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| The Best Fake Book Ever - C Edition - 3rd Edition
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(C Edition) For voice and C instrument. Format: fakebook. With vocal melody, lyr...(+)
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Fakebook (spiral bound) for voice and C instrument. With vocal melody, lyrics, c...(+)
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(C Edition). By Various. For voice and C instrument. Hal Leonard Fake Books. Pop...(+)
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| 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 | | |
| The Ultimate Pop/Rock Fake Book - In C
Instruments en Do [Fake Book] Hal Leonard
(4th Edition ) For voice and C instrument. Format: fakebook. With vocal melody, ...(+)
(4th Edition ) For voice
and C instrument. Format:
fakebook. With vocal
melody, lyrics and chord
names. Pop rock, rock and
pop. Series: Hal Leonard
Fake Books. 584 pages.
9x12 inches. Published by
Hal Leonard.
(26)$49.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Best Fake Book Ever - 5th Edition Instruments en Do [Fake Book] Hal Leonard
C Edition. Composed by Various. Fake Book. Broadway, Country, Jazz, Pop, Stand...(+)
C Edition. Composed by
Various. Fake Book.
Broadway,
Country, Jazz, Pop,
Standards.
Softcover. 802 pages.
Published by Hal Leonard
$49.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Know Before You Blow - Jazz Modes Conductor's Score with CD Formation musicale - Solfège [Partition + CD] Santorella Publications
By Chris Tedesco. This edition: Paperback. Instructional. Jazz Method. Conductor...(+)
By Chris Tedesco. This
edition: Paperback.
Instructional. Jazz
Method. Conductor's score
with CD. Text Language:
English. 104 pages.
Published by Santorella
Publications
$19.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Lyric Library: Pop/Rock Ballads Paroles Seulement Hal Leonard
Complete Lyrics for 200 Songs. Performed by Various. Lyric Library. Size 6x9 inc...(+)
Complete Lyrics for 200
Songs. Performed by
Various. Lyric Library.
Size 6x9 inches. 220
pages. Published by Hal
Leonard.
$14.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Eden: Out of Time and Out of Space Theodore Presser Co.
Chamber Music Clarinet, Flute, Guitar, Horn, Viola, Violin, Violoncello SKU: ...(+)
Chamber Music Clarinet,
Flute, Guitar, Horn,
Viola, Violin,
Violoncello SKU:
PR.114420410
Chamber Concerto for
Guitar and Ensemble.
Composed by George
Rochberg. Set of Score
and Parts.
30+10+8+10+12+10+10+10
pages. Duration 20
minutes. Theodore Presser
Company #114-42041.
Published by Theodore
Presser Company
(PR.114420410). UPC:
680160687015. In
one of the dedicatory
poems to his verse play
The Shadowy Waters
(1906), William Butler
Yeats asks: Is Eden far
away...? Do our woods and
winds and verponds cover
more quiet woods, More
shining winds, more
star-glimmering ponds? Is
Eden out of time and out
of space? How do you
answer such questions? We
have only the vague
elusive promptings of our
own mysterious, troubled
hearts to tell us that
the Eden we long for is
there, somewhere beyond
the physical world which
frames our existence, in
another realm of
different dimensions. And
- what is most painful to
admit - that it is closed
to us in the form in
which we live and
breathe, even if at times
we do have
intimations..., Yeats is
telling us that this
paradise, this Eden we
yearn for is here -
present even if
invisible, palpable even
if intangible. In his
Second Symphony, Mahler
meets an angel who tells
him he can't get into
heaven, he's locked out.
The news is shattering.
What follows is an
inconsolable sorrowing,
the same sorrowing that
comes when we wake to the
realization that we too
are locked out of Eden.
Eden is the heaven of our
longing and desire for
release from pain and
suffering. Eden is the
image in our restive
minds that reflects the
reconciled, resolved,
quiescent state of soul
we hunger for. But Eden
eludes -because it is not
a place. It is a state of
soul which answers none
of the illusory,
hampering conditions that
shape and bind us to the
real world of our bodies,
our appetites, our
passions, and our
beliefs. I have turned
Yeats' question Is Eden
out of time and out of
space? into its own
answering. However near
we may sense its presence
at times, Eden remains
unreachable, ungraspable,
unknowable, unthinkable.
It forever eludes us. I
wrote this music the way
I did to shut out -with
quietness and
otherworldliness - the
clamor and clang of the
raucous Garish Day, to
turn away its tumult and
noise, to negate its
stridency and chaos.
Perhaps in the cleansing
stillness and blessing of
this emptied-out state of
soul, Eden, through still
hidden, may not be so far
way; though still
unreachable, may be close
enough almost to
touch. In one of the
dedicatory poems to his
verse play “The
Shadowy Watersâ€
(1906), William Butler
Yeats asks:“Is Eden
far away…?Do our
woods and windsand
verponds cover morequiet
woods,More shining
winds,more
star-glimmeringponds?Is
Eden out of timeand out
of space?â€How do
you answer such
questions? We have only
the vague elusive
promptings of our own
mysterious, troubled
hearts to tell us that
the Eden we long for is
there, somewhere beyond
the physical world which
frames our existence, in
another realm of
different dimensions. And
– what is most
painful to admit –
that it is closed to us
in the form in which we
live and breathe, even if
at times we do have
intimations…, Yeats
is telling us that this
paradise, this Eden we
yearn for is here
– present even if
invisible, palpable even
if intangible.In his
Second Symphony, Mahler
meets an angel who tells
him he can’t get
into heaven, he’s
locked out. The news is
shattering. What follows
is an inconsolable
sorrowing, the same
sorrowing that comes when
we wake to the
realization that we too
are locked out of
Eden.Eden is the heaven
of our longing and desire
for release from pain and
suffering. Eden is the
image in our restive
minds that reflects the
reconciled, resolved,
quiescent state of soul
we hunger for. But Eden
eludes –because it
is not a place. It is a
state of soul which
answers none of the
illusory, hampering
conditions that shape and
bind us to the real world
of our bodies, our
appetites, our passions,
and our beliefs.I have
turned Yeats’
question “Is Eden
out of time and out of
space?†into its
own answering. However
near we may sense its
presence at times, Eden
remains unreachable,
ungraspable, unknowable,
unthinkable. It forever
eludes us.I wrote this
music the way I did to
shut out –with
quietness and
otherworldliness –
the clamor and clang of
the raucous “Garish
Day,†to turn away
its tumult and noise, to
negate its stridency and
chaos. Perhaps in the
cleansing stillness and
blessing of this
emptied-out state of
soul, Eden, through still
hidden, may not be so far
way; though still
unreachable, may be close
enough almost to
touch. $50.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Eden: Out of Time and Out of Space Theodore Presser Co.
Chamber Music Clarinet, Flute, Guitar, Horn, Viola, Violin, Violoncello SKU: ...(+)
Chamber Music Clarinet,
Flute, Guitar, Horn,
Viola, Violin,
Violoncello SKU:
PR.11442041L
Chamber Concerto for
Guitar and Ensemble.
Composed by George
Rochberg. Large Score. 30
pages. Duration 20
minutes. Theodore Presser
Company #114-42041L.
Published by Theodore
Presser Company
(PR.11442041L). UPC:
680160687039. In
one of the dedicatory
poems to his verse play
The Shadowy Waters
(1906), William Butler
Yeats asks: Is Eden far
away...? Do our woods and
winds and verponds cover
more quiet woods, More
shining winds, more
star-glimmering ponds? Is
Eden out of time and out
of space? How do you
answer such questions? We
have only the vague
elusive promptings of our
own mysterious, troubled
hearts to tell us that
the Eden we long for is
there, somewhere beyond
the physical world which
frames our existence, in
another realm of
different dimensions. And
- what is most painful to
admit - that it is closed
to us in the form in
which we live and
breathe, even if at times
we do have
intimations..., Yeats is
telling us that this
paradise, this Eden we
yearn for is here -
present even if
invisible, palpable even
if intangible. In his
Second Symphony, Mahler
meets an angel who tells
him he can't get into
heaven, he's locked out.
The news is shattering.
What follows is an
inconsolable sorrowing,
the same sorrowing that
comes when we wake to the
realization that we too
are locked out of Eden.
Eden is the heaven of our
longing and desire for
release from pain and
suffering. Eden is the
image in our restive
minds that reflects the
reconciled, resolved,
quiescent state of soul
we hunger for. But Eden
eludes -because it is not
a place. It is a state of
soul which answers none
of the illusory,
hampering conditions that
shape and bind us to the
real world of our bodies,
our appetites, our
passions, and our
beliefs. I have turned
Yeats' question Is Eden
out of time and out of
space? into its own
answering. However near
we may sense its presence
at times, Eden remains
unreachable, ungraspable,
unknowable, unthinkable.
It forever eludes us. I
wrote this music the way
I did to shut out -with
quietness and
otherworldliness - the
clamor and clang of the
raucous Garish Day, to
turn away its tumult and
noise, to negate its
stridency and chaos.
Perhaps in the cleansing
stillness and blessing of
this emptied-out state of
soul, Eden, through still
hidden, may not be so far
way; though still
unreachable, may be close
enough almost to
touch. In one of the
dedicatory poems to his
verse play “The
Shadowy Watersâ€
(1906), William Butler
Yeats asks:“Is Eden
far away…?Do our
woods and windsand
verponds cover morequiet
woods,More shining
winds,more
star-glimmeringponds?Is
Eden out of timeand out
of space?â€How do
you answer such
questions? We have only
the vague elusive
promptings of our own
mysterious, troubled
hearts to tell us that
the Eden we long for is
there, somewhere beyond
the physical world which
frames our existence, in
another realm of
different dimensions. And
– what is most
painful to admit –
that it is closed to us
in the form in which we
live and breathe, even if
at times we do have
intimations…, Yeats
is telling us that this
paradise, this Eden we
yearn for is here
– present even if
invisible, palpable even
if intangible.In his
Second Symphony, Mahler
meets an angel who tells
him he can’t get
into heaven, he’s
locked out. The news is
shattering. What follows
is an inconsolable
sorrowing, the same
sorrowing that comes when
we wake to the
realization that we too
are locked out of
Eden.Eden is the heaven
of our longing and desire
for release from pain and
suffering. Eden is the
image in our restive
minds that reflects the
reconciled, resolved,
quiescent state of soul
we hunger for. But Eden
eludes –because it
is not a place. It is a
state of soul which
answers none of the
illusory, hampering
conditions that shape and
bind us to the real world
of our bodies, our
appetites, our passions,
and our beliefs.I have
turned Yeats’
question “Is Eden
out of time and out of
space?†into its
own answering. However
near we may sense its
presence at times, Eden
remains unreachable,
ungraspable, unknowable,
unthinkable. It forever
eludes us.I wrote this
music the way I did to
shut out –with
quietness and
otherworldliness –
the clamor and clang of
the raucous “Garish
Day,†to turn away
its tumult and noise, to
negate its stridency and
chaos. Perhaps in the
cleansing stillness and
blessing of this
emptied-out state of
soul, Eden, through still
hidden, may not be so far
way; though still
unreachable, may be close
enough almost to
touch. $44.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Eden: Out of Time and Out of Space Theodore Presser Co.
Chamber Music Clarinet, Flute, Guitar, Horn, Viola, Violin, Violoncello SKU: ...(+)
Chamber Music Clarinet,
Flute, Guitar, Horn,
Viola, Violin,
Violoncello SKU:
PR.11442041S
Chamber Concerto for
Guitar and Ensemble.
Composed by George
Rochberg. Full score. 30
pages. Duration 20
minutes. Theodore Presser
Company #114-42041S.
Published by Theodore
Presser Company
(PR.11442041S). UPC:
680160687022. In
one of the dedicatory
poems to his verse play
The Shadowy Waters
(1906), William Butler
Yeats asks: Is Eden far
away...? Do our woods and
winds and verponds cover
more quiet woods, More
shining winds, more
star-glimmering ponds? Is
Eden out of time and out
of space? How do you
answer such questions? We
have only the vague
elusive promptings of our
own mysterious, troubled
hearts to tell us that
the Eden we long for is
there, somewhere beyond
the physical world which
frames our existence, in
another realm of
different dimensions. And
- what is most painful to
admit - that it is closed
to us in the form in
which we live and
breathe, even if at times
we do have
intimations..., Yeats is
telling us that this
paradise, this Eden we
yearn for is here -
present even if
invisible, palpable even
if intangible. In his
Second Symphony, Mahler
meets an angel who tells
him he can't get into
heaven, he's locked out.
The news is shattering.
What follows is an
inconsolable sorrowing,
the same sorrowing that
comes when we wake to the
realization that we too
are locked out of Eden.
Eden is the heaven of our
longing and desire for
release from pain and
suffering. Eden is the
image in our restive
minds that reflects the
reconciled, resolved,
quiescent state of soul
we hunger for. But Eden
eludes -because it is not
a place. It is a state of
soul which answers none
of the illusory,
hampering conditions that
shape and bind us to the
real world of our bodies,
our appetites, our
passions, and our
beliefs. I have turned
Yeats' question Is Eden
out of time and out of
space? into its own
answering. However near
we may sense its presence
at times, Eden remains
unreachable, ungraspable,
unknowable, unthinkable.
It forever eludes us. I
wrote this music the way
I did to shut out -with
quietness and
otherworldliness - the
clamor and clang of the
raucous Garish Day, to
turn away its tumult and
noise, to negate its
stridency and chaos.
Perhaps in the cleansing
stillness and blessing of
this emptied-out state of
soul, Eden, through still
hidden, may not be so far
way; though still
unreachable, may be close
enough almost to
touch. In one of the
dedicatory poems to his
verse play “The
Shadowy Watersâ€
(1906), William Butler
Yeats asks:“Is Eden
far away…?Do our
woods and windsand
verponds cover morequiet
woods,More shining
winds,more
star-glimmeringponds?Is
Eden out of timeand out
of space?â€How do
you answer such
questions? We have only
the vague elusive
promptings of our own
mysterious, troubled
hearts to tell us that
the Eden we long for is
there, somewhere beyond
the physical world which
frames our existence, in
another realm of
different dimensions. And
– what is most
painful to admit –
that it is closed to us
in the form in which we
live and breathe, even if
at times we do have
intimations…, Yeats
is telling us that this
paradise, this Eden we
yearn for is here
– present even if
invisible, palpable even
if intangible.In his
Second Symphony, Mahler
meets an angel who tells
him he can’t get
into heaven, he’s
locked out. The news is
shattering. What follows
is an inconsolable
sorrowing, the same
sorrowing that comes when
we wake to the
realization that we too
are locked out of
Eden.Eden is the heaven
of our longing and desire
for release from pain and
suffering. Eden is the
image in our restive
minds that reflects the
reconciled, resolved,
quiescent state of soul
we hunger for. But Eden
eludes –because it
is not a place. It is a
state of soul which
answers none of the
illusory, hampering
conditions that shape and
bind us to the real world
of our bodies, our
appetites, our passions,
and our beliefs.I have
turned Yeats’
question “Is Eden
out of time and out of
space?†into its
own answering. However
near we may sense its
presence at times, Eden
remains unreachable,
ungraspable, unknowable,
unthinkable. It forever
eludes us.I wrote this
music the way I did to
shut out –with
quietness and
otherworldliness –
the clamor and clang of
the raucous “Garish
Day,†to turn away
its tumult and noise, to
negate its stridency and
chaos. Perhaps in the
cleansing stillness and
blessing of this
emptied-out state of
soul, Eden, through still
hidden, may not be so far
way; though still
unreachable, may be close
enough almost to
touch. $29.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Best of Contemporary Christian
Fake Book [Fake Book] - Intermédiaire Hal Leonard
Over 400 Songs. Fake Book (Includes melody line and chords). Size 9x12 inches. 5...(+)
Over 400 Songs. Fake Book
(Includes melody line and
chords). Size 9x12
inches. 583 pages.
Published by Hal Leonard.
(4)$49.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Promise on the Horizon - Facile Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Crash Cym...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bells,
Clarinet 1, Clarinet 2,
Crash Cymbals, Euphonium,
Euphonium T.C., Flute,
Horn, Mallet Percussion,
Oboe, Percussion 1,
Percussion 2, Percussion
3, Snare Drum, Suspended
Cymbal, Tambourine,
Timpani and more. - Grade
2.5 SKU: CF.YPS252
Composed by Travis
Weller. Yps. Set of Score
and Parts.
16+4+8+8+4+4+6+4+4+4+8+8+
6+6+6+4+6+4+2+4+2+4+24
pages. Duration 2
minutes, 18 seconds. Carl
Fischer Music #YPS252.
Published by Carl Fischer
Music (CF.YPS252).
ISBN 9781491161357.
UPC:
680160919949. A new
day. A new event. A new
opportunity. We look
forward to these things
and the potential they
hold. We live our lives
looking forward, but we
understand them looking
backward (a thought of
Danish philosopher Soren
Kierkegaard). We do not
always know what the
future may hold, but we
must remember: first,
there are no guarantees
beyond the time and
opportunity we are given
to do good. Second,
change around us is
inevitable. Finally, and
the most important
aspect, we have choices.
This lesson is fixed to
the composer's office
door: Today is the
greatest day of your
life, if you want it to
be. Why not look forward
to the Promise on the
Horizon and the
possibilities for
greatness that lie within
it? The opening motif of
this concert fanfare is
purposely inquisitive as
the piece seeks to
establish its first
steps. The subtle shift
at measure 37 and again
at measure 69 are
reminders of the
challenges that await us
during the journey. Here
again it is a matter of
choice - do we choose to
let circumstances define
us, or do we define the
circumstances? The
section at 93 is a
resounding answer that we
will move barriers,
overcome obstacles and
keep our vision looking
forward. The piece builds
toward an exciting
conclusion from measure
127 onward. The piece
reinforces several basic
rhythmic patterns in 6/8
time. As a number of
these rhythms are
repeated, it provides an
easy opportunity for the
entire ensemble to grow
more comfortable
performing in this meter.
While it is a
fanfare-type piece,
remind young musicians to
play with lightness and
precision, rather than
intensity in volume.
Maintaining this style of
articulation and accuracy
helps the rhythms in 6/8
time maintain their
buoyancy. It is vital
that each musician
listens for the melody
and balances their part,
especially in moments
where the melody is
passed between sections.
If vibes are not
available, a second bell
set can be employed in
its place. It is hoped
that this piece is an
uplifting way to open
your next concert, and a
meaningful opportunity
for you to discuss the
power of making positive
choices with your
students in the ensemble
(as a reminder, regular
practicing of their
instrument is a positive
choice). Wishing you and
your ensemble well as you
look to the Promise on
the Horizon. A new
day. A new event. A new
opportunity. We look
forward to these things
and the potential they
hold. We live our lives
looking forward, but we
understand them looking
backward (a thought of
Danish philosopher Soren
Kierkegaard). We do not
always know what the
future may hold, but we
must remember: first,Â
there are no guarantees
beyond the time and
opportunity we are given
to do good. Second,
change around us is
inevitable. Finally, and
the most important
aspect, we have choices.
This lesson is fixed
to the composer's office
door: “Today is the
greatest day of your
life, if you want it to
be.†Why not look
forward to the Promise on
the Horizon and the
possibilities for
greatness that lie within
it?The opening motif of
this concert fanfare is
purposely inquisitive as
the piece seeks to
establish its first
steps. The subtle shift
at measure 37 and again
at measure 69 are
reminders of the
challenges that await us
during the journey. Here
again it is a matter of
choice – do we
choose to let
circumstances define us,
or do we define the
circumstances? The
section at 93 is a
resounding answer that we
will move barriers,
overcome obstacles and
keep our vision looking
forward. The piece builds
toward an exciting
conclusion from measure
127 onward. The piece
reinforces several basic
rhythmic patterns in 6/8
time. As a number of
these rhythms are
repeated, it provides an
easy opportunity for the
entire ensemble to grow
more comfortable
performing in this meter.
While it is a
fanfare-type piece,
remind young musicians to
play with lightness and
precision, rather than
intensity in volume.
Maintaining this style of
articulation and accuracy
helps the rhythms in 6/8
time maintain their
buoyancy. It is vital
that each musician
listens for the melody
and balances their part,
especially in moments
where the melody is
passed between sections.
If vibes are not
available, a second bell
set can be employed in
its place. It is hoped
that this piece is an
uplifting way to open
your next concert, and a
meaningful opportunity
for you to discuss the
power of making positive
choices with your
students in the ensemble
(as a reminder, regular
practicing of their
instrument is a positive
choice). Wishing you and
your ensemble well as you
look to the Promise on
the Horizon. . $65.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Promise on the Horizon - Facile Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Crash Cym...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bells,
Clarinet 1, Clarinet 2,
Crash Cymbals, Euphonium,
Euphonium T.C., Flute,
Horn, Mallet Percussion,
Oboe, Percussion 1,
Percussion 2, Percussion
3, Snare Drum, Suspended
Cymbal, Tambourine,
Timpani and more. - Grade
2.5 SKU:
CF.YPS252F Composed
by Travis Weller. Yps.
Full score. 24 pages.
Duration 2 minutes, 18
seconds. Carl Fischer
Music #YPS252F. Published
by Carl Fischer Music
(CF.YPS252F). ISBN
9781491161913. UPC:
680160920594. A new
day. A new event. A new
opportunity. We look
forward to these things
and the potential they
hold. We live our lives
looking forward, but we
understand them looking
backward (a thought of
Danish philosopher Soren
Kierkegaard). We do not
always know what the
future may hold, but we
must remember: first,
there are no guarantees
beyond the time and
opportunity we are given
to do good. Second,
change around us is
inevitable. Finally, and
the most important
aspect, we have choices.
This lesson is fixed to
the composer's office
door: Today is the
greatest day of your
life, if you want it to
be. Why not look forward
to the Promise on the
Horizon and the
possibilities for
greatness that lie within
it? The opening motif of
this concert fanfare is
purposely inquisitive as
the piece seeks to
establish its first
steps. The subtle shift
at measure 37 and again
at measure 69 are
reminders of the
challenges that await us
during the journey. Here
again it is a matter of
choice - do we choose to
let circumstances define
us, or do we define the
circumstances? The
section at 93 is a
resounding answer that we
will move barriers,
overcome obstacles and
keep our vision looking
forward. The piece builds
toward an exciting
conclusion from measure
127 onward. The piece
reinforces several basic
rhythmic patterns in 6/8
time. As a number of
these rhythms are
repeated, it provides an
easy opportunity for the
entire ensemble to grow
more comfortable
performing in this meter.
While it is a
fanfare-type piece,
remind young musicians to
play with lightness and
precision, rather than
intensity in volume.
Maintaining this style of
articulation and accuracy
helps the rhythms in 6/8
time maintain their
buoyancy. It is vital
that each musician
listens for the melody
and balances their part,
especially in moments
where the melody is
passed between sections.
If vibes are not
available, a second bell
set can be employed in
its place. It is hoped
that this piece is an
uplifting way to open
your next concert, and a
meaningful opportunity
for you to discuss the
power of making positive
choices with your
students in the ensemble
(as a reminder, regular
practicing of their
instrument is a positive
choice). Wishing you and
your ensemble well as you
look to the Promise on
the Horizon. A new
day. A new event. A new
opportunity. We look
forward to these things
and the potential they
hold. We live our lives
looking forward, but we
understand them looking
backward (a thought of
Danish philosopher Soren
Kierkegaard). We do not
always know what the
future may hold, but we
must remember: first,Â
there are no guarantees
beyond the time and
opportunity we are given
to do good. Second,
change around us is
inevitable. Finally, and
the most important
aspect, we have choices.
This lesson is fixed
to the composer's office
door: “Today is the
greatest day of your
life, if you want it to
be.†Why not look
forward to the Promise on
the Horizon and the
possibilities for
greatness that lie within
it?The opening motif of
this concert fanfare is
purposely inquisitive as
the piece seeks to
establish its first
steps. The subtle shift
at measure 37 and again
at measure 69 are
reminders of the
challenges that await us
during the journey. Here
again it is a matter of
choice – do we
choose to let
circumstances define us,
or do we define the
circumstances? The
section at 93 is a
resounding answer that we
will move barriers,
overcome obstacles and
keep our vision looking
forward. The piece builds
toward an exciting
conclusion from measure
127 onward. The piece
reinforces several basic
rhythmic patterns in 6/8
time. As a number of
these rhythms are
repeated, it provides an
easy opportunity for the
entire ensemble to grow
more comfortable
performing in this meter.
While it is a
fanfare-type piece,
remind young musicians to
play with lightness and
precision, rather than
intensity in volume.
Maintaining this style of
articulation and accuracy
helps the rhythms in 6/8
time maintain their
buoyancy. It is vital
that each musician
listens for the melody
and balances their part,
especially in moments
where the melody is
passed between sections.
If vibes are not
available, a second bell
set can be employed in
its place. It is hoped
that this piece is an
uplifting way to open
your next concert, and a
meaningful opportunity
for you to discuss the
power of making positive
choices with your
students in the ensemble
(as a reminder, regular
practicing of their
instrument is a positive
choice). Wishing you and
your ensemble well as you
look to the Promise on
the Horizon. . $11.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Know Before You Blow - Jazz Modes for Clarinet Clarinette [Partition + CD] Santorella Publications
Know Before You Blow - Jazz Modes for Clarinet with CD composed by Chris Tedesco...(+)
Know Before You Blow -
Jazz Modes for Clarinet
with CD composed by Chris
Tedesco. For bb clarinet.
This edition: Paperback.
Instructional. Jazz
Method. Book and CD. Text
Language: English. 32
pages. Published by
Santorella Publications
$14.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Know Before You Blow - Jazz Modes for Tenor Saxophone Saxophone Tenor [Partition + CD] Santorella Publications
Know Before You Blow - Jazz Modes for Tenor Sax with CD composed by Chris Tedesc...(+)
Know Before You Blow -
Jazz Modes for Tenor Sax
with CD composed by Chris
Tedesco. For tenor sax.
This edition: Paperback.
Instructional. Jazz
Method. Book and CD. Text
Language: English. 32
pages. Published by
Santorella Publications
$14.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Know Before You Blow - Jazz Modes for Flute Flûte traversière [Partition + CD] Santorella Publications
Know Before You Blow - Jazz Modes for Flute with CD composed by Chris Tedesco. F...(+)
Know Before You Blow -
Jazz Modes for Flute with
CD composed by Chris
Tedesco. For flute. This
edition: Paperback.
Instructional. Jazz
Method. Book and CD. Text
Language: English. 32
pages. Published by
Santorella Publications
(1)$14.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Know Before You Blow - Jazz Modes for Alto Saxophone Saxophone Alto [Partition + CD] Santorella Publications
Know Before You Blow - Jazz Modes for Alto Sax with CD composed by Chris Tedesco...(+)
Know Before You Blow -
Jazz Modes for Alto Sax
with CD composed by Chris
Tedesco. For alto sax.
This edition: Paperback.
Instructional. Jazz
Method. Book and CD. Text
Language: English. 32
pages. Published by
Santorella Publications
(1)$14.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Know Before You Blow - Jazz Modes for Trumpet Trompette [Partition + CD] Santorella Publications
Know Before You Blow - Jazz Modes for Trumpet with CD composed by Chris Tedesco....(+)
Know Before You Blow -
Jazz Modes for Trumpet
with CD composed by Chris
Tedesco. For bb trumpet.
This edition: Paperback.
Instructional. Jazz
Method. Book and CD. Text
Language: English. 32
pages. Published by
Santorella Publications
$14.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Know Before You Blow - Jazz Modes for Trombone Trombone [Partition + CD] Santorella Publications
Know Before You Blow - Jazz Modes for Trombone with CD composed by Chris Tedesco...(+)
Know Before You Blow -
Jazz Modes for Trombone
with CD composed by Chris
Tedesco. For trombone.
This edition: Paperback.
Instructional. Jazz
Method. Book and CD. Text
Language: English. 32
pages. Published by
Santorella Publications
$14.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
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