| Essentials of Music Theory: Teacher's Activity Kit, Complete (Books 1-3) Formation musicale - Solfège [Edition pour professeur] Alfred Publishing
Written by Andrew Surmani, Karen Farnum Surmani, Morton Manus. Instructional wor...(+)
Written by Andrew
Surmani, Karen Farnum
Surmani, Morton Manus.
Instructional workbook.
Series: Alfred's
Essentials of Music
Theory. 144 pages.
Published by Alfred
Publishing.
$54.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| 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 | | |
| Alfred's Essentials of Music Theory - Teacher's Activity Kit (Book 1) Formation musicale - Solfège [Livre] Alfred Publishing
(30 Reproducible Activities, Plus 6 Tests) Written by Andrew Surmani, Karen Farn...(+)
(30 Reproducible
Activities, Plus 6 Tests)
Written by Andrew
Surmani, Karen Farnum
Surmani, Morton Manus.
Spiral bound. Format:
instructional book. With
introductory text and
instructional text.
Instructional and General
Theory. 48 pages. 9x12
inches. Published by
Alfred Publishing.
$29.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Lyrical Flute Miniatures Flûte traversière - Facile Theodore Presser Co.
Chamber Music Flute(s) SKU: PR.494032560 Composed by Various. Collection ...(+)
Chamber Music Flute(s)
SKU: PR.494032560
Composed by Various.
Collection - Score.
Theodore Presser Company
#494-03256. Published by
Theodore Presser Company
(PR.494032560). UPC:
680160690428. Lyric
al Flute Miniatures is a
captivating collection of
40 short pieces for
beginner and early
intermediate flute
players of all ages,
exclusively commissioned
from some of today's most
exciting composers.These
musical gems offer a
diverse array of musical
styles, ensuring a rich
and engaging journey into
the world of flute music.
From lyrical melodies to
lively dances, each piece
has been crafted to
nurture both technique
and expressive playing,
exploring the beauty and
versatility of the
flute.There are
biographies of all the
composers at the end of
the flute part, as well
as notes and helpful
performance suggestions
for each work.Free Flute
and Piano recordings, and
Piano backing tracks for
every piece can be found
on YouTube at
“theyoungfluteplayer”
(no spaces) channel, see
the playlist for Lyrical
Flute Miniatures. You can
also find the link and
further information at
www.allegromusicpublishin
g.com/flutemusicLyrical
Flute Miniatures will
delight students, flute
teachers, and audiences
alike, a valuable
addition to your Flute
repertoire! $29.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Folk Songs of the World [Conducteur et Parties séparées] - Intermédiaire De Haske Publications
4 Part Variable Wind Ensemble with Percussion - intermediate SKU: BT.DHP-1216...(+)
4 Part Variable Wind
Ensemble with Percussion
- intermediate SKU:
BT.DHP-1216326-070
Arranged by Wil van der
Beek. Music Box. Folk
Music. Set (Score &
Parts). Composed 2021. De
Haske Publications #DHP
1216326-070. Published by
De Haske Publications
(BT.DHP-1216326-070).
ISBN 9789043162067.
English-German-French-Dut
ch. 1. Emerald
Isle, in this part, the
musical spotlight focuses
in on the green island of
Ireland and its great
wealth of traditional
folk music. The piece
opens with the air
‘My Lodging Is on
the Cold Ground’,
also known under the
title ‘Believe Me,
If All Those Endearing
Young Charms’
(bars 5-24). Next, we
hear another well-known
air ‘The Minstrel
Boy’ (bars 29-44).
Finally, the air
‘The Groves of
Blarney’, possibly
better known as
‘The Last Rose of
Summer’ (bars
53-68) is heard. Each air
is heralded by a short
introduction and brought
to an end by a short
conclusion. 2. Old
Kentucky Memories,
following an introduction
of 14 bars all attention
is claimed by the song
‘My Old Kentucky
Home’. As the
piece goes on, snippets
of memories emerge,
fleetingly, surfacing
fast, but quickly
disappearing again: this
is musically featured by
way of small motifs and
themes from other songs.
These can be heard
briefly, and then they
disappear, musing on Old
Kentucky until the
introduction returns to
end the piece. 3.
Uppland, is a province in
Sweden that had a rich
folk music culture, like
the whole of Sweden, that
boasts many songs and
dances. A notable amount
of these songs and dances
have been composed in
minor keys, three of
which feature in this
part. First, we hear
‘Svensk
folkvisa’(bars
1-38), followed by the
famous
‘Värmlandsvisan
€™ (bars 39-67) and
then brought to an end by
‘Vexelsang’
(bars 68-end). 4.
Ratatouille, in this
part, no folk songs of
just one country or one
province are featured.
This piece is a mishmash
(or ratatouille), a
hotchpotch of three folk
songs with no significant
relation at all. In
succession, we hear a
song from Russia (bars
1-30), one from Japan
(bars 31-58) and one from
Australia (bars 59-end).
The composer of the
Russian song titled
‘The
Nightingale’ is
Alexander Alyabyev (1787
1851), but the composers
of the Japanese song
titled
‘Sakura’ and
the Australian
‘Waltzing
Matilda’ are
unknown.
1.
Emerald Isle, in dit deel
zijn de muzikale
schijnwerpers gericht op
het groene eiland
Ierland, op de grote
rijkdom aan traditionele
volksmuziek. Het werkje
opent met de air
‘My Lodging Is on
the Cold Ground’,
ook bekend onder de titel
‘Believe Me, If All
Those Endearing Young
Charms’ (maat
5-24). Daarna volgt de
bekende air ‘The
Minstrel Boy’
(maat 29-44). En ten
slotte horen we nog de
air ‘The Groves of
Blarney’,
misschien beter bekend
als ‘The Last Rose
of Summer’ (maat
53-68). Elke air wordt
voorafgegaan door een
korte inleiding en
beëindigd met een
korte afsluiting. 2. Old
Kentucky Memories, na een
inleiding van 14 maten
(deels ook als afsluiting
van dit deel gebruikt)
wordt alle aandacht
opgeëist door de song
‘My Old Kentucky
Home’. Al gauw
doemen er echter flarden
van herinneringen op,
vluchtig, snel opkomend,
maar ook weer snel
verdwijnend: dit krijgt
muzikaal gestalte door
middel van motiefjes en
thema’s uit andere
songs. Deze zijn even
hoorbaar en dan weer vlug
verdwenen... Mijmeren
over Old Kentucky dus...
3. Uppland, is een
provincie in Zweden met
een rijke muziekcultuur,
zoals heel Zweden
trouwens ruim bedeeld is
met volksliederen en
volksdansen. Opvallend
veel van deze liederen en
dansen zijn gecomponeerd
in mineurtoonsoorten. Dit
is ook het geval met de
drie voor dit deel
uitgekozen songs: als
eerste ‘Svensk
folkvisa’(maat
1-38), gevolgd door het
bekende
‘Värmlandsvisan
€™ (maat 39-67) en
tot besluit
‘Vexelsang’
(maat 68-slot). 4.
Ratatouille, in dit deel
worden geen volksliedjes
van één land of
één provincie
belicht. Dit werkje is
een
‘ratjetoe’
(ratatouille), een
allegaartje van drie
folksongs die onderling
geen enkel verband met
elkaar hebben: de enige
overeenkomst is dat ze
alle drie als volksmuziek
bestempeld kunnen worden.
Achtereenvolgens klinkt
er een lied uit Rusland
(maat 1-30), uit Japan
(maat 31-58) en uit
Australië (maat
59-slot). Van het
Russische lied met de
titel ‘De
nachtegaal’ is de
componist bekend: dat is
Aleksandr Aljabjev (1787
1851). Van het Japanse
lied
‘Sakura’ en
de Australische song
‘Waltzing
Matilda’ kennen we
niet de componist
niet.
1. Emerald
Isle, in diesem Abschnitt
richtet sich die
musikalische
Aufmerksamkeit auf die
grüne Insel Irland mit
ihrem großen Reichtum
an traditioneller
Volksmusik. Das Stück
beginnt mit der Melodie
My Lodging Is on the Cold
Ground“, auch
bekannt unter dem Titel
Believe Me, If All Those
Endearing Young
Charms“ (Takt
5-24). Anschließend
erklingt die bekannte
Melodie The Minstrel
Boy“ (Takt 29-44).
Schließlich ist The
Groves of Blarney“,
vielleicht bekannter
unter dem Titel The Last
Rose of Summer“
(Takt 53-68), zu
hören. Jede Melodie
wird durch eine kurze
Einleitung angekündigt
und mit einem kurzen
Nachspiel beendet. 2. Old
Kentucky Memories, nach
einer 14 Takte dauerndern
Einleitung tritt das Lied
My Old Kentucky
Home“ in den
Mittelpunkt. Im weiteren
Verlauf des Stücks
erscheinen
bruchstückhafte
Erinnerungen, die fast so
schnell wieder
verschwinden, wie sie
auftauchen. Dies wird
musikalisch durch kleine
Motive und Themen aus
anderen Liedern
dargestellt. Diese sind
kurz zu hören und
verschwinden dann,
während man über
Old Kentucky nachdenkt,
bis die Einleitung wieder
erklingt, die zum Schluss
des Stückes führt.
3. Uppland, ist eine
schwedische Provinz, die
wie ganz Schweden eine
reiche Volksmusikkultur
mit vielen Liedern und
Tänzen hat. Eine
große Anzahl der
Lieder und Tänze, von
denen drei in diesem
Abschnitt enthalten sind,
stehen in Moll-Tonarten.
Zuerst hören wir
Svensk folkvisa“
(Takt 1-38), darauf
erklingt das berühmte
Värmlandsvisan“
(Takt 39-67) und am Ende
Vexelsang“ (Takt
68-end). 4. Ratatouille,
in diesem Abschnitt
werden nicht die
Volkslieder eines
einzigen Landes oder
einer einzigen Provinz
vorgestellt, sondern das
Stück ist ein Mischung
(oder Ratatouille“)
aus drei Volksliedern,
die keinerlei Beziehung
zueinander haben.
Zunächst erklingt ein
Lied aus Russland (Takt
1-30), dann eines aus
Japan (Takt 31-58) und
zum Schluss eines aus
Australien (Takt
59-Ende). Der Komponist
des russischen Liedes mit
dem Titel The
Nightingale“ ist
Alexander Alyabyev (1787
1851). Die Komponisten
des japanischen Liedes
Sakura“ und der
australischen Melodie
Waltzing Matilda“
sind unbekannt.
1.
Emerald Isle (ÃŽle
d’émeraude),
cette première partie
met en vedette la
verdoyante île
d’Irlande et son
riche patrimoine de
musique folklorique
traditionnelle. Elle
s’ouvre avec «
My Lodging Is on the Cold
Ground », un air
également connu sous
le titre « Believe Me,
If All Those Endearing
Young Charms »
(mesures 5-24). Vient
ensuite un autre air
célèbre, « The
Minstrel Boy »
(mesures 29-44),
lui-même suivi de «
The Groves of Blarney
», peut être mieux
connu sous le titre «
The Last Rose of Summer
» (mesures 53-68).
Chaque air est annoncé
par une courte
introduction et
s’achève avec
une courte conclusion. 2.
Old Kentucky Memories
(Souvenirs du vieux
Kentucky), après une
introduction de 14
mesures, toute
l’attention se
porte sur la chanson «
My Old Kentucky Home
». A fil de la
pièce, des fragments
de souvenirs fugaces
émergent,
disparaissant aussi vite
qu’ils se
présentent : cette
impression est
créée par le biais
de courts motifs et
thèmes empruntés
d’autres chansons.
On les entend
brièvement puis ils
s’estompent, comme
de lointains souvenirs du
vieux Kentucky,
jusqu’ une reprise
de l’introduction
pour conclure la
pièce. 3. Uppland, est
une province suédoise
aux riches traditions
musicales, tout comme
l’ensemble de la
Suède, qui compte de
nombreuses danses et
chansons. Beaucoup sont
en tonalité mineure,
et cette partie en
comprend trois. La
première est «
Svensk folkvisa »
(mesures 1-38), qui est
suivie de «
‘Värmlandsvisan
» (mesures 39-67), et
la pièce
s’achève avec
« Vexelsang »
(mesure 68 jusqu’
la fin). 4. Ratatouille,
cette dernière partie
ne comprend pas
d’air provenant
d’un seul pays.
C’est un
méli-mélo, une «
ratatouille » de trois
chansons folkloriques
sans aucun lien. Il y a
d’abord une
chanson russe, « Le
Rossignol » (mesures
1-30), puis « Sakura
», originaire du Japon
(mesures 31-58) et,
enfin, « Waltzing
Matilda », venue
d’Australie
(mesure 59 jusqu’
la fin). La chanson russe
est d’Alexander
Alyabyev (1787-1851),
mais nous ignorons les
auteurs des deux autres
chansons. $36.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Hope Remains Within [Conducteur] - Facile Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bongos, Brake Drum, Chimes, Clarinet 1, ...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bongos,
Brake Drum, Chimes,
Clarinet 1, Clarinet 2,
Euphonium, Euphonium
T.C., Flute 1, Flute 2,
Horn, Mallet Percussion
1, Mallet Percussion 2,
Oboe, Percussion 1,
Percussion 2, Percussion
3, Snare Drum and more. -
Grade 2.5 SKU:
CF.YPS217F Composed
by Zachary Cairns. Sws.
Yps. Full score. 24
pages. Duration 4
minutes, 48 seconds. Carl
Fischer Music #YPS217F.
Published by Carl Fischer
Music (CF.YPS217F).
ISBN 9781491156551.
UPC: 680160915095. 9 x 12
inches. Hope
Remains Within was
commissioned by and
composed for the Mount
Nittany Middle School 7th
and 8th Grade Concert
Bands. Having heard the
students of Mount Nittany
perform another work of
mine, I was very excited
when their director,
Johanna Steinbacher,
approached me about
writing a piece
specifically for them. I
knew right away that I
wanted to write something
that would tie in with
their non-music
curriculum in some way,
but I wasn't exactly sure
how, or what. Johanna
talked to some of her
students and learned
that, in 7th grade, the
students spend a good
deal of time studying
mythology in their
English class. In
particular, two clarinet
students mentioned how
much they enjoyed the
story of Pandora. As
such, I decided to use
that story as the basis
of this composition. Hope
Remains Within doesn't
attempt to re-tell the
story, event by event, in
musical terms. Instead,
my goal was to address
what seems to be one of
the central issues of the
Pandora myth. Though
there are some
variations, we probably
all know the basics as
told by the ancient Greek
poet Hesiod. Zeus decides
to punish Prometheus for
stealing fire from heaven
and giving it to humans.
He and the other gods
create Pandora, a
beautiful and deceitful
woman, and they give her
to Prometheus's brother
Epimetheus as a bride.
Pandora is herself given
a jar (according to many
sources, jar seems to be
a more accurate
translation for what we
commonly call Pandora's
box) which contained
numerous evils, diseases,
and other pains. Out of
curiosity, Pandora opens
the jar and releases all
of these evils into the
world. But one thing
remains in the jar: hope.
The issue of hope seems
to be one of the big
interpretive questions of
the Pandora myth. Why
does hope remain within
the jar? Why doesn't it
come out of the jar to
help humanity? Is hope
being held on a pedestal
of some sort? Is hope
deliberately withheld
from humanity? Why was
hope in the jar with all
those evils in the first
place? I'm not enough of
a mythological scholar to
claim to have definitive
answers to those
questions, but these are
the questions that I've
tried to engage from a
musical perspective in
Hope Remains Within. I
encourage the students
and listeners to consider
their own ideas of what
hope is, and where you
can find your own hope
when needed. Musically,
Hope Remains Within draws
one of its main themes
from the Prometheus
Symphony by Alexander
Skryabin (Scriabin). The
note sequence F-D-Gb -F,
heard near Hope's
beginning played by alto
saxophones and chimes,
comes from the opening
measures of Skyrabin's
work. Given the important
role that Prometheus
plays in the Pandora
myth, this seemed like an
appropriate musical
gesture to quote. This
Prometheus motive is
varied throughout the
course of the piece, and
even provides closure at
the end, recast in a
major key. Additionally,
I have tried to involve a
manageable amount of
chromaticism in this
piece. I have worked from
the key of Bb major, no
doubt familiar to every
student who has ever
played an instrument in a
band. But I have added
three extra notes: Db,
Gb, and Ab, which are
drawn from the key of Bb
minor. During the piece's
slow opening, I have
allowed these minor key
pitches to mingle freely
within the Bb major
tonality, adding extra
color and (I hope!)
beauty. As the piece
progresses, though, the
tempo increases, and we
lose sense of the Bb
major key entirely, and
these extra notes play a
more important role. But
finally, Bb major returns
triumphantly and all the
extra notes are gone,
except for a brief memory
near the very end. (Ok,
there are a couple of
E-naturals that sneak in
there along the way. I
couldn't
resist.). Hope Remains
Within was commissioned
by and composed for the
Mount Nittany Middle
School 7th and 8th Grade
Concert Bands. Having
heard the students of
Mount Nittany perform
another work of mine, I
was very excited when
their director, Johanna
Steinbacher, approached
me about writing a piece
specifically for them. I
knew right away that I
wanted to write something
that would tie in with
their non-music
curriculum in some way,
but I wasn’t
exactly sure how, or
what. Johanna talked to
some of her students and
learned that, in 7th
grade, the students spend
a good deal of time
studying mythology in
their English class. In
particular, two clarinet
students mentioned how
much they enjoyed the
story of Pandora.As such,
I decided to use that
story as the basis of
this composition. Hope
Remains Within
doesn’t attempt to
re-tell the story, event
by event, in musical
terms. Instead, my goal
was to address what seems
to be one of the central
issues of the Pandora
myth. Though there are
some variations, we
probably all know the
basics as told by the
ancient Greek poet
Hesiod. Zeus decides to
punish Prometheus for
stealing fire from heaven
and giving it to humans.
He and the other gods
create Pandora, a
beautiful and deceitful
woman, and they give her
to Prometheus’s
brother Epimetheus as a
bride. Pandora is herself
given a jar (according to
many sources,
“jar†seems
to be a more accurate
translation for what we
commonly call
“Pandora’s
boxâ€) which
contained numerous evils,
diseases, and other
pains. Out of curiosity,
Pandora opens the jar and
releases all of these
evils into the world. But
one thing remains in the
jar: hope.The issue of
hope seems to be one of
the big interpretive
questions of the Pandora
myth. Why does hope
remain within the jar?
Why doesn’t it
come out of the jar to
help humanity? Is hope
being held on a pedestal
of some sort? Is hope
deliberately withheld
from humanity? Why was
hope in the jar with all
those evils in the first
place?I’m not
enough of a mythological
scholar to claim to have
definitive answers to
those questions, but
these are the questions
that I’ve tried to
engage from a musical
perspective in Hope
Remains Within. I
encourage the students
and listeners to consider
their own ideas of what
hope is, and where you
can find your own hope
when needed.Musically,
Hope Remains Within draws
one of its main themes
from the Prometheus
Symphony by Alexander
Skryabin (Scriabin). The
note sequence F-D-Gb -F,
heard near Hope’s
beginning played by alto
saxophones and chimes,
comes from the opening
measures of
Skyrabin’s work.
Given the important role
that Prometheus plays in
the Pandora myth, this
seemed like an
appropriate musical
gesture to quote. This
Prometheus motive is
varied throughout the
course of the piece, and
even provides closure at
the end, recast in a
major key.Additionally, I
have tried to involve a
manageable amount of
chromaticism in this
piece. I have worked from
the key of Bb major, no
doubt familiar to every
student who has ever
played an instrument in a
band. But I have added
three extra notes: Db,
Gb, and Ab, which are
drawn from the key of Bb
minor. During the
piece’s slow
opening, I have allowed
these minor key pitches
to mingle freely within
the Bb major tonality,
adding extra color and (I
hope!) beauty. As the
piece progresses, though,
the tempo increases, and
we lose sense of the Bb
major key entirely, and
these extra notes play a
more important role. But
finally, Bb major returns
triumphantly and all the
extra notes are gone,
except for a brief memory
near the very end. (Ok,
there are a couple of
E-naturals that sneak in
there along the way. I
couldn’t
resist.). $11.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Hope Remains Within - Facile Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bongos, Brake Drum, Chimes, Clarinet 1, ...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bongos,
Brake Drum, Chimes,
Clarinet 1, Clarinet 2,
Euphonium, Euphonium
T.C., Flute 1, Flute 2,
Horn, Mallet Percussion
1, Mallet Percussion 2,
Oboe, Percussion 1,
Percussion 2, Percussion
3, Snare Drum and more. -
Grade 2.5 SKU:
CF.YPS217 Composed by
Zachary Cairns. Folio.
Yps. Set of Score and
Parts.
8+8+4+8+8+4+2+6+4+4+4+8+8
+8+8+6+6+6+4+6+4+2+2+4+6+
10+24 pages. Duration 4
minutes, 48 seconds. Carl
Fischer Music #YPS217.
Published by Carl Fischer
Music (CF.YPS217).
ISBN 9781491156544.
UPC: 680160915088. 9 x 12
inches. Hope
Remains Within was
commissioned by and
composed for the Mount
Nittany Middle School 7th
and 8th Grade Concert
Bands. Having heard the
students of Mount Nittany
perform another work of
mine, I was very excited
when their director,
Johanna Steinbacher,
approached me about
writing a piece
specifically for them. I
knew right away that I
wanted to write something
that would tie in with
their non-music
curriculum in some way,
but I wasn't exactly sure
how, or what. Johanna
talked to some of her
students and learned
that, in 7th grade, the
students spend a good
deal of time studying
mythology in their
English class. In
particular, two clarinet
students mentioned how
much they enjoyed the
story of Pandora. As
such, I decided to use
that story as the basis
of this composition. Hope
Remains Within doesn't
attempt to re-tell the
story, event by event, in
musical terms. Instead,
my goal was to address
what seems to be one of
the central issues of the
Pandora myth. Though
there are some
variations, we probably
all know the basics as
told by the ancient Greek
poet Hesiod. Zeus decides
to punish Prometheus for
stealing fire from heaven
and giving it to humans.
He and the other gods
create Pandora, a
beautiful and deceitful
woman, and they give her
to Prometheus's brother
Epimetheus as a bride.
Pandora is herself given
a jar (according to many
sources, jar seems to be
a more accurate
translation for what we
commonly call Pandora's
box) which contained
numerous evils, diseases,
and other pains. Out of
curiosity, Pandora opens
the jar and releases all
of these evils into the
world. But one thing
remains in the jar: hope.
The issue of hope seems
to be one of the big
interpretive questions of
the Pandora myth. Why
does hope remain within
the jar? Why doesn't it
come out of the jar to
help humanity? Is hope
being held on a pedestal
of some sort? Is hope
deliberately withheld
from humanity? Why was
hope in the jar with all
those evils in the first
place? I'm not enough of
a mythological scholar to
claim to have definitive
answers to those
questions, but these are
the questions that I've
tried to engage from a
musical perspective in
Hope Remains Within. I
encourage the students
and listeners to consider
their own ideas of what
hope is, and where you
can find your own hope
when needed. Musically,
Hope Remains Within draws
one of its main themes
from the Prometheus
Symphony by Alexander
Skryabin (Scriabin). The
note sequence F-D-Gb -F,
heard near Hope's
beginning played by alto
saxophones and chimes,
comes from the opening
measures of Skyrabin's
work. Given the important
role that Prometheus
plays in the Pandora
myth, this seemed like an
appropriate musical
gesture to quote. This
Prometheus motive is
varied throughout the
course of the piece, and
even provides closure at
the end, recast in a
major key. Additionally,
I have tried to involve a
manageable amount of
chromaticism in this
piece. I have worked from
the key of Bb major, no
doubt familiar to every
student who has ever
played an instrument in a
band. But I have added
three extra notes: Db,
Gb, and Ab, which are
drawn from the key of Bb
minor. During the piece's
slow opening, I have
allowed these minor key
pitches to mingle freely
within the Bb major
tonality, adding extra
color and (I hope!)
beauty. As the piece
progresses, though, the
tempo increases, and we
lose sense of the Bb
major key entirely, and
these extra notes play a
more important role. But
finally, Bb major returns
triumphantly and all the
extra notes are gone,
except for a brief memory
near the very end. (Ok,
there are a couple of
E-naturals that sneak in
there along the way. I
couldn't
resist.). Hope Remains
Within was commissioned
by and composed for the
Mount Nittany Middle
School 7th and 8th Grade
Concert Bands. Having
heard the students of
Mount Nittany perform
another work of mine, I
was very excited when
their director, Johanna
Steinbacher, approached
me about writing a piece
specifically for them. I
knew right away that I
wanted to write something
that would tie in with
their non-music
curriculum in some way,
but I wasn’t
exactly sure how, or
what. Johanna talked to
some of her students and
learned that, in 7th
grade, the students spend
a good deal of time
studying mythology in
their English class. In
particular, two clarinet
students mentioned how
much they enjoyed the
story of Pandora.As such,
I decided to use that
story as the basis of
this composition. Hope
Remains Within
doesn’t attempt to
re-tell the story, event
by event, in musical
terms. Instead, my goal
was to address what seems
to be one of the central
issues of the Pandora
myth. Though there are
some variations, we
probably all know the
basics as told by the
ancient Greek poet
Hesiod. Zeus decides to
punish Prometheus for
stealing fire from heaven
and giving it to humans.
He and the other gods
create Pandora, a
beautiful and deceitful
woman, and they give her
to Prometheus’s
brother Epimetheus as a
bride. Pandora is herself
given a jar (according to
many sources,
“jar†seems
to be a more accurate
translation for what we
commonly call
“Pandora’s
boxâ€) which
contained numerous evils,
diseases, and other
pains. Out of curiosity,
Pandora opens the jar and
releases all of these
evils into the world. But
one thing remains in the
jar: hope.The issue of
hope seems to be one of
the big interpretive
questions of the Pandora
myth. Why does hope
remain within the jar?
Why doesn’t it
come out of the jar to
help humanity? Is hope
being held on a pedestal
of some sort? Is hope
deliberately withheld
from humanity? Why was
hope in the jar with all
those evils in the first
place?I’m not
enough of a mythological
scholar to claim to have
definitive answers to
those questions, but
these are the questions
that I’ve tried to
engage from a musical
perspective in Hope
Remains Within. I
encourage the students
and listeners to consider
their own ideas of what
hope is, and where you
can find your own hope
when needed.Musically,
Hope Remains Within draws
one of its main themes
from the Prometheus
Symphony by Alexander
Skryabin (Scriabin). The
note sequence F-D-Gb -F,
heard near Hope’s
beginning played by alto
saxophones and chimes,
comes from the opening
measures of
Skyrabin’s work.
Given the important role
that Prometheus plays in
the Pandora myth, this
seemed like an
appropriate musical
gesture to quote. This
Prometheus motive is
varied throughout the
course of the piece, and
even provides closure at
the end, recast in a
major key.Additionally, I
have tried to involve a
manageable amount of
chromaticism in this
piece. I have worked from
the key of Bb major, no
doubt familiar to every
student who has ever
played an instrument in a
band. But I have added
three extra notes: Db,
Gb, and Ab, which are
drawn from the key of Bb
minor. During the
piece’s slow
opening, I have allowed
these minor key pitches
to mingle freely within
the Bb major tonality,
adding extra color and (I
hope!) beauty. As the
piece progresses, though,
the tempo increases, and
we lose sense of the Bb
major key entirely, and
these extra notes play a
more important role. But
finally, Bb major returns
triumphantly and all the
extra notes are gone,
except for a brief memory
near the very end. (Ok,
there are a couple of
E-naturals that sneak in
there along the way. I
couldn’t
resist.). $75.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Music Expressions Grade 2 Formation musicale - Solfège Alfred Publishing
(Teacher Curriculum Package). This edition: Teacher Curriculum Package. Classroo...(+)
(Teacher Curriculum
Package). This edition:
Teacher Curriculum
Package.
Classroom/Pre-School;
Method/Instruction; Other
Classroom; Reference
Textbooks; Textbook -
Classroom. Expressions
Music Curriculumâ?¢.
Published by Alfred Music
.
$220.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Joy Of Piano Duets
1 Piano, 4 mains [Partition] Music Sales
Arranged by Denes Agay. Book. Published by Music Sales. These familiar melodies...(+)
Arranged by Denes Agay.
Book. Published by Music
Sales. These familiar
melodies for one piano,
four hands are in
arrangements equally easy
for both players, with
the melody alternating
between the two. The
collection includes
Careless Love, Jamaica
Farewell, and many more
favorites.
(2)$14.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Together We Can Improvise, Volume 2 Formation musicale - Solfège [Livre + CD] Alfred Publishing
(Three Units Based on Stories and Themes for Teachers 4-6 and Teaching Artists...(+)
(Three Units Based on
Stories
and Themes for Teachers
4-6
and Teaching Artists). By
Lois
Kipnis, Kim McCord, and
Louise
Rogers. Book; CD;
Classroom/Pre-School;
General
Music and Classroom
Publications; Other
Classroom.
160 pages. Published by
Alfred
Music Publishing
$29.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Joy of Piano Duets 1 Piano, 4 mains [Partition + Accès audio] Yorktown Music Press
Joy Of. Classical. Book with Online Audio. Composed 2013. 80 pages. Yorktown...(+)
Joy Of. Classical. Book
with
Online Audio. Composed
2013.
80 pages. Yorktown Music
Press
#YK22066. Published by
Yorktown Music Press
$20.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Ad Libitum (im1) Cahiers Complets De Formation Musicale En 3 Volumes, Appren Formation musicale - Solfège Leduc, Alphonse
SKU: HL.48186332 Leduc. CD. 56 pages. Alphonse Leduc #AL30528. Published ...(+)
SKU: HL.48186332
Leduc. CD. 56 pages.
Alphonse Leduc #AL30528.
Published by Alphonse
Leduc (HL.48186332).
UPC: 888680839604.
9.0x12.0x0.225
inches. Ad Libitum
? Volume 1 (IM1) is the
first volume of three
books preparing and
teaching the basics of
music theory, published
in 2012. The book
presents guidance for the
teachers in blue boxes
along the exercises and
also teaches how to read
music by a relative
reading of the position
of each notes. The book
contains lessons,
exercises and initial
reading of G, F and C
keys. Learning is also
facilitated thanks to the
use of basic melodies and
nursery rhymes. Content:
1.Relative reading and
positioning 2.Keys G and
F 3.Rhythms 4.Singing
5.Theory 6.Listening
development Written by
Martine Neumayer (born
1964), a French pianist
and music theory teacher,
this method will enable a
good and quick
understanding of music
theory basics.. $24.55 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Serious Guitarist -- Essential Book of Gear Guitare [Livre + CD] Alfred Publishing
(A Comprehensive Guide to Guitars, Amps, and Effects for the Dedicated Guitarist...(+)
(A Comprehensive Guide to
Guitars, Amps, and
Effects for the Dedicated
Guitarist). By Tobias
Hurwitz. For Guitar.
Book; CD; Guitar
Reference; Reference
Textbooks. The Serious
Guitarist. 128 pages.
Published by Alfred Music
$19.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Succeeding at the Piano, Lesson and Technique Book (with CD) Preparatory Piano seul [Partition + CD] FJH
2nd Edition. Composed by Helen Marlais. Book. Succeeding at the Piano. Me...(+)
2nd Edition.
Composed by Helen
Marlais. Book. Succeeding
at the Piano. Method book
and CD. Published by The
FJH Music Company Inc
(FJ.FJH2266).
$10.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Music In The Making Formation musicale - Solfège Alfred Publishing
| | |
| Lyrical Flute Miniatures Flûte traversière et Piano [Partition + Accès audio] Music Distribution Services
Flute and piano SKU: M7.APUE-516315 Edited by Karen North. Score with onl...(+)
Flute and piano SKU:
M7.APUE-516315 Edited
by Karen North. Score
with online audio files.
Score and part. 160
pages. MDS (Music
Distribution Services)
#APUE 516315. Published
by MDS (Music
Distribution Services)
(M7.APUE-516315). ISBN
9781875516315. Thes
e musical gems offer a
diverse array of musical
styles, ensuring a rich
and engaging journey into
the world of flute music.
From lyrical melodies to
lively dances, each piece
has been crafted to
nurture both technique
and expressive playing,
exploring the beauty and
versatility of the flute.
There are biographies of
all the composers at the
end of the flute part, as
well as notes and helpful
performance suggestions
for each work. Free Flute
and Piano recordings, and
Piano backing tracks for
every piece can be found
on YouTube at
'theyoungfluteplayer' (no
spaces) channel, see the
playlist for Lyrical
Flute Miniatures. You can
also find the link and
further information at
www.allegromusicpublishin
g.com/flutemusic Lyrical
Flute Miniatures will
delight students, flute
teachers, and audiences
alike, a valuable
addition to your Flute
repertoire! $48.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| The Trombone in the Attic Trombone et Piano [Partition + CD] Carl Fischer
20 Short Recital and Study Pieces for the Intermediate Player. Composed b...(+)
20 Short Recital and
Study Pieces for the
Intermediate Player.
Composed by John Walker.
Edited by Don Crowe.
Score and audio CD. 28
pages. Carl Fischer
#WF00170. Published by
Carl Fischer (CF.WF170).
$16.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| In the Spotlights [Conducteur et Parties séparées] - Intermédiaire De Haske Publications
Variable Trio with Drum Ad. Lib. - intermediate SKU: BT.DHP-0970802-070 A...(+)
Variable Trio with Drum
Ad. Lib. - intermediate
SKU:
BT.DHP-0970802-070
Arranged by Otto M.
Schwarz. Music Box.
TV-Film-Musical-Show. Set
(Score & Parts). Composed
1997. De Haske
Publications #DHP
0970802-070. Published by
De Haske Publications
(BT.DHP-0970802-070).
ISBN
9789043130417. A
great value publication
that includes
arrangements of: James
Bond Theme, Meet the
Flintstones,
Gabriel’s Oboe,
Conquest of Paradise,
Love Story, What A
Wonderful World and
The Pink
Panther.Part 1 Picc
Fl Ob Bb/Eb Clar S Sax A
Sax Tpt Part 2 Cor Ang Bb
Clar Eb Clar Tpt Hn Part
3 Bass Clar T Sax Bari
Sax Bsn Trom Euph Tuba
Opt. Perc
Inhoud:
James Bond Theme, Meet
the Flintstones,
Gabriel’s Oboe,
Conquest of Paradise,
Love Story, What a
Wonderful World, The Pink
Panther
Otto
M. Schwarz arrangierte
bekannte Filmthemen
für ein variables
Bläsertrio.Part 1 Picc
Fl Ob Kl B/Es S-Sax A-Sax
Trp Part 2 Cor Ang Kl B
A-Kl Trp Hn Part 3 B-Kl
T-Sax B-Sax Fg Pos Euph
Tuba Opt. Perc
Part 1 Picc Fl
Htb Cl.
Si♭/Mi♭ Sax.
S. Sax. A. Trp. Part 2
Cor Angl. Cl. Si♭
Cl. Alto Trp Cor Part 3
Cl. Basse Sax. T. Sax. B.
Basson Trb Euph. Tuba
Opt. Perc
Otto M.
Schwarz arrangia famose
colonne sonore di film
per trio variabile di
strumenti a fiato. Part 1
Picc Fl Ob Kl B/Es S-Sax
A-Sax Trp Part 2 Cor Ang
Kl B A-Kl Trp Hn Part 3
B-Kl T-Sax B-Sax Fg Pos
Euph Tuba Opt. Perc. $26.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| 100 Etudes, Exercises and Simple Tonal Phrases Volume 1 Piano seul - Facile Schott
Piano - easy to intermediate SKU: HL.49045014 For Piano. Composed ...(+)
Piano - easy to
intermediate SKU:
HL.49045014 For
Piano. Composed by
Nicholas Lens. This
edition: Saddle
stitching. Sheet music.
Piano. Classical, Etude.
Softcover. 86 pages.
Duration 75'. Schott
Music #ED 22049.
Published by Schott Music
(HL.49045014). ISBN
9790001202114. 9.0x12.0
inches. The Belgian
composer Nicholas Lens
presents extremely varied
etudes, exercises and
simple phrases with
wonderfully telling
titles from poetry and
everyday world for
children and adults. For
the most part the studies
are tonal and simple and
have no constructed line.
They are not based on any
educational concept but
leave the musical
dramatization to the
pupils and teachers:
'Notes and rhythms are
just notes and rhythms,
they do not have that
many rules, they do not
have any pretension, they
are just tools for you to
use to express what you
want to share'. $64.00 - Voir plus => Acheter | | |
| Fluano Pianute Flûte traversière et Piano [Reduction] Theodore Presser Co.
For Flute and Piano. By Robert Maggio. Mixed chamber ensemble. For Flute, Piano....(+)
For Flute and Piano. By
Robert Maggio. Mixed
chamber ensemble. For
Flute, Piano. First
performed November 16,
1992 at Swope Auditorium,
West Chester, PA, by
Emily Swartley-Newbold,
flute, and Benjamin
Whitten, piano.
Classical. Solo part with
piano reduction. 31
pages. Duration 15:00.
Published by Theodore
Presser Company.
$30.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Creative Connections Formation musicale - Solfège [Partition + CD] Alfred Publishing
And the Art of Play in the Music Classroom. Composed by Jane Barbe. Book;...(+)
And the Art of Play in
the Music Classroom.
Composed by Jane Barbe.
Book; CD;
Classroom/Pre-School;
General Music and
Classroom Publications;
Reproducible. 40 pages.
Published by Alfred Music
(AP.42860).
$24.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| 'round The Seasons Songbook Eveil Musical Alfred Publishing
Choral/Vocal (Music and Classroom Publications). Published by Alfred Publishing...(+)
Choral/Vocal (Music and
Classroom Publications).
Published by Alfred
Publishing.
$19.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| LYADOV : Preludes Trifles and Other Pieces Piano seul - Facile ABRSM Publishing
By LYADOV. For piano. Published by ABRSM (Associated Board of the Royal Schools ...(+)
By LYADOV. For piano.
Published by ABRSM
(Associated Board of the
Royal Schools of Music).
$11.99 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
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