| Rise Up Singing
Paroles et Accords [Partition] Hal Leonard
The Group Singing Songbook. By Various. Vocal. Size 9.5x12 inches. 281 pages. Pu...(+)
The Group Singing
Songbook. By Various.
Vocal. Size 9.5x12
inches. 281 pages.
Published by Hal Leonard.
(1)$39.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Fake Book Of The World's Favorite Songs - C Instruments - 4th Edition
Instruments en Do [Fake Book] Hal Leonard
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.
(14)$34.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Folksong Fake Book - C Edition
Fake Book [Fake Book] Hal Leonard
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.
(10)$34.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Quintet in F Major, K. 497 Carl Fischer
Chamber Music Cello, Flute, Viola 1, Viola 2, Violin SKU: CF.MXE219 Compo...(+)
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. Preface In
1990, during an intense
rehearsal of a Mozart
Quartet transcription for
flute and strings by
Franz Anton Hoffmeister,
at the Marblehead Summer
Music Festival, a
disgruntled violist
friend complained about
HoffmeisterAs awkward
string writing, suddenly
daring me to create my
own arrangement. I
balked. But the following
winterA3despite scruples
about treading on
hallowed groundA3I grew
curious and began to
experiment. Soon I was
hooked on the challenge
of learning to speak
MozartAs language with
conviction. This
fascination, encouraged
by pianist Richard Goode
and other Mozarteans,
would eventually generate
a total of thirty-nine
recreations of Mozart
piano sonatas as works
for flute and strings.
With zero tolerance for
alteration of melodic or
harmonic
materialA3MozartAs friend
Hoffmeister had
regrettably attempted
such
A!improvementsA(r)A3I
always tried to envision
what Mozart himself would
have desired. Many of the
sonatas can be heard as
if they were MozartAs
A!blueprintsA(r) of
imagined chamber works.
Hence my task was to
A!flesh outA(r) the
keyboard versions as
Mozart might have done,
had a commission or
performance opportunity
arisen. I spent hours
pondering how Mozart
might have set these
sonatas in four- or
five-part form, providing
the needed textural or
contrapuntal
enhancements. With
immersion in the
composerAs dialect,
various apt solutions
presented themselves. The
search for the
A!rightA(r) one then
became a most absorbing
study. On the eve of
releasing my BognerAs
CafA recording of
Mozart-Stallman New
Quintets (2006), I
discovered to my delight
that a prominent scholar
had long before endorsed
such an effort. Eric Blom
(1888A+-1959), author of
Mozart (1935), had taken
note of the four-hand
piano works as A!a kind
of keyboard chamber
music.A(r) Regarding
Sonata, K. 497, Mr. Blom
had observed that Mozart
is often dealing with,
not the expected four
voices (one to a hand),
but five. Blom states:
A!The F major Sonata (K.
497) removes us to
another worldA3the world
of the great chamber
music, especially of the
string quintets. Indeed
an arrangement of some
sort for a combination of
instruments would make a
magnificent concert work
of this almost
uncomfortably great piece
of domestic music.A(r)
That Mozart was in 1786
writing for piano duo
from a quintet
perspective makes sense,
as we find him returning
to the quintet form with
keen interest in his last
years, writing four
String Quintets, the
Clarinet Quintet,
rearranging a wind
serenade for String
Quintet, and leaving
several other quintets
incomplete. My
arrangement presented
here is made for flute
and strings but is also
intended for string
quintet. Quintet in F
Major for Flute and
Strings, K. 497, was
completed in 1999 and
performed with the Martin
Quartet in the Czech
Republic prior to
recording it in 2004.
Mozart had finished the
original Sonata in F
Major for Piano,
Four-Hands, K. 497, on
August 1, 1786. It shows
the unmistakable
influence of Figaro,
completed and premiered
exactly three months
prior. As signaled by the
imposing introductory
Adagio, the conception is
on a grand symphonic
scale, all three
movements being richly
developed with
contrapuntal episodes and
an abundance of
marvelously contrasting
textures and themes
throughout. Called A!the
crowning work of its
kindA(r) by Alfred
Einstein, the Sonata is
laden with examples of
MozartAs mercurial
originality. Here we have
a perfect synthesis of
concertante brilliance,
operatic intensity and
intimate dialogue. The
work opens in unison with
a probing, minor-tinged
Adagio, whose question
comes to a pause on the
dominant, before being
answered with jaunty
certainty by the opening
theme of the Allegro di
moltoA3an F-major tune as
sunny and confident as an
aria from Figaro itself.
This movementAs
declamatory A!opera
chorusA(r) persistently
intones its rhythmic
motto over a swirling
scale figure. The amorous
second theme (initially
presented in the first
viola) also seems to be
plucked from Figaro. The
Andante opens with a
heavenly melody, which
takes as its springboard
the Romanza theme from
the Horn Concerto in E
Major, K. 495, written
only five weeks before.
The A!love duetA(r)
between flute and first
viola seems to anticipate
the impassioned
A!duettingA(r) between
violin and viola in the
Andante of the String
Quintet in C Major, K.
515, written about nine
months later. The
ingenious stretto canon
of the AndanteAs middle
section requires the
precision of a Swiss
clock (which its chiming
thirds recall). Affecting
bucolic codettas close
each of the main sections
of the movement. In the
final Allegro, a rondo in
6/8a time, the puckish,
yet aristocratic
character of the opening
theme contrasts with the
bumptious, popular tune
used for the second theme
(heard first in the
violin and then the
flute, over pizzicato
cello). Lilting hymn-like
episodes in three, four-
and finally five-part
counterpoint are
repeatedly interrupted by
startling scale figures
that rise up in furioso
episodes throughout the
movement. As in the
A!Swiss clockA(r) section
of the Andante, Mozart
uses a stretto imitation
treatment with this
tempest theme, thereby
heightening both
intensity and sense of
instability. I am most
grateful to the
adventuresome Martin
Quartet for their warm
support and collaboration
over the years with
several of my
arrangements, and to my
friend Edwin Swanborn for
the original typesetting
of this score. Gratitude
is also due Weekend
Edition, Performance
Today and innumerable
classical stations across
the United States for
their enthusiastic and
repeated airings of my
A!newA(r) Mozart Quintet
endeavorsA3and most of
all, to violist Katherine
Murdock for that dare in
1990. A3Compiled from the
writings of Robert
Stallman by Hannah Woods
Stallman, February 2,
2020. Preface In 1990,
during an intense
rehearsal of a Mozart
Quartet transcription for
flute and strings by
Franz Anton Hoffmeister,
at the Marblehead Summer
Music Festival, a
disgruntled violist
friend complained about
Hoffmeisteris awkward
string writing, suddenly
daring me to create my
own arrangement. I
balked. But the following
winterodespite scruples
about treading on
hallowed groundoI grew
curious and began to
experiment. Soon I was
hooked on the challenge
of learning to speak
Mozartis language with
conviction. This
fascination, encouraged
by pianist Richard Goode
and other Mozarteans,
would eventually generate
a total of thirty-nine
recreations of Mozart
piano sonatas as works
for flute and strings.
With zero tolerance for
alteration of melodic or
harmonic
materialoMozartis friend
Hoffmeister had
regrettably attempted
such iimprovementsioI
always tried to envision
what Mozart himself would
have desired. Many of the
sonatas can be heard as
if they were Mozartis
iblueprintsi of imagined
chamber works. Hence my
task was to iflesh outi
the keyboard versions as
Mozart might have done,
had a commission or
performance opportunity
arisen. I spent hours
pondering how Mozart
might have set these
sonatas in four- or
five-part form, providing
the needed textural or
contrapuntal
enhancements. With
immersion in the
composeris dialect,
various apt solutions
presented themselves. The
search for the irighti
one then became a most
absorbing study. On the
eve of releasing my
Bogneris CafE recording
of Mozart-Stallman New
Quintets (2006), I
discovered to my delight
that a prominent scholar
had long before endorsed
such an effort. Eric Blom
(1888n1959), author of
Mozart (1935), had taken
note of the four-hand
piano works as ia kind of
keyboard chamber music.i
Regarding Sonata, K. 497,
Mr. Blom had observed
that Mozart is often
dealing with, not the
expected four voices (one
to a hand), but five.
Blom states: iThe F major
Sonata (K. 497) removes
us to another worldothe
world of the great
chamber music, especially
of the string quintets.
Indeed an arrangement of
some sort for a
combination of
instruments would make a
magnificent concert work
of this almost
uncomfortably great piece
of domestic music.i That
Mozart was in 1786
writing for piano duo
from a quintet
perspective makes sense,
as we find him returning
to the quintet form with
keen interest in his last
years, writing four
String Quintets, the
Clarinet Quintet,
rearranging a wind
serenade for String
Quintet, and leaving
several other quintets
incomplete. My
arrangement presented
here is made for flute
and strings but is also
intended for string
quintet. Quintet in F
Major for Flute and
Strings, K. 497, was
completed in 1999 and
performed with the Martin
Quartet in the Czech
Republic prior to
recording it in 2004.
Mozart had finished the
original Sonata in F
Major for Piano,
Four-Hands, K. 497, on
August 1, 1786. It shows
the unmistakable
influence of Figaro,
completed and premiered
exactly three months
prior. As signaled by the
imposing introductory
Adagio, the conception is
on a grand symphonic
scale, all three
movements being richly
developed with
contrapuntal episodes and
an abundance of
marvelously contrasting
textures and themes
throughout. Called ithe
crowning work of its
kindi by Alfred Einstein,
the Sonata is laden with
examples of Mozartis
mercurial originality.
Here we have a perfect
synthesis of concertante
brilliance, operatic
intensity and intimate
dialogue. The work opens
in unison with a probing,
minor-tinged Adagio,
whose question comes to a
pause on the dominant,
before being answered
with jaunty certainty by
the opening theme of the
Allegro di moltooan
F-major tune as sunny and
confident as an aria from
Figaro itself. This
movementis declamatory
iopera chorusi
persistently intones its
rhythmic motto over a
swirling scale figure.
The amorous second theme
(initially presented in
the first viola) also
seems to be plucked from
Figaro. The Andante opens
with a heavenly melody,
which takes as its
springboard the Romanza
theme from the Horn
Concerto in E Major, K.
495, written only five
weeks before. The ilove
dueti between flute and
first viola seems to
anticipate the
impassioned iduettingi
between violin and viola
in the Andante of the
String Quintet in C
Major, K. 515, written
about nine months later.
The ingenious stretto
canon of the Andanteis
middle section requires
the precision of a Swiss
clock (which its chiming
thirds recall). Affecting
bucolic codettas close
each of the main sections
of the movement. In the
final Allegro, a rondo in
6/8+time, the puckish,
yet aristocratic
character of the opening
theme contrasts with the
bumptious, popular tune
used for the second theme
(heard first in the
violin and then the
flute, over pizzicato
cello). Lilting hymn-like
episodes in three, four-
and finally five-part
counterpoint are
repeatedly interrupted by
startling scale figures
that rise up in furioso
episodes throughout the
movement. As in the
iSwiss clocki section of
the Andante, Mozart uses
a stretto imitation
treatment with this
tempest theme, thereby
heightening both
intensity and sense of
instability. I am most
grateful to the
adventuresome Martin
Quartet for their warm
support and collaboration
over the years with
several of my
arrangements, and to my
friend Edwin Swanborn for
the original typesetting
of this score. Gratitude
is also due Weekend
Edition, Performance
Today and innumerable
classical stations across
the United States for
their enthusiastic and
repeated airings of my
inewi Mozart Quintet
endeavorsoand most of
all, to violist Katherine
Murdock for that dare in
1990. oCompiled from the
writings of Robert
Stallman by Hannah Woods
Stallman, February 2,
2020. Preface In 1990,
during an intense
rehearsal of a Mozart
Quartet transcription for
flute and strings by
Franz Anton Hoffmeister,
at the Marblehead Summer
Music Festival, a
disgruntled violist
friend complained about
Hoffmeister's awkward
string writing, suddenly
daring me to create my
own arrangement. I
balked. But the following
winter--despite scruples
about treading on
hallowed ground--I grew
curious and began to
experiment. Soon I was
hooked on the challenge
of learning to speak
Mozart's language with
conviction. This
fascination, encouraged
by pianist Richard Goode
and other Mozarteans,
would eventually generate
a total of thirty-nine
recreations of Mozart
piano sonatas as works
for flute and strings.
With zero tolerance for
alteration of melodic or
harmonic
material--Mozart's friend
Hoffmeister had
regrettably attempted
such improvements--I
always tried to envision
what Mozart himself would
have desired. Many of the
sonatas can be heard as
if they were Mozart's
blueprints of imagined
chamber works. Hence my
task was to flesh out the
keyboard versions as
Mozart might have done,
had a commission or
performance opportunity
arisen. I spent hours
pondering how Mozart
might have set these
sonatas in four- or
five-part form, providing
the needed textural or
contrapuntal
enhancements. With
immersion in the
composer's dialect,
various apt solutions
presented themselves. The
search for the right one
then became a most
absorbing study. On the
eve of releasing my
Bogner's Cafe recording
of Mozart-Stallman New
Quintets (2006), I
discovered to my delight
that a prominent scholar
had long before endorsed
such an effort. Eric Blom
(1888-1959), author of
Mozart (1935), had taken
note of the four-hand
piano works as a kind of
keyboard chamber music.
Regarding Sonata, K. 497,
Mr. Blom had observed
that Mozart is often
dealing with, not the
expected four voices (one
to a hand), but five.
Blom states: The F major
Sonata (K. 497) removes
us to another world--the
world of the great
chamber music, especially
of the string quintets.
Indeed an arrangement of
some sort for a
combination of
instruments would make a
magnificent concert work
of this almost
uncomfortably great piece
of domestic music. That
Mozart was in 1786
writing for piano duo
from a quintet
perspective makes sense,
as we find him returning
to the quintet form with
keen interest in his last
years, writing four
String Quintets, the
Clarinet Quintet,
rearranging a wind
serenade for String
Quintet, and leaving
several other quintets
incomplete. My
arrangement presented
here is made for flute
and strings but is also
intended for string
quintet. Quintet in F
Major for Flute and
Strings, K. 497, was
completed in 1999 and
performed with the
Martinu Quartet in the
Czech Republic prior to
recording it in 2004.
Mozart had finished the
original Sonata in F
Major for Piano,
Four-Hands, K. 497, on
August 1, 1786. It shows
the unmistakable
influence of Figaro,
completed and premiered
exactly three months
prior. As signaled by the
imposing introductory
Adagio, the conception is
on a grand symphonic
scale, all three
movements being richly
developed with
contrapuntal episodes and
an abundance of
marvelously contrasting
textures and themes
throughout. Called the
crowning work of its kind
by Alfred Einstein, the
Sonata is laden with
examples of Mozart's
mercurial originality.
Here we have a perfect
synthesis of concertante
brilliance, operatic
intensity and intimate
dialogue. The work opens
in unison with a probing,
minor-tinged Adagio,
whose question comes to a
pause on the dominant,
before being answered
with jaunty certainty by
the opening theme of the
Allegro di molto--an
F-major tune as sunny and
confident as an aria from
Figaro itself. This
movement's declamatory
opera chorus persistently
intones its rhythmic
motto over a swirling
scale figure. The amorous
second theme (initially
presented in the first
viola) also seems to be
plucked from Figaro. The
Andante opens with a
heavenly melody, which
takes as its springboard
the Romanza theme from
the Horn Concerto in E<=
Major, K. 495, written
only five weeks before.
The love duet between
flute and first viola
seems to anticipate the
impassioned duetting
between violin and viola
in the Andante of the
String Quintet in C
Major, K. 515, written
about nine months later.
The ingenious stretto
canon of the Andante's
middle section requires
the precision of a Swiss
clock (which its chiming
thirds recall). Affecting
bucolic codettas close
each of the main sections
of the movement. In the
final Allegro, a rondo in
6/8 time, the puckish,
yet aristocratic
character of the opening
theme contrasts with the
bumptious, popular tune
used for the second theme
(heard first in the
violin and then the
flute, over pizzicato
cello). Lilting hymn-like
episodes in three, four-
and finally five-part
counterpoint are
repeatedly interrupted by
startling scale figures
that rise up in furioso
episodes throughout the
movement. As in the Swiss
clock section of the
Andante, Mozart uses a
stretto imitation
treatment with this
tempest theme, thereby
heightening both
intensity and sense of
instability. I am most
grateful to the
adventuresome Martinu
Quartet for their warm
support and collaboration
over the years with
several of my
arrangements, and to my
friend Edwin Swanborn for
the original typesetting
of this score. Gratitude
is also due Weekend
Edition, Performance
Today and innumerable
classical stations across
the United States for
their enthusiastic and
repeated airings of my
new Mozart Quintet
endeavors--and most of
all, to violist Katherine
Murdock for that dare in
1990. --Compiled from the
writings of Robert
Stallman by Hannah Woods
Stallman, February 2,
2020. PrefaceIn 1990,
during an intense
rehearsal of a Mozart
Quartet transcription for
flute and strings by
Franz Anton Hoffmeister,
at the Marblehead Summer
Music Festival, a
disgruntled violist
friend complained about
Hoffmeister’s
awkward string writing,
suddenly daring me to
create my own
arrangement. I balked.
But the following
winter—despite
scruples about treading
on hallowed
ground—I grew
curious and began to
experiment. Soon I was
hooked on the challenge
of learning to speak
Mozart’s language
with conviction. This
fascination, encouraged
by pianist Richard Goode
and other Mozarteans,
would eventually generate
a total of thirty-nine
recreations of Mozart
piano sonatas as works
for flute and
strings.With zero
tolerance for alteration
of melodic or harmonic
material—Mozartâ
™s friend Hoffmeister
had regrettably attempted
such
“improvementsâ€
—I always tried
to envision what Mozart
himself would have
desired. Many of the
sonatas can be heard as
if they were
Mozart’s
“blueprintsâ€
of imagined chamber
works. Hence my task was
to “flesh
out†the keyboard
versions as Mozart might
have done, had a
commission or performance
opportunity arisen. I
spent hours pondering how
Mozart might have set
these sonatas in four- or
five-part form, providing
the needed textural or
contrapuntal
enhancements. With
immersion in the
composer’s
dialect, various apt
solutions presented
themselves. The search
for the
“right†one
then became a most
absorbing study.On the
eve of releasing my
Bogner’s Café
recording of
Mozart-Stallman New
Quintets (2006), I
discovered to my delight
that a prominent scholar
had long before endorsed
such an effort. Eric Blom
(1888–1959),
author of Mozart (1935),
had taken note of the
four-hand piano works as
“a kind of keyboard
chamber music.â€
Regarding Sonata, K. 497,
Mr. Blom had observed
that Mozart is often
dealing with, not the
expected four voices (one
to a hand), but five.
Blom states: “The F
major Sonata (K. 497)
removes us to another
world—the world of
the great chamber music,
especially of the string
quintets. Indeed an
arrangement of some sort
for a combination of
instruments would make a
magnificent concert work
of this almost
uncomfortably great piece
of domestic music.â€
That Mozart was in 1786
writing for piano duo
from a quintet
perspective makes sense,
as we find him returning
to the quintet form with
keen interest in his last
years, writing four
String Quintets, the
Clarinet Quintet,
rearranging a wind
serenade for String
Quintet, and leaving
several other quintets
incomplete. My
arrangement presented
here is made for flute
and strings but is also
intended for string
quintet.Quintet in F
Major for Flute and
Strings, K. 497, was
completed in 1999 and
performed with the
Martinů Quartet in the
Czech Republic prior to
recording it in 2004.
Mozart had finished the
original Sonata in F
Major for Piano,
Four-Hands, K. 497, on
August 1, 1786. It shows
the unmistakable
influence of Figaro,
completed and premiered
exactly three months
prior. As signaled by the
imposing introductory
Adagio, the conception is
on a grand symphonic
scale, all three
movements being richly
developed with
contrapuntal episodes and
an abundance of
marvelously contrasting
textures and themes
throughout. Called
“the crowning work
of its kind†by
Alfred Einstein, the
Sonata is laden with
examples of
Mozart’s mercurial
originality. Here we have
a perfect synthesis of
concertante brilliance,
operatic intensity and
intimate dialogue.The
work opens in unison with
a probing, minor-tinged
Adagio, whose question
comes to a pause on the
dominant, before being
answered with jaunty
certainty by the opening
theme of the Allegro di
molto—an F-major
tune as sunny and
confident as an aria from
Figaro itself. This
movement’s
declamatory “opera
chorusâ€
persistently intones its
rhythmic motto over a
swirling scale figure.
The amorous second theme
(initially presented in
the first viola) also
seems to be plucked from
Figaro.The Andante opens
with a heavenly melody,
which takes as its
springboard the Romanza
theme from the Horn
Concerto in E≤
Major, K. 495, written
only five weeks before.
The “love
duet†between flute
and first viola seems to
anticipate the
impassioned
“duettingâ€
between violin and viola
in the Andante of the
String Quintet in C
Major, K. 515, written
about nine months later.
The ingenious stretto
canon of the
Andante’s middle
section requires the
precision of a Swiss
clock (which its chiming
thirds recall). Affecting
bucolic codettas close
each of the main sections
of the movement.In the
final Allegro, a rondo in
6/8Â time, the puckish,
yet aristocratic
character of the opening
theme contrasts with the
bumptious, popular tune
used for the second theme
(heard first in the
violin and then the
flute, over pizzicato
cello). Lilting hymn-like
episodes in three, four-
and finally five-part
counterpoint are
repeatedly interrupted by
startling scale figures
that rise up in furioso
episodes throughout the
movement. As in the
“Swiss clockâ€
section of the Andante,
Mozart uses a stretto
imitation treatment with
this tempest theme,
thereby heightening both
intensity and sense of
instability.I am most
grateful to the
adventuresome Martinů
Quartet for their warm
support and collaboration
over the years with
several of my
arrangements, and to my
friend Edwin Swanborn for
the original typesetting
of this score. Gratitude
is also due Weekend
Edition, Performance
Today and innumerable
classical stations across
the United States for
their enthusiastic and
repeated airings of my
“new†Mozart
Quintet
endeavors—and most
of all, to violist
Katherine Murdock for
that dare in
1990.—Compiled
from the writings of
Robert Stallmanby Hannah
Woods Stallman,February
2, 2020. $42.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Rise Up Singing Paroles et Accords [Partition] Hal Leonard
Arranged by Peter Blood, Annie Patterson. Vocal. Size 7.5x10.5 inches. 283 pages...(+)
Arranged by Peter Blood,
Annie Patterson. Vocal.
Size 7.5x10.5 inches. 283
pages. Published by Hal
Leonard.
(1)$34.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Big Book Of Childrens Songs For Little Guitar Pickers Guitare notes et tablatures Santorella Publications
The Big Book of Childrens Songs for Little Guitar Pickers composed by Tony Santo...(+)
The Big Book of Childrens
Songs for Little Guitar
Pickers composed by Tony
Santorella. For guitar
and voice. This edition:
Paperback. Collection.
Little Picker series.
Childrens. Book. Text
Language: English;
Tablature, chords and
lyrics. 180 pages.
Published by Santorella
Publications
$17.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Voggy's Recorder Songbook-the Most Popular Children Songs for Recorder Voggenreiter
Recorder (all) - beginning SKU: MB.3802404658 Composed by Martina Holtz. ...(+)
Recorder (all) -
beginning SKU:
MB.3802404658
Composed by Martina
Holtz. Style, Wire bound,
Tunebook, CLEARANCE:
OTHER, Children and Young
Beginner, Folk, Method,
Saddle-stitched.
Children. Book. 112
pages. Voggenreiter
#3802404658. Published by
Voggenreiter
(MB.3802404658). ISBN
9783802404658. 8.5X5.75
inches. This book
features some of the most
popular childrens songs
and folksongs for the
descant recorder in the
key of C. All songs have
been arranged for the
beginning recorder player
and -if necessary-
slightly simplified to
make playing them even
more fun. There are even
fingering diagrams for
the recorder in the
appendix. $9.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Easy Children's Fake Book
Instruments en Do [Fake Book] Hal Leonard
(100 Songs in the Key of C). By Various. For C Instruments. Easy Fake Book. Soft...(+)
(100 Songs in the Key of
C). By Various. For C
Instruments. Easy Fake
Book. Softcover. 144
pages. Published by Hal
Leonard
$26.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Do-It-Yourself Flute Flûte traversière [Partition + Accès audio] - Débutant Hal Leonard
The Best Step-by-Step Guide to Start Playing. Do It Yourself. Instruction, M...(+)
The Best Step-by-Step
Guide to
Start Playing. Do It
Yourself.
Instruction, Method.
Softcover
Media Online. 128 pages.
Published by Hal Leonard
$24.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Grateful Dead: Grateful Dead Anthology Piano, Voix et Guitare [Partition] - Intermédiaire Warner Brothers
Performed by The Grateful Dead. For voice, piano and guitar chords. Format: pian...(+)
Performed by The Grateful
Dead. For voice, piano
and guitar chords.
Format:
piano/vocal/chords
songbook. With vocal
melody, piano
accompaniment, lyrics,
chord names and guitar
chord diagrams.
Psychedelic rock and folk
rock. 271 pages. 9x12
inches. Published by
Warner Brothers.
(4)$26.95 - Voir plus => AcheterDélais: 4 to 6 business days | | |
| On the Beaten Path Batterie [Partition + CD] Alfred Publishing
The Drummer's Guide to Musical Styles and the Legends Who Defined Them. By Rich ...(+)
The Drummer's Guide to
Musical Styles and the
Legends Who Defined Them.
By Rich Lackowski. For
Drum Set. Percussion -
Drum Set Method or
Collection. Instructional
Book and Examples CD. 244
pages. Published by
Alfred Publishing.
(1)$34.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| And then there was jazz Trompette, Piano - Intermédiaire ABRSM Publishing
By Robin Grant. For Trumpet and piano. Level: Grade 3, 4. 16 pages. Published by...(+)
By Robin Grant. For
Trumpet and piano. Level:
Grade 3, 4. 16 pages.
Published by ABRSM
(Associated Board of the
Royal Schools of Music).
$14.99 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| The Sassmannshaus Tradition: Early Start on the Violin, Volume 1
Violon [Partition] - Débutant Barenreiter
A violin method for children age four and older. By Egon Sassmannshaus; Kurt Sa...(+)
A violin method for
children age four and
older. By Egon
Sassmannshaus; Kurt
Sassmannshaus. American
English translation: Kurt
Sassmannshaus and Melissa
Lusk; Illustrations:
Charlotte Panowsky. For
Violin. Take advantage of
our exclusive
introductory offer now
and save 25% off the
regular price - this
special price is
available for a limited
time only. Baerenreiter's
Sassmannshaus. Original
German title: Fruher
Anfang auf der Geige -
Band 1; Eine Violinschule
fur Kinder ab 4 Jahren.
Instructional Method.
Method book. Text
language: English. 64
pages. Published by
Baerenreiter Verlag
(German import).
(8)$21.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Folksongs Book Guitare [Partition] - Facile Hal Leonard
133 Songs from Around the World. Easy Guitar (Simplified arrangements for guitar...(+)
133 Songs from Around the
World. Easy Guitar
(Simplified arrangements
for guitar). Size 9x12
inches. 128 pages
$17.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Le chemin de croix / Labyrinthe Productions OZ
Guitar solo SKU: DZ.DZ-4280 Composed by Francis Kleynjans. Score. Les Pro...(+)
Guitar solo SKU:
DZ.DZ-4280 Composed
by Francis Kleynjans.
Score. Les Productions
d'OZ #DZ 4280. Published
by Les Productions d'OZ
(DZ.DZ-4280). ISBN
9782898521973. C’
est un beau voyage aux
travers des tonalités
que je vous propose avec
ces deux
pièces.
La
première Le chemin de
croix expriment les 14
tableaux de la Passion du
Christ par
l’intermédiaire d’un
simple arpège et de 14
tonalités différentes.
Les 12 tonalités
mineures qui débutent
l’œuvre de façon
parfaitement naturelle
(ré, la, mi, si, fa#,
do#, sol#, ré#, sib, fa,
do, sol) sont suivi par
deux tonalités majeures
(ré et la) qui viennent
conclurent l’œuvre
comme une triomphante
délivrance.
La
deuxième pièce
Labyrinthe reprend le
même principe, mais de
façon différente. Avec
un autre arpège et des
tonalités majeures et
mineures qui
s’enchainent en
s’alternant d’une
façon naturelle par le
biais d’une légère
mutation, nous égarant
dans les méandres des
tonalités, pour enfin
nous retrouver dans le
ton original, nous
délivrant ainsi de ce
grand labyrinthe (do,
lam, ré, sim, mi, do#m,
fa#, ré#m, lab, fam et
do).
J’espère
que les découvreurs de
ces pièces auront le
même plaisir que j’ai
eu à les composer pour
eux.
Francis
Kleynjans
It’s a
beautiful journey through
the tones that I offer
you with these two
pieces.
The first
The Stations of the Cross
express the 14 scenes of
the Passion of Christ
through a simple arpeggio
and 14 different tones.
The 12 minor keys which
begin the work in a
perfectly natural way (D,
A, E, B, F#, C#, G#, D#,
Bb, F, C, G) are followed
by two major keys (D and
the) who come conclude
the work as a triumphant
deliverance.
The
second piece Labyrinthe
uses the same principle,
but in a different way.
With another arpeggio and
major and minor tones
which follow one another
alternating in a natural
way through a slight
mutation, leading us
astray in the meanders of
the tones, to finally
find ourselves in the
original tone, we thus
delivering from this
great labyrinth (do, lam,
re, sim, mi, do#m, fa#,
re#m, ab, fam and
do).
I hope that
the discoverers of these
pieces will have the same
pleasure that I had in
composing them for
them.
Francis
Kleynjans. $9.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Music For The Recorder Flûte à Bec [Partition] Ashley Publications
Edited by Alexander Shealy. For recorder. Format: recorder book (solos, duets, t...(+)
Edited by Alexander
Shealy. For recorder.
Format: recorder book
(solos, duets, trios).
With standard notation,
chord names,
instructional text,
fingering charts and
lyrics. Instructional and
folk. Series: World's
Favorite Series, No. 50.
128 pages. 9x12 inches.
Published by Ashley
Publications.
(1)$16.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Sassmannshaus Tradition: Early Start on the Violin, Volume 2
Violon [Partition] - Débutant Barenreiter
A violin method for children. By Egon Sassmannshaus; Kurt Sassmannshaus. Ameri...(+)
A violin method for
children. By Egon
Sassmannshaus; Kurt
Sassmannshaus. American
English translation: Kurt
Sassmannshaus;
Illustrations: Charlotte
Panowsky. For Violin.
Take advantage of our
exclusive introductory
offer now and save 25%
off the regular price -
this special price is
available for a limited
time only. Baerenreiter's
Sassmannshaus. Original
German title: Fruher
Anfang auf der Geige -
Band 2; Eine Violinschule
fur Kinder. Instructional
Method. Method book. Text
language: English. 64
pages. Published by
Baerenreiter Verlag
(German import).
(3)$21.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Farallones - Intermédiaire/avancé Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Claves, Congas, ...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Clarinet
1, Clarinet 2, Claves,
Congas, Cowbell,
Euphonium, Euphonium
T.C., Flute, Horn 1, Horn
2, Mallet Percussion 1,
Mallet Percussion 2,
Marimba, Oboe, Percussion
1, Percussion 2,
Percussion 3, Piano and
more. - Grade 4 SKU:
CF.SPS98 Composed by
Megan Vinther. Set of
Score and Parts. Duration
4 minutes, 31 seconds.
Carl Fischer Music
#SPS98. Published by Carl
Fischer Music (CF.SPS98).
ISBN 9781491166673.
UPC: 680160925728. Key: C
minor. Farallones
is inspired by the
Greater Farallones
National Marine Sanctuary
(GFNMS) off the Northern
California coast,
spanning 3,295 square
miles north and west of
San Francisco. The
Farallones (Spanish for
cliffs) are a set of
islands that are
sometimes referred to as
The Devil’s Teeth by
mariners, citing the many
dangerous underwater
shoals and shipwrecks.
The first recorded
observation of these
islands was in 1579 by
Sir Frances Drake, with
the first reference to
the outcroppings as
“farallones” written
by Spanish Friar Antonio
de la Ascension in 1603.
The location of the
islands and their rugged
and ominous appearance
likely were responsible
for the relatively late
discovery by explorers of
San Francisco Bay, which
didn’t happen until
1769, nearly 200 years
after Sir Frances
Drake’s
expedition. The islands
and their natural
resources and habitat
have been used and
exploited in many
different ways over the
centuries, from the seal
fur trade in the early
1800s to a nuclear waste
dumping ground in the
1940s–1960s. The
islands have been hosts
to hunting camps, weather
stations, rum runners
during prohibition,
lighthouse keepers, and
even a U.S. Naval station
during World War II. The
first protections for the
area were established in
1981 and expanded over
the following decades.
Over time, species and
habitats have been
restored. The Farallones
is now home to a
beautiful and diverse
marine ecosystem that
supports many endangered
and threatened species.
This piece began as a
chamber work for a septet
that included piano and
string bass. When I
reworked it for wind
ensemble, I left the
piano and string bass in
the orchestration as a
nod to my original
(unfinished) chamber
piece. The opening
section in 7/4 depicts
the rugged environment
and unpredictability of
the swirling currents
around the islands.
Descending scalar motifs
and trills emphasize the
fluidity of the seascape.
The exploitation of the
islands and conflict
surrounding the use of
natural resources drive
the accented passages
throughout the piece. The
12/8 section is a
development into the
resilience and dangerous
beauty of the area.
Recalled themes and
motifs from the first
section in an even rather
than uneven meter depict
the solid future of the
ecosystem. $110.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Farallones - Intermédiaire/avancé Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Claves, Congas, ...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Clarinet
1, Clarinet 2, Claves,
Congas, Cowbell,
Euphonium, Euphonium
T.C., Flute, Horn 1, Horn
2, Mallet Percussion 1,
Mallet Percussion 2,
Marimba, Oboe, Percussion
1, Percussion 2,
Percussion 3, Piano and
more. - Grade 4 SKU:
CF.SPS98F Composed by
Megan Vinther. Full
score. Duration 4
minutes, 31 seconds. Carl
Fischer Music #SPS98F.
Published by Carl Fischer
Music (CF.SPS98F).
ISBN 9781491166680.
UPC: 680160925735. Key: C
minor. Farallones
is inspired by the
Greater Farallones
National Marine Sanctuary
(GFNMS) off the Northern
California coast,
spanning 3,295 square
miles north and west of
San Francisco. The
Farallones (Spanish for
cliffs) are a set of
islands that are
sometimes referred to as
The Devil’s Teeth by
mariners, citing the many
dangerous underwater
shoals and shipwrecks.
The first recorded
observation of these
islands was in 1579 by
Sir Frances Drake, with
the first reference to
the outcroppings as
“farallones” written
by Spanish Friar Antonio
de la Ascension in 1603.
The location of the
islands and their rugged
and ominous appearance
likely were responsible
for the relatively late
discovery by explorers of
San Francisco Bay, which
didn’t happen until
1769, nearly 200 years
after Sir Frances
Drake’s
expedition. The islands
and their natural
resources and habitat
have been used and
exploited in many
different ways over the
centuries, from the seal
fur trade in the early
1800s to a nuclear waste
dumping ground in the
1940s–1960s. The
islands have been hosts
to hunting camps, weather
stations, rum runners
during prohibition,
lighthouse keepers, and
even a U.S. Naval station
during World War II. The
first protections for the
area were established in
1981 and expanded over
the following decades.
Over time, species and
habitats have been
restored. The Farallones
is now home to a
beautiful and diverse
marine ecosystem that
supports many endangered
and threatened species.
This piece began as a
chamber work for a septet
that included piano and
string bass. When I
reworked it for wind
ensemble, I left the
piano and string bass in
the orchestration as a
nod to my original
(unfinished) chamber
piece. The opening
section in 7/4 depicts
the rugged environment
and unpredictability of
the swirling currents
around the islands.
Descending scalar motifs
and trills emphasize the
fluidity of the seascape.
The exploitation of the
islands and conflict
surrounding the use of
natural resources drive
the accented passages
throughout the piece. The
12/8 section is a
development into the
resilience and dangerous
beauty of the area.
Recalled themes and
motifs from the first
section in an even rather
than uneven meter depict
the solid future of the
ecosystem. $18.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Power of the KING - Bulk CD (10-pak) Chorale Unison - Facile Word Music
Unison voices - Easy SKU: WD.080689857720 A Simply WordKidz Musical fo...(+)
Unison voices - Easy
SKU:
WD.080689857720 A
Simply WordKidz Musical
for Christmas.
Composed by Gina Boe.
Choral, cantatas. Simply
WordKidz. Bulk CD
(10-pak). Duration 29
minutes. Word Music
#080689857720. Published
by Word Music
(WD.080689857720).
UPC: 080689857720.
Produced by Dave
Clark. The Power of
the KING is the latest
Christmas musical from
Simply WordKidz, the
best-selling easy-learn,
easy-sing series for
children's choir from
Word Music & Church
Resources. The story
behind The Power of the
KING, written and created
by Gina Boe and Barb
Dorn, revolves around
radio station K-I-N-G. A
major winter storm is
threatening to shut down
the entire state. The
power grid is failing all
around, and highways are
closing due to dangerous
road conditions. A bus
transporting a children's
choir on their Christmas
tour is stranded by the
storm, so the choir takes
refuge at the radio
station. The timing of
the winter storm couldn't
be worse, as the
station's power goes off
just as they are about to
broadcast the annual
Christmas show. Unable to
play any recorded music
due to the limitations of
the back-up generator,
the radio station staff
hastily scrambles to put
together a live radio
broadcast telling the
joyous Good News of the
Christmas story, with the
help of the stranded
children's choir! The
Power of the KING from
the Simply WordKidz
Series... the perfect way
to bring your church and
community together this
Christmas, in celebration
of the miracle of
Christ's
birth!
Song
Titles: K-I-N-G Christmas
* The Power of the KING *
Christmas Medley-Part 1
(O Come, O Come,
Emmanuel); Christmas
Medley-Part 2 (O Little
Town of Bethlehem and
Silent Night) * This
Thing that Has Happened *
How Great Our Joy! *
Reprise (The Power of the
KING with K-I-N-G
Christmas). $69.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Power of the KING - Accompaniment DVD Chorale Unison - Facile Word Music
Unison voices - Easy SKU: WD.080689595097 A Simply WordKidz Musical fo...(+)
Unison voices - Easy
SKU:
WD.080689595097 A
Simply WordKidz Musical
for Christmas.
Composed by Gina Boe.
Choral, cantatas. Simply
WordKidz. Accompaniment
DVD. Duration 29 minutes.
Word Music #080689595097.
Published by Word Music
(WD.080689595097).
UPC: 080689595097.
Produced by Dave
Clark. The Power of
the KING is the latest
Christmas musical from
Simply WordKidz, the
best-selling easy-learn,
easy-sing series for
children's choir from
Word Music & Church
Resources. The story
behind The Power of the
KING, written and created
by Gina Boe and Barb
Dorn, revolves around
radio station K-I-N-G. A
major winter storm is
threatening to shut down
the entire state. The
power grid is failing all
around, and highways are
closing due to dangerous
road conditions. A bus
transporting a children's
choir on their Christmas
tour is stranded by the
storm, so the choir takes
refuge at the radio
station. The timing of
the winter storm couldn't
be worse, as the
station's power goes off
just as they are about to
broadcast the annual
Christmas show. Unable to
play any recorded music
due to the limitations of
the back-up generator,
the radio station staff
hastily scrambles to put
together a live radio
broadcast telling the
joyous Good News of the
Christmas story, with the
help of the stranded
children's choir! The
Power of the KING from
the Simply WordKidz
Series... the perfect way
to bring your church and
community together this
Christmas, in celebration
of the miracle of
Christ's
birth!
Song
Titles: K-I-N-G Christmas
* The Power of the KING *
Christmas Medley-Part 1
(O Come, O Come,
Emmanuel); Christmas
Medley-Part 2 (O Little
Town of Bethlehem and
Silent Night) * This
Thing that Has Happened *
How Great Our Joy! *
Reprise (The Power of the
KING with K-I-N-G
Christmas). $159.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Power of the KING - T-Shirt Short-Sleeved - Youth Large Chorale Unison - Facile Word Music
Unison voices - Easy SKU: WD.679143072849 A Simply WordKidz Musical fo...(+)
Unison voices - Easy
SKU:
WD.679143072849 A
Simply WordKidz Musical
for Christmas.
Composed by Gina Boe.
Choral, cantatas. Simply
WordKidz. Youth large.
Duration 29 minutes. Word
Music #679143072849.
Published by Word Music
(WD.679143072849).
UPC: 679143072849.
Produced by Dave
Clark. The Power of
the KING is the latest
Christmas musical from
Simply WordKidz, the
best-selling easy-learn,
easy-sing series for
children's choir from
Word Music & Church
Resources. The story
behind The Power of the
KING, written and created
by Gina Boe and Barb
Dorn, revolves around
radio station K-I-N-G. A
major winter storm is
threatening to shut down
the entire state. The
power grid is failing all
around, and highways are
closing due to dangerous
road conditions. A bus
transporting a children's
choir on their Christmas
tour is stranded by the
storm, so the choir takes
refuge at the radio
station. The timing of
the winter storm couldn't
be worse, as the
station's power goes off
just as they are about to
broadcast the annual
Christmas show. Unable to
play any recorded music
due to the limitations of
the back-up generator,
the radio station staff
hastily scrambles to put
together a live radio
broadcast telling the
joyous Good News of the
Christmas story, with the
help of the stranded
children's choir! The
Power of the KING from
the Simply WordKidz
Series... the perfect way
to bring your church and
community together this
Christmas, in celebration
of the miracle of
Christ's
birth!
Song
Titles: K-I-N-G Christmas
* The Power of the KING *
Christmas Medley-Part 1
(O Come, O Come,
Emmanuel); Christmas
Medley-Part 2 (O Little
Town of Bethlehem and
Silent Night) * This
Thing that Has Happened *
How Great Our Joy! *
Reprise (The Power of the
KING with K-I-N-G
Christmas). $9.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Power of the KING - T-Shirt Short-Sleeved - Adult XLarge Chorale Unison - Facile Word Music
Unison voices - Easy SKU: WD.679143072887 A Simply WordKidz Musical fo...(+)
Unison voices - Easy
SKU:
WD.679143072887 A
Simply WordKidz Musical
for Christmas.
Composed by Gina Boe.
Choral, cantatas. Simply
WordKidz. Adult xlarge.
Duration 29 minutes. Word
Music #679143072887.
Published by Word Music
(WD.679143072887).
UPC: 679143072887.
Produced by Dave
Clark. The Power of
the KING is the latest
Christmas musical from
Simply WordKidz, the
best-selling easy-learn,
easy-sing series for
children's choir from
Word Music & Church
Resources. The story
behind The Power of the
KING, written and created
by Gina Boe and Barb
Dorn, revolves around
radio station K-I-N-G. A
major winter storm is
threatening to shut down
the entire state. The
power grid is failing all
around, and highways are
closing due to dangerous
road conditions. A bus
transporting a children's
choir on their Christmas
tour is stranded by the
storm, so the choir takes
refuge at the radio
station. The timing of
the winter storm couldn't
be worse, as the
station's power goes off
just as they are about to
broadcast the annual
Christmas show. Unable to
play any recorded music
due to the limitations of
the back-up generator,
the radio station staff
hastily scrambles to put
together a live radio
broadcast telling the
joyous Good News of the
Christmas story, with the
help of the stranded
children's choir! The
Power of the KING from
the Simply WordKidz
Series... the perfect way
to bring your church and
community together this
Christmas, in celebration
of the miracle of
Christ's
birth!
Song
Titles: K-I-N-G Christmas
* The Power of the KING *
Christmas Medley-Part 1
(O Come, O Come,
Emmanuel); Christmas
Medley-Part 2 (O Little
Town of Bethlehem and
Silent Night) * This
Thing that Has Happened *
How Great Our Joy! *
Reprise (The Power of the
KING with K-I-N-G
Christmas). $9.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Power of the KING - DVD Preview Pak Chorale Unison - Facile Word Music
Unison voices - Easy SKU: WD.080689622397 A Simply WordKidz Musical fo...(+)
Unison voices - Easy
SKU:
WD.080689622397 A
Simply WordKidz Musical
for Christmas.
Composed by Gina Boe.
Choral, cantatas. Simply
WordKidz. Eastertide. DVD
preview pak. Duration 29
minutes. Word Music
#080689622397. Published
by Word Music
(WD.080689622397).
UPC: 080689622397.
Produced by Dave
Clark. The Power of
the KING is the latest
Christmas musical from
Simply WordKidz, the
best-selling easy-learn,
easy-sing series for
children's choir from
Word Music & Church
Resources. The story
behind The Power of the
KING, written and created
by Gina Boe and Barb
Dorn, revolves around
radio station K-I-N-G. A
major winter storm is
threatening to shut down
the entire state. The
power grid is failing all
around, and highways are
closing due to dangerous
road conditions. A bus
transporting a children's
choir on their Christmas
tour is stranded by the
storm, so the choir takes
refuge at the radio
station. The timing of
the winter storm couldn't
be worse, as the
station's power goes off
just as they are about to
broadcast the annual
Christmas show. Unable to
play any recorded music
due to the limitations of
the back-up generator,
the radio station staff
hastily scrambles to put
together a live radio
broadcast telling the
joyous Good News of the
Christmas story, with the
help of the stranded
children's choir! The
Power of the KING from
the Simply WordKidz
Series... the perfect way
to bring your church and
community together this
Christmas, in celebration
of the miracle of
Christ's
birth!
Song
Titles: K-I-N-G Christmas
* The Power of the KING *
Christmas Medley-Part 1
(O Come, O Come,
Emmanuel); Christmas
Medley-Part 2 (O Little
Town of Bethlehem and
Silent Night) * This
Thing that Has Happened *
How Great Our Joy! *
Reprise (The Power of the
KING with K-I-N-G
Christmas). $14.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Power of the KING - T-Shirt Short-Sleeved - Adult XXLarge Chorale Unison - Facile Word Music
Unison voices - Easy SKU: WD.679143072894 A Simply WordKidz Musical fo...(+)
Unison voices - Easy
SKU:
WD.679143072894 A
Simply WordKidz Musical
for Christmas.
Composed by Gina Boe.
Choral, cantatas. Simply
WordKidz. Adult xxlarge.
Duration 29 minutes. Word
Music #679143072894.
Published by Word Music
(WD.679143072894).
UPC: 679143072894.
Produced by Dave
Clark. The Power of
the KING is the latest
Christmas musical from
Simply WordKidz, the
best-selling easy-learn,
easy-sing series for
children's choir from
Word Music & Church
Resources. The story
behind The Power of the
KING, written and created
by Gina Boe and Barb
Dorn, revolves around
radio station K-I-N-G. A
major winter storm is
threatening to shut down
the entire state. The
power grid is failing all
around, and highways are
closing due to dangerous
road conditions. A bus
transporting a children's
choir on their Christmas
tour is stranded by the
storm, so the choir takes
refuge at the radio
station. The timing of
the winter storm couldn't
be worse, as the
station's power goes off
just as they are about to
broadcast the annual
Christmas show. Unable to
play any recorded music
due to the limitations of
the back-up generator,
the radio station staff
hastily scrambles to put
together a live radio
broadcast telling the
joyous Good News of the
Christmas story, with the
help of the stranded
children's choir! The
Power of the KING from
the Simply WordKidz
Series... the perfect way
to bring your church and
community together this
Christmas, in celebration
of the miracle of
Christ's
birth!
Song
Titles: K-I-N-G Christmas
* The Power of the KING *
Christmas Medley-Part 1
(O Come, O Come,
Emmanuel); Christmas
Medley-Part 2 (O Little
Town of Bethlehem and
Silent Night) * This
Thing that Has Happened *
How Great Our Joy! *
Reprise (The Power of the
KING with K-I-N-G
Christmas). $11.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Power of the KING - T-Shirt Short-Sleeved - Adult Medium Chorale Unison - Facile Word Music
Unison voices - Easy SKU: WD.679143072863 A Simply WordKidz Musical fo...(+)
Unison voices - Easy
SKU:
WD.679143072863 A
Simply WordKidz Musical
for Christmas.
Composed by Gina Boe.
Choral, cantatas. Simply
WordKidz. Adult medium.
Duration 29 minutes. Word
Music #679143072863.
Published by Word Music
(WD.679143072863).
UPC: 679143072863.
Produced by Dave
Clark. The Power of
the KING is the latest
Christmas musical from
Simply WordKidz, the
best-selling easy-learn,
easy-sing series for
children's choir from
Word Music & Church
Resources. The story
behind The Power of the
KING, written and created
by Gina Boe and Barb
Dorn, revolves around
radio station K-I-N-G. A
major winter storm is
threatening to shut down
the entire state. The
power grid is failing all
around, and highways are
closing due to dangerous
road conditions. A bus
transporting a children's
choir on their Christmas
tour is stranded by the
storm, so the choir takes
refuge at the radio
station. The timing of
the winter storm couldn't
be worse, as the
station's power goes off
just as they are about to
broadcast the annual
Christmas show. Unable to
play any recorded music
due to the limitations of
the back-up generator,
the radio station staff
hastily scrambles to put
together a live radio
broadcast telling the
joyous Good News of the
Christmas story, with the
help of the stranded
children's choir! The
Power of the KING from
the Simply WordKidz
Series... the perfect way
to bring your church and
community together this
Christmas, in celebration
of the miracle of
Christ's
birth!
Song
Titles: K-I-N-G Christmas
* The Power of the KING *
Christmas Medley-Part 1
(O Come, O Come,
Emmanuel); Christmas
Medley-Part 2 (O Little
Town of Bethlehem and
Silent Night) * This
Thing that Has Happened *
How Great Our Joy! *
Reprise (The Power of the
KING with K-I-N-G
Christmas). $9.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Power of the KING - Accompaniment CD (Split) CD Chorale - Facile Word Music
Unison voices - Easy SKU: WD.080689968129 A Simply WordKidz Musical fo...(+)
Unison voices - Easy
SKU:
WD.080689968129 A
Simply WordKidz Musical
for Christmas.
Composed by Gina Boe.
Choral, cantatas. Simply
WordKidz. Accompaniment
CD (split). Duration 29
minutes. Word Music
#080689968129. Published
by Word Music
(WD.080689968129).
UPC: 080689968129.
Produced by Dave
Clark. The Power of
the KING is the latest
Christmas musical from
Simply WordKidz, the
best-selling easy-learn,
easy-sing series for
children's choir from
Word Music & Church
Resources. The story
behind The Power of the
KING, written and created
by Gina Boe and Barb
Dorn, revolves around
radio station K-I-N-G. A
major winter storm is
threatening to shut down
the entire state. The
power grid is failing all
around, and highways are
closing due to dangerous
road conditions. A bus
transporting a children's
choir on their Christmas
tour is stranded by the
storm, so the choir takes
refuge at the radio
station. The timing of
the winter storm couldn't
be worse, as the
station's power goes off
just as they are about to
broadcast the annual
Christmas show. Unable to
play any recorded music
due to the limitations of
the back-up generator,
the radio station staff
hastily scrambles to put
together a live radio
broadcast telling the
joyous Good News of the
Christmas story, with the
help of the stranded
children's choir! The
Power of the KING from
the Simply WordKidz
Series... the perfect way
to bring your church and
community together this
Christmas, in celebration
of the miracle of
Christ's
birth!
Song
Titles: K-I-N-G Christmas
* The Power of the KING *
Christmas Medley-Part 1
(O Come, O Come,
Emmanuel); Christmas
Medley-Part 2 (O Little
Town of Bethlehem and
Silent Night) * This
Thing that Has Happened *
How Great Our Joy! *
Reprise (The Power of the
KING with K-I-N-G
Christmas). $79.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Power of the KING - Bulletins (100-pak) Chorale Unison - Facile Word Music
Unison voices - Easy SKU: WD.080689510779 A Simply WordKidz Musical fo...(+)
Unison voices - Easy
SKU:
WD.080689510779 A
Simply WordKidz Musical
for Christmas.
Composed by Gina Boe.
Choral, cantatas. Simply
WordKidz. Christmas.
Bulletins (100-pak).
Duration 29 minutes. Word
Music #080689510779.
Published by Word Music
(WD.080689510779).
UPC: 080689510779.
Produced by Dave
Clark. The Power of
the KING is the latest
Christmas musical from
Simply WordKidz, the
best-selling easy-learn,
easy-sing series for
children's choir from
Word Music & Church
Resources. The story
behind The Power of the
KING, written and created
by Gina Boe and Barb
Dorn, revolves around
radio station K-I-N-G. A
major winter storm is
threatening to shut down
the entire state. The
power grid is failing all
around, and highways are
closing due to dangerous
road conditions. A bus
transporting a children's
choir on their Christmas
tour is stranded by the
storm, so the choir takes
refuge at the radio
station. The timing of
the winter storm couldn't
be worse, as the
station's power goes off
just as they are about to
broadcast the annual
Christmas show. Unable to
play any recorded music
due to the limitations of
the back-up generator,
the radio station staff
hastily scrambles to put
together a live radio
broadcast telling the
joyous Good News of the
Christmas story, with the
help of the stranded
children's choir! The
Power of the KING from
the Simply WordKidz
Series... the perfect way
to bring your church and
community together this
Christmas, in celebration
of the miracle of
Christ's
birth!
Song
Titles: K-I-N-G Christmas
* The Power of the KING *
Christmas Medley-Part 1
(O Come, O Come,
Emmanuel); Christmas
Medley-Part 2 (O Little
Town of Bethlehem and
Silent Night) * This
Thing that Has Happened *
How Great Our Joy! *
Reprise (The Power of the
KING with K-I-N-G
Christmas). $25.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
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