Guitar SKU: BT.ALB10651 Composed by Cees Hartog. Book with CD. 56 pages. ...(+)
Guitar
SKU:
BT.ALB10651
Composed
by Cees Hartog. Book with
CD. 56 pages. Alsbach
#ALB10651. Published by
Alsbach (BT.ALB10651).
ISBN 9789043145084.
Dutch.
G
uitaar Starter
is a 2-part guide to the
Classical Guitar in which
all basic techniques are
discussed from the very
beginning. These
techniques are gradually
incorporated into the
featured tunes to play
and arealways preceded by
preparatory exercises.
The 'DIY' style of this
book makes it easier for
beginning guitarists to
teach themselves in their
own time.
This
series aims to acquaint
the student with the
different styles ofGuitar
music that are out there,
including classical
pieces, folk, blues and
rock and more.
In
addition to acquiring
technical skills,
providing students with a
fun musical experience is
the series' primary
aim.Theprinciple is
simple - if the student
is enthusiastic about the
pieces that they are
playing, they will be
motivated to practice
diligently.
Two alto voices & basso continuo SKU: HH.HH543-FSP Composed by Diogenio B...(+)
Two alto voices & basso
continuo
SKU:
HH.HH543-FSP
Composed
by Diogenio Bigaglia.
Score and parts. Edition
HH Music Publishers
#HH543-FSP. Published by
Edition HH Music
Publishers
(HH.HH543-FSP).
ISBN
9790708185581.
Thes
e previously unnoticed
chamber duets for various
pairs of voices and basso
continuo are among the
most original
compositions from the pen
of Diogenio Bigaglia
(1678–1745), the
Venetian monk who was
also a skilled and
imaginative composer.
They are set to texts
taken from the famously
chromatic madrigals of
Carlo Gesualdo published
over a century earlier.
The purpose of this
choice was not to
commemorate Gesualdo but
to assemble a homogeneous
group of short poems
suitable for
Bigaglia’s evident
main aim, which was to
produce a cycle of vocal
duets imitating the
structural layout and
musical processes of the
contemporary trio
sonata.
Two soprano voices & basso continuo SKU: HH.HH535FSP Composed by Diogenio...(+)
Two soprano voices &
basso continuo
SKU:
HH.HH535FSP
Composed
by Diogenio Bigaglia.
Edited by Michael Talbot.
Full score and parts.
Edition HH Music
Publishers #HH535FSP.
Published by Edition HH
Music Publishers
(HH.HH535FSP).
ISBN
9790708185482.
Thes
e previously unnoticed
chamber duets for various
pairs of voices and basso
continuo are among the
most original
compositions from the pen
of Diogenio Bigaglia
(1678–1745), the
Venetian monk who was
also a skilled and
imaginative composer.
They are set to texts
taken from the famously
chromatic madrigals of
Carlo Gesualdo published
over a century earlier.
The purpose of this
choice was not to
commemorate Gesualdo but
to assemble a homogeneous
group of short poems
suitable for
Bigaglia’s evident
main aim, which was to
produce a cycle of vocal
duets imitating the
structural layout and
musical processes of the
contemporary trio
sonata.
Volume 2 (Duets 9, 10
& 11). Composed by
Diogenio Bigaglia. Score
and parts. Edition HH
Music Publishers
#HH540-FSP. Published by
Edition HH Music
Publishers
(HH.HH540-FSP).
ISBN
9790708185550.
Thes
e previously unnoticed
chamber duets for various
pairs of voices and basso
continuo are among the
most original
compositions from the pen
of Diogenio Bigaglia
(1678–1745), the
Venetian monk who was
also a skilled and
imaginative composer.
They are set to texts
taken from the famously
chromatic madrigals of
Carlo Gesualdo published
over a century earlier.
The purpose of this
choice was not to
commemorate Gesualdo but
to assemble a homogeneous
group of short poems
suitable for
Bigaglia’s evident
main aim, which was to
produce a cycle of vocal
duets imitating the
structural layout and
musical processes of the
contemporary trio
sonata.
Composed
by Diogenio Bigaglia.
Score and parts. Edition
HH Music Publishers
#HH542-FSP. Published by
Edition HH Music
Publishers
(HH.HH542-FSP).
ISBN
9790708185574.
Thes
e previously unnoticed
chamber duets for various
pairs of voices and basso
continuo are among the
most original
compositions from the pen
of Diogenio Bigaglia
(1678–1745), the
Venetian monk who was
also a skilled and
imaginative composer.
They are set to texts
taken from the famously
chromatic madrigals of
Carlo Gesualdo published
over a century earlier.
The purpose of this
choice was not to
commemorate Gesualdo but
to assemble a homogeneous
group of short poems
suitable for
Bigaglia’s evident
main aim, which was to
produce a cycle of vocal
duets imitating the
structural layout and
musical processes of the
contemporary trio
sonata.
SATB choir - Grade 2 SKU: KJ.8849 Composed by Lena McLin. Collection. Sec...(+)
SATB choir - Grade 2
SKU: KJ.8849
Composed by Lena McLin.
Collection. Secular,
Choral. Octavo. Neil A.
Kjos Music Company #8849.
Published by Neil A. Kjos
Music Company (KJ.8849).
SATB
Accompanied Great for
graduation or
commencement or as your
concert's open or close
as this piece joyfully
proclaims the
determination to press
forward and face the
challenges of life in a
jubilant choral setting
with contrasting sections
of march and andante
tempos.
Drumset SKU: AP.20207UK Composed by Paul Hose. Jazz. Book and Digital Dow...(+)
Drumset
SKU:
AP.20207UK
Composed
by Paul Hose. Jazz. Book
and Digital Download.
Alfred Music #00-20207UK.
Published by Alfred Music
(AP.20207UK).
ISBN
9781470613549. UPC:
038081575049.
English.
The latest
book in Paul Hose's tour
de force Drumset for
Beginners series takes
aim at the behemoth genre
of Jazz. Combining
historical context and
stylistic awareness with
progressive technical
exercises and performance
pieces; a comprehensive,
cross-genre foundation is
achieved. This
beautifully illustrated
book includes access to
extensive online
material, including
performance tracks and
play-alongs as well as
video
demonstrations. This
dynamic series of books
is not only for the
beginner who has never
played before, they are
for those wishing to
explore new areas of
their playing and genres
of music for the first
time. They are also the
perfect teaching
companion. From your
first experience on the
drums, to Latin, Jazz,
Rudiments, Rhythmic
Theory and much more
besides, this series of
books has it all. Private
practitioners and those
working at education
institutions alike from
across the world now have
these books in their
repertoire. What a
great book for learning
jazz! Paul Hose has mixed
the history, technique,
posture, exercises,
rhythm at the drum kit
and much more in one
book! Deep material to
really get started in
jazz! I am already
learning with it! - Nina
Pará - Author,
Journalist and Teacher,
São Paulo, Brazil.
Composed by Benjamin Yeo.
Folio. Cps. Set of Score
and Parts.
8+2+8+8+2+4+4+4+4+2+4+4+4
+4+6+6+4+4+8+2+2+1+4+1+2+
24 pages. Duration 2
minutes, 42 seconds. Carl
Fischer Music #CPS245.
Published by Carl Fischer
Music (CF.CPS245).
ISBN 9781491158128.
UPC: 680160916726. 9 x 12
inches.
ABOUT THE
MUSIC Future of Tomorrow
(Concert March) was
commissioned by the Arts
Education Branch,
Ministry of Education as
the set piece for the
Singapore Youth Festival
2016 Arts Presentation
for Concert and Brass
Bands (Primary Level).
This march uses brief
excerpts from the
well-known Malay folk
songs Katak Lompat and
Rasa Sayang. Our youths
are indeed our future of
tomorrow. This
joyful-themed march aims
to bring out the best in
each of your young
players. I hope that
students, band directors
and audiences will enjoy
preparing, performing and
listening to this work.
EDUCATIONAL NOTES Key: Eb
Major SECTION BARS EVENT
/ SCORING / SUGGESTIONS
Introduction 1-4 Opens in
Eb major with dotted
rhythm motif. 1st Strain
5-20 Take note of melodic
phrasing above the
(light) oom-pah ostinato;
melody repeats at m. 13
with the addition of
countermelody in the
inner lines; although
written at mf dynamic,
this anew ideaa needs to
be heard clearly for
contrast with the
previous statement. 2nd
Strain 21-36 C minor
(relative minor); excerpt
from Katak Lompat; melody
in the lower brass/wind
from m. 21 with a
contrasting
attitude/style from 1st
strain; back to a more
lyrical treatment from m.
29. Trio 37-56 Stays
unmodulated in the same
key; opens with a
percussion solo feature
before the start of the
softer Trio theme; keep
this section controlled
and be sensitive to the
balance; the metallic
timbre of the muted
trumpet/cornet needs to
be heard clearly (might
suggest to bring the
dynamic level up to mf
when muted); if
cued-notes are played,
make sure they are played
throughout the melodic
phrase as written to
avoid awkward leaps.
Break Strain 57-62
Excerpt from Rasa Sayang
with some play in
tonality and instrumental
dialogue; quasi
grandioso-style before
the final strain. Final
Strain 63-82 Back to Eb
major with the reprise of
the Trio theme;
festive-like style with
fuller orchestration and
new countermelodies;
dotted rhythm motif from
the introduction
concludes the march in a
codetta-like section from
m. 79. NOTE TO THE
CONDUCTOR This march has
been carefully written
with reasonable
technicalities and range
in mind for younger
players. Generally,
optional cued notes in
parenthesis are given for
less experienced players
who have yet to develop
their range on the
instrument. However, they
should never be taken as
an easy alternative for
all players in the
section; otherwise, this
may result in a less than
ideal flow of the musical
lines. Marches are good
tools to train tempo
consistency, articulation
and rhythmic precision as
well as musical phrasing.
I hope that there will be
great learning
opportunities for your
students as they learn
this piece. This march is
separately orchestrated
for both wind and brass
bands to maximize the
instrumental colors
within each ensemble. The
parts are therefore not
exchangeable between the
wind band and brass band
sets. I wish you the best
in the performance of
this work. - Benjamin
Yeo. ABOUT THE MUSIC
Future of Tomorrow
(Concert March) was
commissioned by the Arts
Education Branch,
Ministry of Education as
the set piece for the
Singapore Youth Festival
2016 Arts Presentation
for Concert and Brass
Bands (Primary Level).
This march uses brief
excerpts from the
well-known Malay folk
songs Katak Lompat and
Rasa Sayang. Our youths
are indeed our future of
tomorrow. This
joyful-themed march aims
to bring out the best in
each of your young
players. I hope that
students, band directors
and audiences will enjoy
preparing, performing and
listening to this work.
EDUCATIONAL NOTES Key: Eb
Major SECTION BARS EVENT
/ SCORING / SUGGESTIONS
Introduction 1-4 Opens in
Eb major with dotted
rhythm motif. 1st Strain
5-20 Take note of melodic
phrasing above the
(light) oom-pah ostinato;
melody repeats at m. 13
with the addition of
countermelody in the
inner lines; although
written at mf dynamic,
this 'new idea' needs to
be heard clearly for
contrast with the
previous statement. 2nd
Strain 21-36 C minor
(relative minor); excerpt
from Katak Lompat; melody
in the lower brass/wind
from m. 21 with a
contrasting
attitude/style from 1st
strain; back to a more
lyrical treatment from m.
29. Trio 37-56 Stays
unmodulated in the same
key; opens with a
percussion solo feature
before the start of the
softer Trio theme; keep
this section controlled
and be sensitive to the
balance; the metallic
timbre of the muted
trumpet/cornet needs to
be heard clearly (might
suggest to bring the
dynamic level up to mf
when muted); if
cued-notes are played,
make sure they are played
throughout the melodic
phrase as written to
avoid awkward leaps.
Break Strain 57-62
Excerpt from Rasa Sayang
with some play in
tonality and instrumental
dialogue; quasi
grandioso-style before
the final strain. Final
Strain 63-82 Back to Eb
major with the reprise of
the Trio theme;
festive-like style with
fuller orchestration and
new countermelodies;
dotted rhythm motif from
the introduction
concludes the march in a
codetta-like section from
m. 79. NOTE TO THE
CONDUCTOR This march has
been carefully written
with reasonable
technicalities and range
in mind for younger
players. Generally,
optional cued notes in
parenthesis are given for
less experienced players
who have yet to develop
their range on the
instrument. However, they
should never be taken as
an easy alternative for
all players in the
section; otherwise, this
may result in a less than
ideal flow of the musical
lines. Marches are good
tools to train tempo
consistency, articulation
and rhythmic precision as
well as musical phrasing.
I hope that there will be
great learning
opportunities for your
students as they learn
this piece. This march is
separately orchestrated
for both wind and brass
bands to maximize the
instrumental colors
within each ensemble. The
parts are therefore not
exchangeable between the
wind band and brass band
sets. I wish you the best
in the performance of
this work. - Benjamin
Yeo. ABOUT THE
MUSICFuture of Tomorrow
(Concert March) was
commissioned by the Arts
Education Branch,
Ministry of Education as
the set piece for the
Singapore Youth Festival
2016 Arts Presentation
for Concert and Brass
Bands (Primary Level).
This march uses brief
excerpts from the
well-known Malay folk
songs Katak Lompat and
Rasa Sayang.Our youths
are indeed our future of
tomorrow. This
joyful-themed march aims
to bring out the best in
each of your young
players. I hope that
students, band directors
and audiences will enjoy
preparing, performing and
listening to this
work.EDUCATIONAL
NOTESKey: Eb
MajorSECTIONBARSEVENT /
SCORING /
SUGGESTIONSIntroduction1-
4Opens in Eb major with
dotted rhythm motif.1st
Strain5-20Take note of
melodic phrasing above
the (light) oom-pah
ostinato;melody repeats
at m. 13 with the
addition of countermelody
in the inner lines;
although written at mf
dynamic, this ‘new
idea’ needs to be
heard clearly for
contrast with the
previous statement.2nd
Strain21-36C minor
(relative minor); excerpt
from Katak Lompat; melody
in the lower brass/wind
from m. 21 with a
contrasting
attitude/style from 1st
strain; back to a more
lyrical treatment from m.
29.Trio37-56Stays
unmodulated in the same
key; opens with a
percussion solo feature
before the start of the
softer Trio theme; keep
this section controlled
and be sensitive to the
balance; the metallic
timbre of the muted
trumpet/cornet needs to
be heard clearly (might
suggest to bring the
dynamic level up to mf
when muted); if
cued-notes are played,
make sure they are played
throughout the melodic
phrase as written to
avoid awkward leaps.Break
Strain57-62Excerpt from
Rasa Sayang with some
play in tonality and
instrumental dialogue;
quasi grandioso-style
before the final
strain.Final
Strain63-82Back to Eb
major with the reprise of
the Trio theme;
festive-like style with
fuller orchestration and
new countermelodies;
dotted rhythm motif from
the introduction
concludes the march in a
codetta-like section from
m. 79.NOTE TO THE
CONDUCTORThis march has
been carefully written
with reasonable
technicalities and range
in mind for younger
players. Generally,
optional cued notes in
parenthesis are given for
less experienced players
who have yet to develop
their range on the
instrument. However, they
should never be taken as
an easy alternative for
all players in the
section; otherwise, this
may result in a less than
ideal flow of the musical
lines. Marches are good
tools to train tempo
consistency, articulation
and rhythmic precision as
well as musical phrasing.
I hope that there will be
great learning
opportunities for your
students as they learn
this piece.This march is
separately orchestrated
for both wind and brass
bands to maximize the
instrumental colors
within each ensemble. The
parts are therefore not
exchangeable between the
wind band and brass band
sets.I wish you the best
in the performance of
this work.- Benjamin
Yeo.
Composed by Benjamin Yeo.
Sws. Cps. Full score. 24
pages. Carl Fischer Music
#CPS245F. Published by
Carl Fischer Music
(CF.CPS245F).
ISBN
9781491158135. UPC:
680160916733. 9 x 12
inches.
ABOUT THE
MUSIC Future of Tomorrow
(Concert March) was
commissioned by the Arts
Education Branch,
Ministry of Education as
the set piece for the
Singapore Youth Festival
2016 Arts Presentation
for Concert and Brass
Bands (Primary Level).
This march uses brief
excerpts from the
well-known Malay folk
songs Katak Lompat and
Rasa Sayang. Our youths
are indeed our future of
tomorrow. This
joyful-themed march aims
to bring out the best in
each of your young
players. I hope that
students, band directors
and audiences will enjoy
preparing, performing and
listening to this work.
EDUCATIONAL NOTES Key: Eb
Major SECTION BARS EVENT
/ SCORING / SUGGESTIONS
Introduction 1-4 Opens in
Eb major with dotted
rhythm motif. 1st Strain
5-20 Take note of melodic
phrasing above the
(light) oom-pah ostinato;
melody repeats at m. 13
with the addition of
countermelody in the
inner lines; although
written at mf dynamic,
this anew ideaa needs to
be heard clearly for
contrast with the
previous statement. 2nd
Strain 21-36 C minor
(relative minor); excerpt
from Katak Lompat; melody
in the lower brass/wind
from m. 21 with a
contrasting
attitude/style from 1st
strain; back to a more
lyrical treatment from m.
29. Trio 37-56 Stays
unmodulated in the same
key; opens with a
percussion solo feature
before the start of the
softer Trio theme; keep
this section controlled
and be sensitive to the
balance; the metallic
timbre of the muted
trumpet/cornet needs to
be heard clearly (might
suggest to bring the
dynamic level up to mf
when muted); if
cued-notes are played,
make sure they are played
throughout the melodic
phrase as written to
avoid awkward leaps.
Break Strain 57-62
Excerpt from Rasa Sayang
with some play in
tonality and instrumental
dialogue; quasi
grandioso-style before
the final strain. Final
Strain 63-82 Back to Eb
major with the reprise of
the Trio theme;
festive-like style with
fuller orchestration and
new countermelodies;
dotted rhythm motif from
the introduction
concludes the march in a
codetta-like section from
m. 79. NOTE TO THE
CONDUCTOR This march has
been carefully written
with reasonable
technicalities and range
in mind for younger
players. Generally,
optional cued notes in
parenthesis are given for
less experienced players
who have yet to develop
their range on the
instrument. However, they
should never be taken as
an easy alternative for
all players in the
section; otherwise, this
may result in a less than
ideal flow of the musical
lines. Marches are good
tools to train tempo
consistency, articulation
and rhythmic precision as
well as musical phrasing.
I hope that there will be
great learning
opportunities for your
students as they learn
this piece. This march is
separately orchestrated
for both wind and brass
bands to maximize the
instrumental colors
within each ensemble. The
parts are therefore not
exchangeable between the
wind band and brass band
sets. I wish you the best
in the performance of
this work. - Benjamin
Yeo. ABOUT THE MUSIC
Future of Tomorrow
(Concert March) was
commissioned by the Arts
Education Branch,
Ministry of Education as
the set piece for the
Singapore Youth Festival
2016 Arts Presentation
for Concert and Brass
Bands (Primary Level).
This march uses brief
excerpts from the
well-known Malay folk
songs Katak Lompat and
Rasa Sayang. Our youths
are indeed our future of
tomorrow. This
joyful-themed march aims
to bring out the best in
each of your young
players. I hope that
students, band directors
and audiences will enjoy
preparing, performing and
listening to this work.
EDUCATIONAL NOTES Key: Eb
Major SECTION BARS EVENT
/ SCORING / SUGGESTIONS
Introduction 1-4 Opens in
Eb major with dotted
rhythm motif. 1st Strain
5-20 Take note of melodic
phrasing above the
(light) oom-pah ostinato;
melody repeats at m. 13
with the addition of
countermelody in the
inner lines; although
written at mf dynamic,
this 'new idea' needs to
be heard clearly for
contrast with the
previous statement. 2nd
Strain 21-36 C minor
(relative minor); excerpt
from Katak Lompat; melody
in the lower brass/wind
from m. 21 with a
contrasting
attitude/style from 1st
strain; back to a more
lyrical treatment from m.
29. Trio 37-56 Stays
unmodulated in the same
key; opens with a
percussion solo feature
before the start of the
softer Trio theme; keep
this section controlled
and be sensitive to the
balance; the metallic
timbre of the muted
trumpet/cornet needs to
be heard clearly (might
suggest to bring the
dynamic level up to mf
when muted); if
cued-notes are played,
make sure they are played
throughout the melodic
phrase as written to
avoid awkward leaps.
Break Strain 57-62
Excerpt from Rasa Sayang
with some play in
tonality and instrumental
dialogue; quasi
grandioso-style before
the final strain. Final
Strain 63-82 Back to Eb
major with the reprise of
the Trio theme;
festive-like style with
fuller orchestration and
new countermelodies;
dotted rhythm motif from
the introduction
concludes the march in a
codetta-like section from
m. 79. NOTE TO THE
CONDUCTOR This march has
been carefully written
with reasonable
technicalities and range
in mind for younger
players. Generally,
optional cued notes in
parenthesis are given for
less experienced players
who have yet to develop
their range on the
instrument. However, they
should never be taken as
an easy alternative for
all players in the
section; otherwise, this
may result in a less than
ideal flow of the musical
lines. Marches are good
tools to train tempo
consistency, articulation
and rhythmic precision as
well as musical phrasing.
I hope that there will be
great learning
opportunities for your
students as they learn
this piece. This march is
separately orchestrated
for both wind and brass
bands to maximize the
instrumental colors
within each ensemble. The
parts are therefore not
exchangeable between the
wind band and brass band
sets. I wish you the best
in the performance of
this work. - Benjamin
Yeo. ABOUT THE
MUSICFuture of Tomorrow
(Concert March) was
commissioned by the Arts
Education Branch,
Ministry of Education as
the set piece for the
Singapore Youth Festival
2016 Arts Presentation
for Concert and Brass
Bands (Primary Level).
This march uses brief
excerpts from the
well-known Malay folk
songs Katak Lompat and
Rasa Sayang.Our youths
are indeed our future of
tomorrow. This
joyful-themed march aims
to bring out the best in
each of your young
players. I hope that
students, band directors
and audiences will enjoy
preparing, performing and
listening to this
work.EDUCATIONAL
NOTESKey: Eb
MajorSECTIONBARSEVENT /
SCORING /
SUGGESTIONSIntroduction1-
4Opens in Eb major with
dotted rhythm motif.1st
Strain5-20Take note of
melodic phrasing above
the (light) oom-pah
ostinato;melody repeats
at m. 13 with the
addition of countermelody
in the inner lines;
although written at mf
dynamic, this ‘new
idea’ needs to be
heard clearly for
contrast with the
previous statement.2nd
Strain21-36C minor
(relative minor); excerpt
from Katak Lompat; melody
in the lower brass/wind
from m. 21 with a
contrasting
attitude/style from 1st
strain; back to a more
lyrical treatment from m.
29.Trio37-56Stays
unmodulated in the same
key; opens with a
percussion solo feature
before the start of the
softer Trio theme; keep
this section controlled
and be sensitive to the
balance; the metallic
timbre of the muted
trumpet/cornet needs to
be heard clearly (might
suggest to bring the
dynamic level up to mf
when muted); if
cued-notes are played,
make sure they are played
throughout the melodic
phrase as written to
avoid awkward leaps.Break
Strain57-62Excerpt from
Rasa Sayang with some
play in tonality and
instrumental dialogue;
quasi grandioso-style
before the final
strain.Final
Strain63-82Back to Eb
major with the reprise of
the Trio theme;
festive-like style with
fuller orchestration and
new countermelodies;
dotted rhythm motif from
the introduction
concludes the march in a
codetta-like section from
m. 79.NOTE TO THE
CONDUCTORThis march has
been carefully written
with reasonable
technicalities and range
in mind for younger
players. Generally,
optional cued notes in
parenthesis are given for
less experienced players
who have yet to develop
their range on the
instrument. However, they
should never be taken as
an easy alternative for
all players in the
section; otherwise, this
may result in a less than
ideal flow of the musical
lines. Marches are good
tools to train tempo
consistency, articulation
and rhythmic precision as
well as musical phrasing.
I hope that there will be
great learning
opportunities for your
students as they learn
this piece.This march is
separately orchestrated
for both wind and brass
bands to maximize the
instrumental colors
within each ensemble. The
parts are therefore not
exchangeable between the
wind band and brass band
sets.I wish you the best
in the performance of
this work.- Benjamin
Yeo.
SKU: GI.G-9234 Unlocking the Great Songs Inside You. Composed by M...(+)
SKU: GI.G-9234
Unlocking the Great
Songs Inside You.
Composed by Mark Caro and
Steve Dawson. Music
Education. 192 pages. GIA
Publications #9234.
Published by GIA
Publications (GI.G-9234).
ISBN 9781622772117.
English.
I
don’t claim to
know how to teach anybody
anything, let alone
something so individual
and subjective as writing
songs. The truth is, dear
readers, you already know
how to write songs.
You’ve been, in a
sense, studying them your
whole life. My goal as a
teacher, and the goal of
this book, is
‘unlocking the
great songs inside
you.’
They’re in there.
I have witnessed the
births of hundreds of
songs in class, some so
beautiful that the class
is wiping back tears by
the end. These songs were
written by people exactly
like you: lovers of
music, strummers of
guitars, banjos,
mandolins, people
who’ve dreamed of
writing songs like the
ones they love. So,
welcome and good luck.
— Steve Dawson,
from the Introduction
T_x001F_ake It to the
Bridge combines a_x001E_
lively, instructive
dia_x001E_logue, helpful
chord, key _x001E_and
song-form cha_x001E_rts,
_x001E_and
crea_x001E_tive
songwriting assignments
designed to inspire
_x001E_anyone who ever
h_x001E_as thought of
_x001E_adding songs to
the world. Steve Dawson
is a
singer/songwriter/musicia
n who leads the rock/folk
band Dolly Varden and has
taught songwriting and
guitar at
Chicago’s Old Town
School of Folk Music for
more than a decade. Mark
Caro is author of the
award-winning
non_x001D_iction book The
Foie Gras Wars and has
written about music,
f_x001D_ilm, food and
culture for the Chicago
Tribune, The New York
Times, and other
publications.
http://www.tothebridgeson
gwriting.com/.
It Takes Four to Tango Quatuor de Clarinettes: 4 clarinettes [Conducteur et Parties séparées] Theodore Presser Co.
For 3 B-Flat Clarinets and Bass Clarinet (Quartet or Ensemble). By Daniel Dorff....(+)
For 3 B-Flat Clarinets
and Bass Clarinet
(Quartet or Ensemble). By
Daniel Dorff. Wind
quartet. For Clarinet I,
Clarinet II, Clarinet
III, Bass Clarinet. Score
and parts. 4 pages.
Duration 2:30. Published
by Theodore Presser
Company.
Composed by Patrick Glenn
Harper. Folio. Cps. Set
of Score and Parts.
8+8+4+8+8+8+4+4+4+4+4+4+8
+8+8+4+4+6+6+6+4+8+1+1+1+
2+8+4+4+24 pages.
Duration 4 minutes, 10
seconds. Carl Fischer
Music #CPS247. Published
by Carl Fischer Music
(CF.CPS247).
ISBN
9781491158364. UPC:
680160916962. 9 x 12
inches.
The Quest
aims to take the listener
on an epic musical
journey. Beginning with a
sweeping cinematic melody
that is restated at the
conclusion of the piece,
the music transitions
into an up-tempo section
that features a catchy
ostinato bass pattern,
and gives your percussion
section a chance to
shine. The slower middle
section features the
woodwinds, before
expanding the simple
chorale into the rest of
the band. The final
section of the piece sees
a restatement of the
adventure theme before
accelerating into a
rousing conclusion that
will make for an exciting
concert closer. Make sure
that all dynamic
crescendos and
decrescendos are very
pronounced in the
performance of the piece.
Take care not to let the
ostinato bass pattern
overpower the melody. The
slow section beginning at
m. 61 may be conducted in
a rubato style for
maximum musical
expression. The tempo at
m. 103 may be taken
faster or slower than the
marked tempo according to
the skill level of the
band. The Quest aims
to take the listener on
an epic musical journey.
Beginning with a sweeping
cinematic melody that is
restated at the
conclusion of the piece,
the music transitions
into an up-tempo section
that features a catchy
ostinato bass pattern,
and gives your percussion
section a chance to
shine. The slower middle
section features the
woodwinds, before
expanding the simple
chorale into the rest of
the band. The final
section of the piece sees
a restatement of the
adventure theme before
accelerating into a
rousing conclusion that
will make for an exciting
concert closer.Make sure
that all dynamic
crescendos and
decrescendos are very
pronounced in the
performance of the piece.
Take care not to let the
ostinato bass pattern
overpower the melody. The
slow section beginning at
m. 61 may be conducted in
a rubato style for
maximum musical
expression. The tempo at
m. 103 may be taken
faster or slower than the
marked tempo according to
the skill level of the
band.
Composed
by Patrick Glenn Harper.
Sws. Cps. Full score. 24
pages. Duration 4
minutes, 10 seconds. Carl
Fischer Music #CPS247F.
Published by Carl Fischer
Music (CF.CPS247F).
ISBN 9781491158371.
UPC: 680160916979. 9 x 12
inches.
The Quest
aims to take the listener
on an epic musical
journey. Beginning with a
sweeping cinematic melody
that is restated at the
conclusion of the piece,
the music transitions
into an up-tempo section
that features a catchy
ostinato bass pattern,
and gives your percussion
section a chance to
shine. The slower middle
section features the
woodwinds, before
expanding the simple
chorale into the rest of
the band. The final
section of the piece sees
a restatement of the
adventure theme before
accelerating into a
rousing conclusion that
will make for an exciting
concert closer. Make sure
that all dynamic
crescendos and
decrescendos are very
pronounced in the
performance of the piece.
Take care not to let the
ostinato bass pattern
overpower the melody. The
slow section beginning at
m. 61 may be conducted in
a rubato style for
maximum musical
expression. The tempo at
m. 103 may be taken
faster or slower than the
marked tempo according to
the skill level of the
band. The Quest aims
to take the listener on
an epic musical journey.
Beginning with a sweeping
cinematic melody that is
restated at the
conclusion of the piece,
the music transitions
into an up-tempo section
that features a catchy
ostinato bass pattern,
and gives your percussion
section a chance to
shine. The slower middle
section features the
woodwinds, before
expanding the simple
chorale into the rest of
the band. The final
section of the piece sees
a restatement of the
adventure theme before
accelerating into a
rousing conclusion that
will make for an exciting
concert closer.Make sure
that all dynamic
crescendos and
decrescendos are very
pronounced in the
performance of the piece.
Take care not to let the
ostinato bass pattern
overpower the melody. The
slow section beginning at
m. 61 may be conducted in
a rubato style for
maximum musical
expression. The tempo at
m. 103 may be taken
faster or slower than the
marked tempo according to
the skill level of the
band.
B-Tonarten, C-Dur, 2.
und 3. Lage, Doppelgriffe
und andere Kniffe.
Composed by Renate
Bruce-Weber. Arranged by
Mark Bruce. This edition:
Paperback/Soft Cover.
Sheet music. Edition
Schott. Classical. 144
pages. Schott Music #ED
8432. Published by Schott
Music (HL.49015482).
ISBN 9783795754631.
9.0x12.0x0.42 inches.
German.
Vol. 3 of
'Die frohliche Violine'
pursues the same musical
and technical goals as
the first two volumes. It
contains a detailed
introduction to the flat
keys, C major key as well
as the 2nd and 3rd
positions. The last
chapter takes up the
subject matter of the
first chapters again in a
more demanding form and
with longer charming
pieces, giving an insight
into 'virtuoso' violin
technique.
From Mary Poppins Returns. Composed by Marc Shaiman and Scott Wittman. Arrange...(+)
From Mary Poppins
Returns.
Composed by Marc Shaiman
and
Scott Wittman. Arranged
by
Mark A. Brymer. Disney
Choral. Movies, Show
Choir,
Disney. Octavo. Published
by
Hal Leonard
From Mary Poppins Returns. Composed by Marc Shaiman and Scott Wittman. Arrange...(+)
From Mary Poppins
Returns.
Composed by Marc Shaiman
and
Scott Wittman. Arranged
by
Mark A. Brymer. Disney
Choral. Movies, Show
Choir,
Disney. Octavo. Published
by
Hal Leonard
Piano, Voix [Partition] - Intermédiaire Hal Leonard
Lyrics by Scott Wittman, music by Marc Shaiman. For voice and piano. Format: pia...(+)
Lyrics by Scott Wittman,
music by Marc Shaiman.
For voice and piano.
Format:
piano/vocal/chords
songbook. With vocal
melody, piano
accompaniment, lyrics,
chord names and color
photos. Broadway. 120
pages. 9x12 inches.
Published by Hal Leonard.