Santorella Publications' proudly boasts our connection to some of the best studi...(+)
Santorella Publications'
proudly boasts our
connection to some of the
best studio players in
the Los Angeles studio
circuit. Each one of
these great musicians,
when they are not in a
session or performing on
a new movie soundtrack,
are giving lessons to
horn players of all ages.
Santorella Publications
is setting a new trend in
the industry by making it
possible for you to study
with these talented
professionals in a
virtual world with Learn
From A Pro. Chris Tedesco
will walk you through all
23 lessons as if you're
sitting in a studio by
his side. If you went to
Los Angeles and took 23
lessons, it would cost
over $1,000.00. Now you
can Learn "Trumpet" From
A Pro for only $12.95 and
in the privacy of your
own home. Whether you are
an early beginner or an
adult, here is your
chance to fulfill that
dream. Do something for
yourself and learn to
play today with
Santorella's Learn From A
Pro series. About your
private instructor, Chris
Tedesco Chris Tedesco has
distinguished himself as
a soloist, chamber
artist, orchestral and
commercial trumpeter in
Los Angeles for over 20
years. His early
classical training
included studies with
Chuck Lirette of the
Buffalo Philharmonic and
college training with
Gilbert Johnson, (former
principal trumpet of the
Philadelphia
Philharmonic) at the
University of Miami in
Florida. Chris Tedesco's
road travels included
concert tours with the
Glenn Miller Band, Tommy
Dorsey Orchestra, but it
was Cruise Ships that
brought him to Los
Angeles in 1987. Chris
Tedesco can be heard on
the movie soundtracks of
Finding Nemo, Road to
Perdition, Boat Trip, The
Mexican, Best in Show,
Ring of Fire, After the
Storm, Durango Kids,
Winchell, Absolute Power,
Star Trek - First
Contact, Nixon,
Stonebrook, Heaven and
Earth, Cool World and
Lorenzoes Oil. On the
small screen you can hear
his solo Trumpet on the
theme to the hit TV show
"The District" along with
many national TV
commercials. Chris
Tedesco has recorded with
Joe Cocker, Natalie
Merchant, Ellis Hall,
Royal Crown Revue, Pat
Boone, Cher, Brian
Setzer, Dwight Yoakum,
Juan Carlos Quintero,
Thom Rotella, Jump with
Joey, Leslie Paula, Boom
Shaka and for The Disney
Afternoon. For more
information about Chris
Tedesco visit:
www.christedesco.com.
Piano Solo. By Various. Piano Solo Songbook (Intermediate to advanced piano arra...(+)
Piano Solo. By Various.
Piano Solo Songbook
(Intermediate to advanced
piano arrangements with
no lyrics). Size 9x12
inches. 128 pages.
Published by Hal Leonard
Corporation.
Edited by Briana Ackerman. Arranged by Daniel Kelley. For Flute (or Oboe or Viol...(+)
Edited by Briana
Ackerman. Arranged by
Daniel Kelley. For Flute
(or Oboe or Violin) and
Viola. Duets. Music for
Two. Wedding, Classical.
Level:
Intermediate/Advanced.
Score with 2 parts.
Published by Last Resort
Music Publishing.
A Collection of Popular Classical Themes Arranged for Guitar. By David Coe. By D...(+)
A Collection of Popular
Classical Themes Arranged
for Guitar. By David Coe.
By David Coe. For Guitar
(All). Tune Book. Archive
Edition. Classic. Level:
Beginning. Book. 168
pages. Published by Mel
Bay Publications, Inc.
Great Themes Of the Classical Era composed by Various. Arranged by Steven Paul. ...(+)
Great Themes Of the
Classical Era composed by
Various. Arranged by
Steven Paul. For easy
piano. This edition:
Paperback. Collection.
Classical. Book. Text
Language: English. 48
pages. Published by
Santorella Publications
Arranged by Daniel Kelley. For Clarinet and Cello (or Bassoon). Duets. Music for...(+)
Arranged by Daniel
Kelley. For Clarinet and
Cello (or Bassoon).
Duets. Music for Two.
Wedding, Classical.
Level:
Intermediate/Advanced.
Score with 2 parts.
Published by Last Resort
Music Publishing.
Arranged by Daniel Kelley. For Flute (or Oboe or Violin) and Cello (or Bassoon)....(+)
Arranged by Daniel
Kelley. For Flute (or
Oboe or Violin) and Cello
(or Bassoon). Duets.
Music for Two. Wedding,
Classical. Level:
Intermediate/Advanced.
Score with 2 parts.
Published by Last Resort
Music Publishing.
Arranged by Daniel Kelley. For Flute (or Oboe) and Clarinet. Duets. Music for Tw...(+)
Arranged by Daniel
Kelley. For Flute (or
Oboe) and Clarinet.
Duets. Music for Two.
Wedding, Classical.
Level:
Intermediate/Advanced.
Score with 2 parts.
Published by Last Resort
Music Publishing.
Arranged by Daniel Kelley. For Cello (or Bassoon) and Cello (or Bassoon). Duets....(+)
Arranged by Daniel
Kelley. For Cello (or
Bassoon) and Cello (or
Bassoon). Duets. Music
for Two. Wedding,
Classical. Level:
Intermediate/Advanced.
Score with 2 parts.
Published by Last Resort
Music Publishing.
Arranged by Daniel Kelley. For Flute (or Oboe or Violin) and Flute (or Oboe or V...(+)
Arranged by Daniel
Kelley. For Flute (or
Oboe or Violin) and Flute
(or Oboe or Violin).
Duets. Music for Two.
Wedding, Classical.
Level:
Intermediate/Advanced.
Score with 2 parts.
Published by Last Resort
Music Publishing.
For Violin and
Orchestra. Composed
by Behzad Ranjbaran.
Contemporary. Large
Score. With Standard
notation. Composed 1994.
144 pages. Duration 31
minutes. Theodore Presser
Company #416-41366L.
Published by Theodore
Presser Company
(PR.41641366L).
UPC:
680160585755.
From
my early years studying
violin at the Tehran
Music Conservatory, I was
captivated by the sound
of the kamancheh, an
ancient Persian bowed
instrument considered one
of the ancestors to the
modern violin. I was
pleased when the National
Endowment for the Arts
awarded me a grant to
write a violin concerto
as it provided me with an
occasion to rekindle my
fascination with the
kamancheh. The notion of
writing a violin concerto
that would incorporate
the power and brilliance
of a modern instrument
with the delicate and
lyrical character of an
ancient one was simply
irresistible. Moreover,
the inspiration from the
kamancheh also informed
my use of Persian modes,
melodic, and rhythmic
figures. The notes of the
violins open strings (G,
D, A, E) also influenced
many of the melodic and
harmonic elements of my
violin concerto. The
opening tutti is mostly
based on intervals of a
perfect 4th and 5th. The
primary material for each
movement incorporates
notes of two of the open
strings of the violin,
creating a three-note
melodic motif as the
basis of themes: 1 st
movement: A-D-A 2nd
movement: D-G-D 3rd
movement: E-A-E The
overall structure of the
concerto is organic and
cyclical, as themes are
shared between the three
movements. For example,
the main musical idea of
the third movement is a
transformation of the
first movements primary
theme. While the
movements share similar
musical materials, each
one is defined by
distinguishing
characters. The first
movement is conflicted;
alternating between
sections of unabashed
lyricism and unforgiving
ferocity. The second
movement is haunting,
mysterious, and
expressive with long
melodic lines that vary
continuously. It moves
through different moods
and characters including
a reimagining of a
traditional Persian
wedding tune played by
the orchestra (m. 98).
The third movement is
festive in character and
features much brilliant
passagework for the solo
violin. At the climax of
this movement, themes
from the previous
movements re-emerge
simultaneously with
greater intensity,
propelling the concerto
to an energetic finale.
The Concerto was composed
in 1994 and is dedicated
to Joshua Bell. From
my early years studying
violin at the Tehran
Music Conservatory, I was
captivated by the sound
of the kamancheh, an
ancient Persian bowed
instrument considered one
of the ancestors to the
modern violin. I was
pleased when the National
Endowment for the Arts
awarded me a grant to
write a violin concerto
as it provided me with an
occasion to rekindle my
fascination with the
kamancheh. The notion of
writing a violin concerto
that would incorporate
the power and brilliance
of a modern instrument
with the delicate and
lyrical character of an
ancient one was simply
irresistible. Moreover,
the inspiration from the
kamancheh also informed
my use of Persian modes,
melodic, and rhythmic
figures. The notes of the
violinas open strings (G,
D, A, E) also influenced
many of the melodic and
harmonic elements of my
violin concerto. The
opening tutti is mostly
based on intervals of a
perfect 4th and 5th. The
primary material for each
movement incorporates
notes of two of the open
strings of the violin,
creating a three-note
melodic motif as the
basis of themes: 1 st
movement: A-D-A 2nd
movement: D-G-D 3rd
movement: E-A-E The
overall structure of the
concerto is organic and
cyclical, as themes are
shared between the three
movements. For example,
the main musical idea of
the third movement is a
transformation of the
first movementas primary
theme. While the
movements share similar
musical materials, each
one is defined by
distinguishing
characters. The first
movement is conflicted;
alternating between
sections of unabashed
lyricism and unforgiving
ferocity. The second
movement is haunting,
mysterious, and
expressive with long
melodic lines that vary
continuously. It moves
through different moods
and characters including
a reimagining of a
traditional Persian
wedding tune played by
the orchestra (m. 98).
The third movement is
festive in character and
features much brilliant
passagework for the solo
violin. At the climax of
this movement, themes
from the previous
movements re-emerge
simultaneously with
greater intensity,
propelling the concerto
to an energetic finale.
The Concerto was composed
in 1994 and is dedicated
to Joshua Bell. From
my early years studying
violin at the Tehran
Music Conservatory, I was
captivated by the sound
of the kamancheh, an
ancient Persian bowed
instrument considered one
of the ancestors to the
modern violin. I was
pleased when the National
Endowment for the Arts
awarded me a grant to
write a violin concerto
as it provided me with an
occasion to rekindle my
fascination with the
kamancheh. The notion of
writing a violin concerto
that would incorporate
the power and brilliance
of a modern instrument
with the delicate and
lyrical character of an
ancient one was simply
irresistible. Moreover,
the inspiration from the
kamancheh also informed
my use of Persian modes,
melodic, and rhythmic
figures. The notes of the
violin's open strings (G,
D, A, E) also influenced
many of the melodic and
harmonic elements of my
violin concerto. The
opening tutti is mostly
based on intervals of a
perfect 4th and 5th. The
primary material for each
movement incorporates
notes of two of the open
strings of the violin,
creating a three-note
melodic motif as the
basis of themes: 1 st
movement: A-D-A 2nd
movement: D-G-D 3rd
movement: E-A-E The
overall structure of the
concerto is organic and
cyclical, as themes are
shared between the three
movements. For example,
the main musical idea of
the third movement is a
transformation of the
first movement's primary
theme. While the
movements share similar
musical materials, each
one is defined by
distinguishing
characters. The first
movement is conflicted;
alternating between
sections of unabashed
lyricism and unforgiving
ferocity. The second
movement is haunting,
mysterious, and
expressive with long
melodic lines that vary
continuously. It moves
through different moods
and characters including
a reimagining of a
traditional Persian
wedding tune played by
the orchestra (m. 98).
The third movement is
festive in character and
features much brilliant
passagework for the solo
violin. At the climax of
this movement, themes
from the previous
movements re-emerge
simultaneously with
greater intensity,
propelling the concerto
to an energetic finale.
The Concerto was composed
in 1994 and is dedicated
to Joshua Bell. From
my early years studying
violin at the Tehran
Music Conservatory, I was
captivated by the sound
of the kamancheh, an
ancient Persian bowed
instrument considered one
of the ancestors to the
modern violin. I was
pleased when the National
Endowment for the Arts
awarded me a grant to
write a violin concerto
as it provided me with an
occasion to rekindle my
fascination with the
kamancheh. The notionof
writing a violin concerto
that would incorporate
the power and brilliance
of a modern instrument
with the delicate and
lyrical character of an
ancient one was simply
irresistible. Moreover,
the inspiration from the
kamancheh also informed
my use of Persian modes,
melodic, and rhythmic
figures.The notes of the
violin’s open
strings (G, D, A, E) also
influenced many of the
melodic and harmonic
elements of my violin
concerto. The opening
tutti is mostly based on
intervals of a perfect
4th and 5th. The primary
material for each
movement incorporates
notes of two of the open
strings of the violin,
creating a three-note
melodic motif as the
basis of themes:1 st
movement: A-D-A2nd
movement: D-G-D3rd
movement: E-A-EThe
overall structure of the
concerto is organic and
cyclical, as themes are
shared between the three
movements. For example,
the main musical idea of
the third movement is a
transformation of the
first movement’s
primary theme. While the
movements share similar
musical materials, each
one is definedby
distinguishing
characters. The first
movement is conflicted;
alternating between
sections of unabashed
lyricism and
unforgivingferocity. The
second movement is
haunting, mysterious, and
expressive with long
melodic lines that vary
continuously. It moves
through different moods
and characters including
a reimagining of a
traditional Persian
wedding tune played by
the orchestra (m. 98).
The third movement is
festive in character and
features much brilliant
passagework for the solo
violin. At the climax of
this movement, themes
fromthe previous
movements re-emerge
simultaneously with
greater intensity,
propelling the concerto
to an energetic finale.
The Concerto was composed
in 1994 and is dedicated
to Joshua Bell.
by Costel Puscoiu. For Recorder (Soprano). solos. Classic. Level: Intermediate. ...(+)
by Costel Puscoiu. For
Recorder (Soprano).
solos. Classic. Level:
Intermediate. Book. Size
8.75x11.75. 96 pages.
Published by Mel Bay
Publications, Inc.
