
Spanish/Italian style.
Cassatt's painting, too,
is rather conventional.
II At the Opera
(1880) [Museum of Fine
Arts, Boston,
Massachusetts]
This painting is one of
Cassatt's most well known
works, and it hangs in
the Museum of Fine Arts
in Boston. The painting
shows a woman alone in a
box at the opera house,
completely dressed
(including gloves) and
looking through opera
glasses at someone or
something that is NOT on
the stage. Across the
auditorium from her, but
exactly at eye level, is
a gentleman with opera
glasses intently watching
her - though it is not
him that she's looking
at. It's an intriguing
picture. This
movement is far less
conventional than the
first movement, as the
painting is far less
conventional. The music
begins with a rapid,
Shostakovich-type
mini-overture lasting
less than a minute, based
on Mary's Theme. My
conjecture is that the
woman in the painting has
arrived late to the
opera, busily stumbling
into her box. What
happens next is a kind of
collage, a kind of
surrealistic overlaying
of two different
elements: the foreground
music, at first is a
direct quotation of
Soldier's Chorus from
Gounod's FAUST (an opera
Cassatt would certainly
have heard in the
brand-new Paris Opera
House at that time),
played by Violin II,
Viola, and Cello. This
music is played sul
ponticello in the melody
and col legno in the
marching accompaniment.
On top of this, the first
violin hovers at first on
a high harmonic, then
descends into a slow
melody, completely
separate from the Gounod.
It's as if the woman in
the painting is hearing
the opera onstage but is
not really interested in
it. Then the cello joins
the first violin in a
kind of love-duet (just
the two of them, at
first). This music isn't
at all Gounod-derived;
it's entirely from the
same scale patterns as
the first movement and
derives from Mary's Theme
and its scale. The music
stays in a kind of
dichotomy feeling,
usually
three-against-one, until
the end of the movement,
when another Gounod
melody, Valentin's aria
Avant de quitter ce lieux
reappears in a kind of
coda for all four
players. It ends
atmospherically and
emotionally disconnected,
however. The overall
feeling is a kind of
schizophrenic,
opera-inspired dream.
III Young Woman in
Green, Outdoors in the
Sun (1909) [Worcester Art
Museum, Massachusetts]
The painting, one
of Cassatt's last, is
very simple: just a
figure, looking sideways
out of the picture. The
colors are pastel and yet
bold - and the woman is
likewise very
self-assured and not in
the least demure. It is
eight minutes long, and
is all about melody -
three melodies, to be
exact (Young Woman,
Green, and Sunlight). No
angst, no choppy rhythms,
just ever-unfolding
melody and lush
harmonies. I quote one
other French composer
here, too: Debussy's song
Green, from Ariettes
Oubliees. 1909 would have
been Debussy's heyday in
Paris, and it makes
perfect sense musically
as well as visually to do
this. Mary Cassatt
lived her last several
years in near-total
blindness, and as she
lost visual acuity, her
work became less sharply
defined - something akin
to late water lilies of
Monet, who suffered
similar vision loss. My
idea of making this
movement entirely melodic
was compounded by having
each of the three
melodies appear twice,
once in a pure form, and
the second time in a more
diffuse setting. This
makes an interesting two
ways form:
A-B-C-A1-B1-C1.
String Quartet No.3
(Cassatt) is dedicated,
with great affection and
respect, to the Cassatt
String Quartet, whose
members have dedicated
themselves in large
measure to the furthering
of the contemporary
repertoire for
quartet. $53.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
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