(Words and Chords to Nearly 1200 Songs 9x12 Spiral Bound). Edited by Annie Patte...(+)
(Words and Chords to
Nearly 1200 Songs 9x12
Spiral Bound). Edited by
Annie Patterson and Peter
Blood. For Vocal. Vocal.
Softcover. 304 pages.
Published by Hal Leonard
(Words and Chords to Nearly 1200 Songs Spiral-Bound). Edited by Annie Patterson ...(+)
(Words and Chords to
Nearly 1200 Songs
Spiral-Bound). Edited by
Annie Patterson and Peter
Blood. For Vocal. Vocal.
Softcover. 304 pages.
Published by Hal Leonard
Fakebook (spiral bound) for voice and C instrument. With vocal melody, lyrics, c...(+)
Fakebook (spiral bound)
for voice and C
instrument. With vocal
melody, lyrics, chord
names, leadsheet notation
and guitar chord chart.
Series: Hal Leonard Fake
Books. 813 pages.
Published by Hal Leonard.
(Over 850 Classical Themes and Melodies in the Original Keys) For C instrument. ...(+)
(Over 850 Classical
Themes and Melodies in
the Original Keys) For C
instrument. Format:
fakebook (spiral bound).
With vocal melody
(excerpts) and chord
names. Lassical. Series:
Hal Leonard Fake Books.
646 pages. 9x12 inches.
Published by Hal Leonard.
Chamber Music Cello,
Flute, Viola 1, Viola 2,
Violin
SKU:
CF.MXE219
Composed by
Wolfgang Amadeus Mozart.
Arranged by Robert
Stallman. Sws.
56+16+16+16+16+12 pages.
Carl Fischer Music
#MXE219. Published by
Carl Fischer Music
(CF.MXE219).
ISBN
9781491157794. UPC:
680160916399. 9 x 12
inches.
A Comprehensive, Easy-to- Approach Guide for the Everyday Musician. Explained....(+)
A Comprehensive, Easy-to-
Approach Guide for the
Everyday Musician.
Explained. Chords,
Instruction, Music
Theory.
Softcover Audio Online.
80
pages. Published by Hal
Leonard
(C Edition). By Various. For voice and C instrument. Hal Leonard Fake Books. Pop...(+)
(C Edition). By Various.
For voice and C
instrument. Hal Leonard
Fake Books. Pop Vocal and
Vocal Standards.
Difficulty: easy-medium.
Fakebook. Vocal melody,
lyrics and chord names.
396 pages. Published by
Hal Leonard fakebook
Pop Vocal and Vocal
Standards
Composed by Richard
Summers. Bps. Full score.
16 pages. Duration 2:15.
Carl Fischer Music
#BPS145F. Published by
Carl Fischer Music
(CF.BPS145F).
ISBN
9781491161647. UPC:
680160920327.
Datin
g back to the 13th
century, the clock tower
was located in the center
of a town and used by
townspeople to hear the
time through bells and
chimes ringing out. There
are clock towers all over
the world and they are
wonderful landmarks to
towns and communities.
This work begins and ends
with the Westminster
Chimes theme, which is
used by many clocks and
clock towers, including
Big Ben, the famous clock
tower in London. Clock
Tower contains many
essential musical and
technical skills for a
beginning level band
piece. The tick of the
clock mechanism is
imitated by pitched
woodblocks, and the main
theme is based on
ascending and descending
scale patterns,
reinforcing note-reading
ability for the beginning
student. There are layers
of new countermelodies
and contrasting sections
with dynamics and legato
passages, giving the
students an opportunity
to play in different
musical styles. There is
a low brass and woodwind
feature and a section
introducing eighth notes
to the upper winds. The
sound between the
woodwinds and the brass
are also important, but
many woodwind passages
are cued in the brass in
case a beginning band
might need extra players
to help with the balance
and blend. This gives the
director the opportunity
to experiment with these
cues and add a few other
instruments when
needed. Dating back to
the 13th century, the
clock tower was located
in the center of a town
and used by townspeople
to hear the time through
bells and chimes ringing
out. There are clock
towers all over the world
and they are wonderful
landmarks to towns and
communities. This work
begins and ends with the
Westminster Chimes theme,
which is used by many
clocks and clock towers,
including Big Ben, the
famous clock tower in
London.  Clock
Tower contains many
essential musical and
technical skills for a
beginning level band
piece. The tick of the
clock mechanism is
imitated by pitched
woodblocks, and the main
theme is based on
ascending and descending
scale patterns,
reinforcing note-reading
ability for the beginning
student. There are layers
of new countermelodies
and contrasting sections
with dynamics and legato
passages, giving the
students an opportunity
to play in different
musical styles. There is
a low brass and woodwind
feature and a section
introducing eighth notes
to the upper winds. The
sound between the
woodwinds and the brass
are also important, but
many woodwind passages
are cued in the brass in
case a beginning band
might need extra players
to help with the balance
and blend. This gives the
director the opportunity
to experiment with these
cues and add a few other
instruments when
needed. .
Composed by Richard
Summers. Bps. Set of
Score and Parts.
8+2+8+2+5+2+2+8+3+2+2+6+2
+3+1+1+2+2+16 pages.
Duration 2:15. Carl
Fischer Music #BPS145.
Published by Carl Fischer
Music (CF.BPS145).
ISBN 9781491161258.
UPC:
680160919840.
Datin
g back to the 13th
century, the clock tower
was located in the center
of a town and used by
townspeople to hear the
time through bells and
chimes ringing out. There
are clock towers all over
the world and they are
wonderful landmarks to
towns and communities.
This work begins and ends
with the Westminster
Chimes theme, which is
used by many clocks and
clock towers, including
Big Ben, the famous clock
tower in London. Clock
Tower contains many
essential musical and
technical skills for a
beginning level band
piece. The tick of the
clock mechanism is
imitated by pitched
woodblocks, and the main
theme is based on
ascending and descending
scale patterns,
reinforcing note-reading
ability for the beginning
student. There are layers
of new countermelodies
and contrasting sections
with dynamics and legato
passages, giving the
students an opportunity
to play in different
musical styles. There is
a low brass and woodwind
feature and a section
introducing eighth notes
to the upper winds. The
sound between the
woodwinds and the brass
are also important, but
many woodwind passages
are cued in the brass in
case a beginning band
might need extra players
to help with the balance
and blend. This gives the
director the opportunity
to experiment with these
cues and add a few other
instruments when
needed. Dating back to
the 13th century, the
clock tower was located
in the center of a town
and used by townspeople
to hear the time through
bells and chimes ringing
out. There are clock
towers all over the world
and they are wonderful
landmarks to towns and
communities. This work
begins and ends with the
Westminster Chimes theme,
which is used by many
clocks and clock towers,
including Big Ben, the
famous clock tower in
London.  Clock
Tower contains many
essential musical and
technical skills for a
beginning level band
piece. The tick of the
clock mechanism is
imitated by pitched
woodblocks, and the main
theme is based on
ascending and descending
scale patterns,
reinforcing note-reading
ability for the beginning
student. There are layers
of new countermelodies
and contrasting sections
with dynamics and legato
passages, giving the
students an opportunity
to play in different
musical styles. There is
a low brass and woodwind
feature and a section
introducing eighth notes
to the upper winds. The
sound between the
woodwinds and the brass
are also important, but
many woodwind passages
are cued in the brass in
case a beginning band
might need extra players
to help with the balance
and blend. This gives the
director the opportunity
to experiment with these
cues and add a few other
instruments when
needed. .
For voice and C instrument. Format: fakebook. With vocal melody, lyrics and chor...(+)
For voice and C
instrument. Format:
fakebook. With vocal
melody, lyrics and chord
names. Traditional pop
and vocal standards.
Series: Hal Leonard Fake
Books. 424 pages. 9x12
inches. Published by Hal
Leonard.
SKU: BR.EB-9387 Composed by Christian Mason. Edition Breitkopf. New music...(+)
SKU: BR.EB-9387
Composed by Christian
Mason. Edition Breitkopf.
New music (post-2000);
Music post-1945. Set of
parts. Composed 2019.
Duration 20'. Breitkopf
and Haertel #EB 9387.
Published by Breitkopf
and Haertel (BR.EB-9387).
ISBN 9790004188576. 0
x 0
inches.
Commissione
d by the Kolner
Philharmonie (KolnMusik)
for the non bthvn projekt
2020 and the Cite de la
musique / Philharmonie de
Paris Dedicated to
Arditti Quartet Each
movement of this quartet
explores a single state,
its lights and its
shadows. Each movement,
you could say, is a
moment . And these
moments could last for
more or less time without
compromising their
essential nature. The
processes could be
extended or compressed,
repeated or reversed, but
the core ideas - if they
are ideas, but maybe they
are simply experiences? -
are what they are.
Despite this, the precise
sequence of movements
matters a great deal.
Heard together they do
articulate some kind of
linear narrative, maybe
even a metaphorical
journey (albeit a
circular one where the
arrival might, who knows,
prove to be a new
departure). One situation
gives way to another and
instrumental
relationships within the
quartet vary, but
ultimately the
imaginative impulse
behind the piece
preferences states of
unity. Whether or not
this unity is expressed
texturally - sometimes
literal unisons pervade,
but not always - there is
generally a sense that
even seemingly diverse
aspects relate to a
fundamental condition of
concord: a conscious
limitation in the pitch
structure to spectral
emanations of the root
notes E-flat and C. At
the opening this is
unambiguously audible in
the perpetual alternation
of these two notes in the
low cello register. Later
the two spectra are woven
into a micro-tonal
'double-spectral-mode'
(derived from the first
24 partials of the C and
E-flat fundamentals),
which defines the subtle
melodic inflection of the
second movement, and the
never-quite-chromatic
ascending scales of the
third. For now this feels
like a rich source of
melodic possibility, so
far only just glimpsed...
And why the insistence on
E-flat? Probably by way
of historical anecdote.
Apparently Karl Holz (a
member of the
Schuppanzigh Quartet)
said to Beethoven: We
performed your Quartet in
E-flat Op. 127 in his
[Weber's] honour; he
found the Adagio too
long; but I told him:
Beethoven also has a
longer feeling and a
longer imagination than
anyone standing or not
standing today. - Since
then, even Linke (another
member of the quartet)
can no longer stand him:
we cannot forgive him for
this. Listening again to
Op. 127, in light of
these comments, I was
struck by the opening
moment: the unfolding of
an E-flat 7th chord over
the course of a few bars.
Every time I hear it I
find myself wishing that
Beethoven would have
lingered longer there,
without resolution or
progression, just
enjoying that sonority.
And maybe - why not? -
tune the 7th naturally.
And what would it be to
stretch that moment into
an entire piece? What
would Weber think of
that?! In the end I was
not so extreme in my
self-limitation, and
other concerns took over,
but it was from these
thoughts that the
composition process
began... Lastly, about
the title: it comes from
a book called 'The Clock
of the Long Now' by
Stewart Brand, published
at the turn of the
millennium. It's about
the creation of a
thousand-year clock to
embody the aspiration to
thinking in terms of
longer time-spans than
are presently habitual.
If the music of Beethoven
embodied a 'longer'
feeling and imagination
than some of his
contemporaries were able
to appreciate, what is
our relation to time now?
Longer or shorter? Maybe
it depends who you ask...
It's probably more
extreme in both
directions: attention
spans might be
diminishing in the
digital world, but
conversely there is an
awareness of distant
pasts and potential
futures which would have
been inconceivable at the
time of Beethoven. In any
case, the interesting
thing is to ponder how
societal conditions,
assumptions and
expectations might -
whether consciously or
unconsciously - influence
the time of art, for
listeners and creators
alike. And what if time
is running out?
(Christian
Mason)
World
premiere: Paris, Cite de
la musique, January 14,
2020.
Composed by Christian Mason. World premiere: Paris, Cite de la musique, Januar...(+)
Composed by Christian
Mason.
World premiere: Paris,
Cite
de la musique, January
14,
2020. Breitkopf and
Haertel
#EB 9377. Published by
Breitkopf and Haertel
For voice and C instrument. Format: fakebook. With vocal melody, lyrics and chor...(+)
For voice and C
instrument. Format:
fakebook. With vocal
melody, lyrics and chord
names. Folk. Series: Hal
Leonard Fake Books. 536
pages. 9.6x12 inches.
Published by Hal Leonard.
(Easy Piano). Arranged by Dan Coates. For Piano. This edition: Easy Piano. B...(+)
(Easy Piano). Arranged by
Dan
Coates. For Piano. This
edition: Easy Piano.
Book;
Piano - Easy Piano
Collection.
The Giant Book of Sheet
Music.
Jazz. Easy Piano. 252
pages.
Published by Alfred Music
The Definitive Paul Simon Songbook by Paul Simon. For Melody Line, Lyrics and Ch...(+)
The Definitive Paul Simon
Songbook by Paul Simon.
For Melody Line, Lyrics
and Chords. Music Sales
America. Folk Rock.
Softcover. 560 pages.
Paul Simon Music
#PS11594. Published by
Paul Simon Music
Composed by Henry Clay Work. Arranged by John W. Schaum. This edition: 2 copies ...(+)
Composed by Henry Clay
Work. Arranged by John W.
Schaum. This edition: 2
copies included. Piano
Quartet (2 Pianos, 8
Hands); Quartet; Solo
Small Ensembles.
Elementary level piece
for the Piano Quartet
event with the National
Federation of Music Clubs
(NFMC) Festivals Bulletin
2008-2009-2010.
Masterwork Arrangement.
Sheet. 8 pages. Belwin
Music #00-PA00646.
Published by Belwin Music
By Timothy Brown. For Piano. The Best of&. The Best of Timothy Brown series cont...(+)
By Timothy Brown. For
Piano. The Best of&. The
Best of Timothy Brown
series contains many of
the composer's best-loved
and most-requested music
for solo piano. Teachers
and students alike will
appreciate the variety of
styles represented in
these selections as they
discover the endless
possibilities of
combining their
imagination with music.
Contents include: The
Evening Star; Mystic
Prelude; The Clock
Sonatina; Melody
Cantabile; Russian
Soldier's Story; and
Farewell to Ireland. Best
of. Level: Early
Intermediate/Intermediate
. Book. Published by The
FJH Music Company, Inc.
61 Golden Oldies. Composed by various artists and composers. This edition: ...(+)
61 Golden Oldies.
Composed
by various artists and
composers. This edition:
Guitar TAB Edition. Book;
Guitar Mixed Folio;
Guitar
TAB. The Guitar
Collection.
Rock. 216 pages.
Published
by Alfred Music
A Fun-Filled One Act
Musical Play.
Composed by Jill and
Michael Gallina.
Musicals. Elementary,
Musicals, Secular.
Duration 1500 seconds.
Published by Shawnee
Press (HL.35030093).
ISBN 9781495008221.
UPC: 888680041380.
6.75x10.5x0.551 inches.
Jill & Michael
Gallina.
With the
popularity of reality TV
dance competitions, your
students and the audience
will be delighted to jump
onto the dance bandwagon
and participate in this
fun filled and uplifting
musical! The classic rock
songs showcased in this
musical have made an
invaluable contribution
to our pop music culture.
Our story takes place in
a senior center where all
is quiet and calm and
perhaps a bit boring;
that is until the Center
Director decides to use
music and dance to bring
fun and excitement into
the lives of the seniors.
Through songs and dances
that were very much a
part of the seniors'
past, the Director, along
with friends and family,
encourage the seniors to
get “off their
rockers†and join
in on the fun. All of the
dances in Off Their
Rockers are easy to learn
with several different
options for performing
them. The dances can be
performed by pairs, small
groups or presented as
full cast production
numbers. If you are
performing the musical
with several classes or
grade levels, you may
choose to assign a
different song and dance
to each class or level.
Songs include: Old Time
Rock and Roll, The
Banjo's Back in Town,
Rock Around the Clock, At
the Hop, The Peppermint
Twist, Dancin' in the
Street. About 25 minutes
in length. For Grades
3-6.