| Cliffhanger Orchestre à Cordes - Intermédiaire Carl Fischer
Orchestra String Orchestra - Medium Easy/Medium SKU: CF.CAS34 Full Sco...(+)
Orchestra String
Orchestra - Medium
Easy/Medium SKU:
CF.CAS34 Full
Score and Parts.
Composed by Sean
O'Loughlin. Carl Fischer
Concert String Orchestra
Series. Score and Parts.
With Standard notation.
12+16+16+4+10+10+10+4
pages. Carl Fischer Music
#CAS34. Published by Carl
Fischer Music (CF.CAS34).
ISBN 9780825861055.
UPC: 798408061050. 8.5 X
11 inches. Key: E
minor. Cliffhanger
is a programmatic work
for string orchestra that
harkens back to the days
of silent film. One of
the lasting images of
that time period is the
Saturday afternoon
matinee, where each
episode ended on a
cliffhanger until it
could be continued next
week. This piece tells
the familiar story of the
damsel in distress who is
tied up to the train
tracks as a train is
approaching. Nicely
done!. Cliffhanger is
a programmatic work for
string orchestra that
harkens back to the days
of silent film. One of
the lasting images of
that time period is the
Saturday-afternoon
matinee, where each
episode ended on a
cliffhanger until it
could be continued next
week. This piece tells
the familiar story of the
damsel in distress who is
tied up to the train
tracks as a train is
approaching.The opening
of the piece sets the
scene with danger and
desperation. By m. 6, our
hero is making his way on
horseback to rescue the
fair maiden. This main
melody is developed and
passed around the
ensemble until m. 36, at
which point despair sets
in. The music is rich
with romantic harmonies
and inner lines. Be sure
to bring out these inner
lines to add to the
passion and drama of the
moment. It continues to
build until a thunderous
arrival at m. 49. From
there we return to our
hero, who is now getting
close to the train tracks
to save the fair maiden.
The tension becomes the
highest at m. 61, when we
are still not sure if our
hero will make it in
time. But alas, at m. 68
he swoops in to save the
day and rescue the fair
maiden. Of course, they
live happily ever
after.My hope is that
your ensemble will have
some fun with this style
of music. It was adapted
from an arrangement I
wrote for the new pipe
organ at the Walk Disney
Concert Hall in Los
Angeles. They wanted some
scary train music to show
children how the organ
was used back before
movies had sound. Strings
provide a heightened
sense of drama with this
genre of music.
About Carl
Fischer Concert String
Orchestra
Series Thi
s series of pieces (Grade
3 and higher) is designed
for advancing ensembles.
The pieces in this series
are characterized
by: - Expanded use
of rhythms, ranges and
keys but technical
demands are still
carefully
considered
- More
comprehensive bowing
techniques
- Viola
T.C.
included
- Careful
selection of keys and
degree of difficulty for
advancing
musicians
$60.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Cliffhanger Orchestre à Cordes - Intermédiaire Carl Fischer
Orchestra String Orchestra - Medium Easy/Medium SKU: CF.CAS34F Composed b...(+)
Orchestra String
Orchestra - Medium
Easy/Medium SKU:
CF.CAS34F Composed by
Sean O'Loughlin. SWS.
Carl Fischer Concert
String Orchestra Series.
Classical. Full score.
With Standard notation.
12 pages. Carl Fischer
Music #CAS34F. Published
by Carl Fischer Music
(CF.CAS34F). ISBN
9780825861062. UPC:
798408061067. 8.5 X 11
inches. Key: E
minor. Cliffhanger
is a programmatic work
for string orchestra that
harkens back to the days
of silent film. One of
the lasting images of
that time period is the
Saturday afternoon
matinee, where each
episode ended on a
cliffhanger until it
could be continued next
week. This piece tells
the familiar story of the
damsel in distress who is
tied up to the train
tracks as a train is
approaching. Nicely
done!. Cliffhanger is
a programmatic work for
string orchestra that
harkens back to the days
of silent film. One of
the lasting images of
that time period is the
Saturday- afternoon
matinee, where each
episode ended on a
cliffhanger until it
could be continued next
week. This piece tells
the familiar story of the
damsel in distress who is
tied up to the train
tracks as a train is
approaching.The opening
of the piece sets the
scene with danger and
desperation. By m. 6, our
hero is making his way on
horseback to rescue the
fair maiden. This main
melody is developed and
passed around the
ensemble until m. 36, at
which point despair sets
in. The music is rich
with romantic harmonies
and inner lines. Be sure
to bring out these inner
lines to add to the
passion and drama of the
moment. It continues to
build until a thunderous
arrival at m. 49. From
there we return to our
hero, who is now getting
close to the train tracks
to save the fair maiden.
The tension becomes the
highest at m. 61, when we
are still not sure if our
hero will make it in
time. But alas, at m. 68
he swoops in to save the
day and rescue the fair
maiden. Of course, they
live happily ever
after.My hope is that
your ensemble will have
some fun with this style
of music. It was adapted
from an arrangement I
wrote for the new pipe
organ at the Walt Disney
Concert Hall in Los
Angeles. They wanted some
scary train music to show
children how the organ
was used back before
movies had sound. Strings
provide a heightened
sense of drama with this
genre of music.
About Carl
Fischer Concert String
Orchestra
Series Thi
s series of pieces (Grade
3 and higher) is designed
for advancing ensembles.
The pieces in this series
are characterized
by: - Expanded use
of rhythms, ranges and
keys but technical
demands are still
carefully
considered
- More
comprehensive bowing
techniques
- Viola
T.C.
included
- Careful
selection of keys and
degree of difficulty for
advancing
musicians
$9.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Sambuca Sonata Theodore Presser Co.
Chamber Music Flute, Piano, Viola SKU: PR.11440719S Composed by Nathan Cu...(+)
Chamber Music Flute,
Piano, Viola SKU:
PR.11440719S Composed
by Nathan Currier. Set of
Score and Parts. With
Standard notation. 44
pages. Duration 11
minutes, 30 seconds.
Theodore Presser Company
#114-40719S. Published by
Theodore Presser Company
(PR.11440719S). UPC:
680160011087. 8.5 x 11
inches. Sambuca,
which most people know
today as a
licorice-flavored
liqueur, was the name the
Greeks gave to a kind of
sharp, shrill-sounding
harp, of Eastern,
possibly Jewish origin.
The Greeks then gave this
same name to a wooden
flute made from the elder
bush, and in the middle
ages it was also
associated with the viol,
at least to the extent
that the Hurdy-gurdy, an
instrument shaped like a
viol and played by means
of a rotating wheel, was
sometimes called a
Sambuca rotata. Thus, the
word Sambuca is tied up
with the ancestors - in
each case, ancestors of
ow birth, as it were - of
the modern harp, flute,
and viola. Somehow, the
present-day association
with alcohol seems very
meet, in that a certain
objectionable quality
seems to have gone with
the name - in 1545 one
George Ascham wrote, This
I am sure... all maner of
pypes, barbitons,
sambukes... be condemned
of Aristotle. The word
Sambucistria - for a
female Sambuca player -
was used by Plutarch and
others to evoke a feeling
of foreign-inspired
decadence [Grove's
Dictionary of Musical
Instruments, 1984].
Currier's work is truly a
Sambuca sonata. Written
for the three Sambuca
instruments, Currier has
first of all seemingly
endeavoured to make the
harp part particularly
Sambuca-like (i.e., sharp
and shrill) with its many
nail and xylophonic
effects, but more
importantly, has used
musical material that
corresponds to the
low-brow, somewhat
Dionysian, indeed, today
even Bacchanalian
implication of the name -
thus, rock music seems to
inspire a great deal
Currier's work [the
Samba, an appropriately
Bacchanalian Brazilian
Carnival dance, in duple
meter with syncopations,
while apparently having
no etymological
connection to Sambuca,
might seem to be
musically involved, too].
The Sambuca which lies
behind this rather
drunken piece is probably
the only musical
instrument which became a
model for an instrument
of war; one Craxton wrote
in 1489 that Sambuce is
an engyn whiche is made
in manere of a harpe able
to perce a walle. But
whether talking of the
modern liqueur or the
ancient instrument
condemned of Aristotle
and mentioned four times
in the Book of Daniel, it
is a shame that Debussy -
inspired by the Dionysian
side of classical culture
(as in Prelude a
l'apres-midi d'un faune)
- seems to have remained
ignorant Sambuca, a word
which to some extent must
lie behind all works for
this wonderful
instrumentation which he
invented, and which I
might seem to have
striven unconsciously,
equally ignorant, to make
the sole basis of
Currier's work - until,
having completed this
piece, written for
harpist Marie-Pierre
Langlamet, and rummaging
around for a title, I
chanced upon it in an old
dictionary. $34.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Robber Bridegroom - Vocal Selections Piano, Voix et Guitare [Vocal Score] - Intermédiaire Schirmer
Lyrics by Alfred Uhry, music by Robert Waldman. For voice, piano and guitar chor...(+)
Lyrics by Alfred Uhry,
music by Robert Waldman.
For voice, piano and
guitar chords. Format:
piano/vocal/chords
songbook. With vocal
melody, piano
accompaniment, lyrics,
chord names and guitar
chord diagrams. Broadway.
83 pages. 9x12 inches.
Published by G Schirmer,
Inc
$27.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Lonely Travelers - Facile Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Chimes, Clarinet, Euphonium, Euph...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bells,
Chimes, Clarinet,
Euphonium, Euphonium
T.C., Flute, Horn, Mallet
Percussion, Oboe,
Percussion 1, Percussion
2, Snare Drum, Spoons,
Timpani, Trombone,
Trumpet, Tuba, Washboard,
Whistle, alto Saxophone
and more. - Grade 2
SKU: CF.YPS231
Composed by Travis
Weller. Folio. Yps. Set
of Score and Parts.
8+2+8+2+2+5+2+2+8+4+3+3+2
+3+2+1+2+3+16 pages.
Duration 2 minutes, 14
seconds. Carl Fischer
Music #YPS231. Published
by Carl Fischer Music
(CF.YPS231). ISBN
9781491157831. UPC:
680160916436. 9 x 12
inches. The life of
railroad worker in the
early days of expansion
was lonely, and the need
for music to bolster
spirits was of great
importance. The character
singing 900 Miles is
looking forward to being
reunited with his family
after being separated
from them for
considerable time. The
Wayfaring Stranger is a
prominent American folk
and gospel song that
reflects upon the journey
through life. The
character in that song
contemplates better times
with their family in the
afterlife. Both of these
songs speak to the idea
of searching for
something beyond the
current situation in
which that person finds
themselves. The
programmatic qualities of
the work are essentially
tied to the main folk
songa900 Milesaand they
evoke the idea of where
the song found its
origins. Beyond that,
both songs connect each
of us to the sense of
belonging and family that
are the human experience.
While the music paints a
picture of someone who is
alone, that is not a
feeling I want for any
young student in our
schools today. Band is
one of the few places
where students can
discover that sense of
belonging and find a
surrogate family. While
band is a family that
might not always get
along, they can reach a
shared goal through
diligent work, caring and
encouragement. It was a
pleasure completing
Lonely Travelers for
longtime friend, superb
musician, excellent
educator and dedicated
leader in music education
Dennis Emert. His
students debuted the work
at the 2020 PMEA State
Conference. I am deeply
appreciative of Dennis
and the friendship,
encouragement and
perspective he shared
with me over the years
teaching in the same
region. The opening
flute, clarinet and alto
saxophone part can be
performed by the entire
section or as a solo at
the discretion of the
director. The washboard
and spoon part can be
doubled as players allow.
I would suggest bringing
these students to the
front of the stage to get
the sound of both
instruments to the
audience. As the piece
develops and Wayfaring
Stranger is layered with
900 Miles, please remind
your ensemble to play so
they can hear each other,
not so they are
individually heard. I
thank you and your
ensemble in advance as
you begin this journey
together in search of
Lonely Travelers. The
life of railroad worker
in the early days of
expansion was lonely, and
the need for music to
bolster spirits was of
great importance. The
character singing 900
Miles is looking forward
to being reunited with
his family after being
separated from them for
considerable time. The
Wayfaring Stranger is a
prominent American folk
and gospel song that
reflects upon the journey
through life. The
character in that song
contemplates better times
with their family in the
afterlife. Both of these
songs speak to the idea
of searching for
something beyond the
current situation in
which that person finds
themselves. The
programmatic qualities of
the work are essentially
tied to the main folk
song--900 Miles--and they
evoke the idea of where
the song found its
origins. Beyond that,
both songs connect each
of us to the sense of
belonging and family that
are the human experience.
While the music paints a
picture of someone who is
alone, that is not a
feeling I want for any
young student in our
schools today. Band is
one of the few places
where students can
discover that sense of
belonging and find a
surrogate family. While
band is a family that
might not always get
along, they can reach a
shared goal through
diligent work, caring and
encouragement. It was a
pleasure completing
Lonely Travelers for
longtime friend, superb
musician, excellent
educator and dedicated
leader in music education
Dennis Emert. His
students debuted the work
at the 2020 PMEA State
Conference. I am deeply
appreciative of Dennis
and the friendship,
encouragement and
perspective he shared
with me over the years
teaching in the same
region. The opening
flute, clarinet and alto
saxophone part can be
performed by the entire
section or as a solo at
the discretion of the
director. The washboard
and spoon part can be
doubled as players allow.
I would suggest bringing
these students to the
front of the stage to get
the sound of both
instruments to the
audience. As the piece
develops and Wayfaring
Stranger is layered with
900 Miles, please remind
your ensemble to play so
they can hear each other,
not so they are
individually heard. I
thank you and your
ensemble in advance as
you begin this journey
together in search of
Lonely Travelers. The
life of railroad worker
in the early days of
expansion was lonely, and
the need for music to
bolster spirits was of
great importance. The
character singing 900
Miles is looking forward
to being reunited with
his family after being
separated from them for
considerable time. The
Wayfaring Stranger is a
prominent American folk
and gospel song that
reflects upon the journey
through life. The
character in that song
contemplates better times
with their family in the
afterlife. Both of these
songs speak to the idea
of searching for
something beyond the
current situation in
which that person finds
themselves. The
programmatic qualities of
the work are essentially
tied to the main folk
song—900
Miles—and they
evoke the idea of where
the song found its
origins. Beyond that,
both songs connect each
of us to the sense of
belonging and family that
are the human
experience.While the
music paints a picture of
someone who is alone,
that is not a feeling I
want for any young
student in our schools
today. Band is one of the
few places where students
can discover that sense
of belonging and find a
surrogate family. While
band is a family that
might not always get
along, they can reach a
shared goal through
diligent work, caring and
encouragement. It was a
pleasure completing
Lonely Travelers for
longtime friend, superb
musician, excellent
educator and dedicated
leader in music education
Dennis Emert. His
students debuted the work
at the 2020 PMEA State
Conference. I am deeply
appreciative of Dennis
and the friendship,
encouragement and
perspective he shared
with me over the years
teaching in the same
region.The opening flute,
clarinet and alto
saxophone part can be
performed by the entire
section or as a solo at
the discretion of the
director. The washboard
and spoon part can be
doubled as players allow.
I would suggest bringing
these students to the
front of the stage to get
the sound of both
instruments to the
audience. As the piece
develops and Wayfaring
Stranger is layered with
900 Miles, please remind
your ensemble to play so
they can hear each other,
not so they are
individually heard. I
thank you and your
ensemble in advance as
you begin this journey
together in search of
Lonely Travelers. $65.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Lonely Travelers - Facile Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Chimes, Clarinet, Euphonium, Euph...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bells,
Chimes, Clarinet,
Euphonium, Euphonium
T.C., Flute, Horn, Mallet
Percussion, Oboe,
Percussion 1, Percussion
2, Snare Drum, Spoons,
Timpani, Trombone,
Trumpet, Tuba, Washboard,
Whistle, alto Saxophone
and more. - Grade 2
SKU: CF.YPS231F
Composed by Travis
Weller. Sws. Yps. Full
score. 16 pages. Duration
2 minutes, 14 seconds.
Carl Fischer Music
#YPS231F. Published by
Carl Fischer Music
(CF.YPS231F). ISBN
9781491157824. UPC:
680160916429. 9 x 12
inches. The life of
railroad worker in the
early days of expansion
was lonely, and the need
for music to bolster
spirits was of great
importance. The character
singing 900 Miles is
looking forward to being
reunited with his family
after being separated
from them for
considerable time. The
Wayfaring Stranger is a
prominent American folk
and gospel song that
reflects upon the journey
through life. The
character in that song
contemplates better times
with their family in the
afterlife. Both of these
songs speak to the idea
of searching for
something beyond the
current situation in
which that person finds
themselves. The
programmatic qualities of
the work are essentially
tied to the main folk
songa900 Milesaand they
evoke the idea of where
the song found its
origins. Beyond that,
both songs connect each
of us to the sense of
belonging and family that
are the human experience.
While the music paints a
picture of someone who is
alone, that is not a
feeling I want for any
young student in our
schools today. Band is
one of the few places
where students can
discover that sense of
belonging and find a
surrogate family. While
band is a family that
might not always get
along, they can reach a
shared goal through
diligent work, caring and
encouragement. It was a
pleasure completing
Lonely Travelers for
longtime friend, superb
musician, excellent
educator and dedicated
leader in music education
Dennis Emert. His
students debuted the work
at the 2020 PMEA State
Conference. I am deeply
appreciative of Dennis
and the friendship,
encouragement and
perspective he shared
with me over the years
teaching in the same
region. The opening
flute, clarinet and alto
saxophone part can be
performed by the entire
section or as a solo at
the discretion of the
director. The washboard
and spoon part can be
doubled as players allow.
I would suggest bringing
these students to the
front of the stage to get
the sound of both
instruments to the
audience. As the piece
develops and Wayfaring
Stranger is layered with
900 Miles, please remind
your ensemble to play so
they can hear each other,
not so they are
individually heard. I
thank you and your
ensemble in advance as
you begin this journey
together in search of
Lonely Travelers. The
life of railroad worker
in the early days of
expansion was lonely, and
the need for music to
bolster spirits was of
great importance. The
character singing 900
Miles is looking forward
to being reunited with
his family after being
separated from them for
considerable time. The
Wayfaring Stranger is a
prominent American folk
and gospel song that
reflects upon the journey
through life. The
character in that song
contemplates better times
with their family in the
afterlife. Both of these
songs speak to the idea
of searching for
something beyond the
current situation in
which that person finds
themselves. The
programmatic qualities of
the work are essentially
tied to the main folk
song--900 Miles--and they
evoke the idea of where
the song found its
origins. Beyond that,
both songs connect each
of us to the sense of
belonging and family that
are the human experience.
While the music paints a
picture of someone who is
alone, that is not a
feeling I want for any
young student in our
schools today. Band is
one of the few places
where students can
discover that sense of
belonging and find a
surrogate family. While
band is a family that
might not always get
along, they can reach a
shared goal through
diligent work, caring and
encouragement. It was a
pleasure completing
Lonely Travelers for
longtime friend, superb
musician, excellent
educator and dedicated
leader in music education
Dennis Emert. His
students debuted the work
at the 2020 PMEA State
Conference. I am deeply
appreciative of Dennis
and the friendship,
encouragement and
perspective he shared
with me over the years
teaching in the same
region. The opening
flute, clarinet and alto
saxophone part can be
performed by the entire
section or as a solo at
the discretion of the
director. The washboard
and spoon part can be
doubled as players allow.
I would suggest bringing
these students to the
front of the stage to get
the sound of both
instruments to the
audience. As the piece
develops and Wayfaring
Stranger is layered with
900 Miles, please remind
your ensemble to play so
they can hear each other,
not so they are
individually heard. I
thank you and your
ensemble in advance as
you begin this journey
together in search of
Lonely Travelers. The
life of railroad worker
in the early days of
expansion was lonely, and
the need for music to
bolster spirits was of
great importance. The
character singing 900
Miles is looking forward
to being reunited with
his family after being
separated from them for
considerable time. The
Wayfaring Stranger is a
prominent American folk
and gospel song that
reflects upon the journey
through life. The
character in that song
contemplates better times
with their family in the
afterlife. Both of these
songs speak to the idea
of searching for
something beyond the
current situation in
which that person finds
themselves. The
programmatic qualities of
the work are essentially
tied to the main folk
song—900
Miles—and they
evoke the idea of where
the song found its
origins. Beyond that,
both songs connect each
of us to the sense of
belonging and family that
are the human
experience.While the
music paints a picture of
someone who is alone,
that is not a feeling I
want for any young
student in our schools
today. Band is one of the
few places where students
can discover that sense
of belonging and find a
surrogate family. While
band is a family that
might not always get
along, they can reach a
shared goal through
diligent work, caring and
encouragement. It was a
pleasure completing
Lonely Travelers for
longtime friend, superb
musician, excellent
educator and dedicated
leader in music education
Dennis Emert. His
students debuted the work
at the 2020 PMEA State
Conference. I am deeply
appreciative of Dennis
and the friendship,
encouragement and
perspective he shared
with me over the years
teaching in the same
region.The opening flute,
clarinet and alto
saxophone part can be
performed by the entire
section or as a solo at
the discretion of the
director. The washboard
and spoon part can be
doubled as players allow.
I would suggest bringing
these students to the
front of the stage to get
the sound of both
instruments to the
audience. As the piece
develops and Wayfaring
Stranger is layered with
900 Miles, please remind
your ensemble to play so
they can hear each other,
not so they are
individually heard. I
thank you and your
ensemble in advance as
you begin this journey
together in search of
Lonely Travelers. $11.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Today's Greatest Pop and Rock Hits Piano seul - Débutant Alfred Publishing
(Big Note Piano). Arranged by Carol Matz. For Piano. This edition: Big Note Pian...(+)
(Big Note Piano).
Arranged by Carol Matz.
For Piano. This edition:
Big Note Piano. Book;
Piano Collection; Piano
Supplemental. Pop; Rock.
Big Note. 144 pages.
Published by Alfred Music
Publishing
$18.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Christmas with the Nutcracker Orchestre à Cordes [Conducteur et Parties séparées] - Intermédiaire Kendor Music Inc.
String Orchestra - Grade 3.5 SKU: KN.KCS2303 Composed by Peter Ilyich Tch...(+)
String Orchestra - Grade
3.5 SKU:
KN.KCS2303 Composed
by Peter Ilyich
Tchaikovsky. Arranged by
Katie O'Hara LaBrie.
Concert String Orchestra
Series 3-3.5. Score and
Parts. Kendor Music Inc
#KCS2303. Published by
Kendor Music Inc
(KN.KCS2303). 12 x 9
inches. Skillfully
arranged, Katie has
created a Christmas
medley of themes from The
Nutcracker along with
familiar carols weaving
in and out. This is your
one stop shop for all
things
Christmas...beautifully
tied up with a bow in
about 3 1/2 minutes. A
really fun addition to
Christmas repertoire! $65.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Guns N' Roses: Use Your Illusion II Guitare notes et tablatures [Partition] - Intermédiaire Cherry Lane
Performed by Guns N' Roses. For guitar and voice. Format: guitar tablature songb...(+)
Performed by Guns N'
Roses. For guitar and
voice. Format: guitar
tablature songbook. With
guitar tablature,
standard notation, vocal
melody, lyrics, chord
names and guitar chord
diagrams. Hard rock and
metal. 144 pages. 9x12
inches. Published by
Cherry Lane Music
(1)$26.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Guns N' Roses: Guns N' Roses Anthology Guitare notes et tablatures [Partition] - Intermédiaire Cherry Lane
Performed by Guns N' Roses. For guitar and voice. Format: guitar tablature songb...(+)
Performed by Guns N'
Roses. For guitar and
voice. Format: guitar
tablature songbook. With
guitar tablature,
standard notation, vocal
melody, lyrics, chord
names and guitar chord
diagrams. Hard rock and
metal. 208 pages. 9x12
inches. Published by
Cherry Lane Music.
(6)$34.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Guns N' Roses: Guns N' Roses Complete - Volume 2 (M-Z) Guitare notes et tablatures [Partition] - Intermédiaire Cherry Lane
Performed by Guns N' Roses. For guitar and voice. Format: guitar tablature songb...(+)
Performed by Guns N'
Roses. For guitar and
voice. Format: guitar
tablature songbook. With
guitar tablature,
standard notation, vocal
melody, lyrics, chord
names, guitar chord
diagrams and guitar
notation legend. Hard
rock and metal. 216
pages. 9x12 inches.
Published by Cherry Lane
Music
(5)$39.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Christmas with the Nutcracker - Intermédiaire Kendor Music Inc.
String Orchestra - Grade 3.5 SKU: KN.KCS2303FS Composed by Peter Ilyich T...(+)
String Orchestra - Grade
3.5 SKU:
KN.KCS2303FS Composed
by Peter Ilyich
Tchaikovsky. Arranged by
Katie O'Hara LaBrie.
Concert String Orchestra
Series 3-3.5. Score Only.
Kendor Music Inc
#KCS2303FS. Published by
Kendor Music Inc
(KN.KCS2303FS). 12 x 9
inches. Skillfully
arranged, Katie has
created a Christmas
medley of themes from The
Nutcracker along with
familiar carols weaving
in and out. This is your
one stop shop for all
things
Christmas...beautifully
tied up with a bow in
about 3 1/2 minutes. A
really fun addition to
Christmas repertoire! $9.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Guns N' Roses Guitare notes et tablatures [Partition + CD] Cherry Lane
By Guns N' Roses. By Toby Wine. Guitar Educational. Book with CD. Guitar tablatu...(+)
By Guns N' Roses. By Toby
Wine. Guitar Educational.
Book with CD. Guitar
tablature. 80 pages.
Published by Cherry Lane
Music
$19.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Fantasy on Coventry Carol Orchestre à Cordes [Conducteur et Parties séparées] - Intermédiaire Alfred Publishing
Arranged by Jerry Brubaker. Conductor's score and set of performance parts for s...(+)
Arranged by Jerry
Brubaker. Conductor's
score and set of
performance parts for
string orchestra (8 - 1st
violin, 8 - 2nd violin, 5
- viola, 5 - cello, 5 -
string bass). Series:
Belwin String Orchestra
Concert Level. Published
by Alfred Publishing.
$59.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Best of Guns N' Roses for Bass Basse electrique Cherry Lane
Performed by Guns N' Roses. Bass. With notes and tablature. Size 9x12 inches. Pu...(+)
Performed by Guns N'
Roses. Bass. With notes
and tablature. Size 9x12
inches. Published by
Cherry Lane Music
(1)$24.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Hard-fi: Stars Of Cctv Hal Leonard
| | |
| Guns N' Roses: Guns N' Roses for Easy Guitar Guitare notes et tablatures [Partition] - Facile Cherry Lane
Performed by Guns N' Roses. For guitar and voice. Format: easy guitar tablature ...(+)
Performed by Guns N'
Roses. For guitar and
voice. Format: easy
guitar tablature
songbook. With guitar
tablature, standard
notation, vocal melody,
lyrics, chord names and
guitar chord diagrams.
Hard rock and metal.
Series: Easy Guitar. 160
pages. 9x12 inches.
Published by Cherry Lane
Music.
(3)$29.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Megahits of 2012 Piano Facile - Facile Alfred Publishing
(Easy Piano). Arranged by Dan Coates. For Piano. This edition: Easy Piano. Book;...(+)
(Easy Piano). Arranged by
Dan Coates. For Piano.
This edition: Easy Piano.
Book; Piano - Easy Piano
Collection; Piano
Supplemental. Pop. Easy
Piano. 64 pages.
Published by Alfred Music
Publishing
$14.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Fanfare and Jubilation - Débutant Carl Fischer
Band Bass Clarinet, Bass Drum, Bass Trombone, Bassoon, Bells, Clarinet 1, Clarin...(+)
Band Bass Clarinet, Bass
Drum, Bass Trombone,
Bassoon, Bells, Clarinet
1, Clarinet 2, Crash
Cymbals, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Horn, Mallet
Percussion, Oboe,
Percussion 1, Percussion
2, Snare Drum, Timpani,
Trombone, Trumpet 1 and
more. - Grade 1 SKU:
CF.BPS137F Composed
by Michael Boo. Sws. Bps.
Full score. 16 pages.
Duration 2:20. Carl
Fischer Music #BPS137F.
Published by Carl Fischer
Music (CF.BPS137F).
ISBN 9781491158494.
UPC: 680160917099. 9 x 12
inches. Fanfare and
Jubilation is a Grade 1
work that is playable by
any beginning band with
any instrumentation due
to extensive doubling.
The mood is regal and
optimistic and is
non-programmatic,
conveying no picturesque
image or storyline. It is
appropriate for any
occasion. Accents are to
be emphasized more than
non-accented notes, but
are not to be hammered
hard. Stress that
accented notes are to be
played with the same good
tone as the other notes
and that pitches should
not suffer from the
additional emphasis.
Think of the accents as
more of an additional
emphasis from the air
column and not the
tongue. Percussion
accents are to played
with more emphasis than
non-accented notes, but
shouldnat be perceived as
being much louder.
Timpani is only two
pitches and is optional.
The piece will not suffer
at all if you donat have
access to Timpani or a
timpanist. Bells cover a
wide rangea|the lower
octave sections should
not be played louder just
because theyare low
pitched, as those notes
will still be
appropriately heard while
supporting the melody. Do
not use brass mallets.
Balter 10 Phenolic
mallets or equivalent
(such as clear Balter
Lexan or white Medium
Hard Poly models) are
most appropriate. Think
of the m. 10 accented
quarter notes tied to the
half notes (and similar
later examples) as being
akin to Horn rips in a
Hollywood movie. They are
to be emphasized slightly
but should not be
blaring. Even though they
are the only things
happening on counts 2 and
3, care must be given
that the young players
donat get carried away
and give them more
emphasis than is
musically desired. At m.
21, be careful that the
bass line isnat plodding
or over-emphasized due to
the accents. Those
players should be aware
of the sudden drop in
volume and lack of
accents at m. 25.
Attention to sudden
dynamic shifts will add
interest to the piece and
present a more musical
performance. Throughout
this entire section, try
to get all winds to
sustain a single breath
through four bars until
the breath marks. If they
are unable to do so,
please explain the
concept of staggered
breathing between members
of their section. There
may be a tendency among
the players to blast out
m. 57 to the end. Notes
should have more power
than the section from mm.
21-56, but are still to
be approached musically.
Explaining such concepts
during their early
musical development will
go far in helping them
develop good traits that
will pay off dividends in
the future. Fanfare
and Jubilation is a Grade
1 work that is playable
by any beginning band
with any instrumentation
due to extensive
doubling. The mood is
regal and optimistic and
is non-programmatic,
conveying no picturesque
image or storyline. It is
appropriate for any
occasion. Accents are to
be emphasized more than
non-accented notes, but
are not to be hammered
hard. Stress that
accented notes are to be
played with the same good
tone as the other notes
and that pitches should
not suffer from the
additional emphasis.
Think of the accents as
more of an additional
emphasis from the air
column and not the
tongue. Percussion
accents are to played
with more emphasis than
non-accented notes, but
shouldn't be perceived as
being much louder.
Timpani is only two
pitches and is optional.
The piece will not suffer
at all if you don't have
access to Timpani or a
timpanist. Bells cover a
wide range...the lower
octave sections should
not be played louder just
because they're low
pitched, as those notes
will still be
appropriately heard while
supporting the melody. Do
not use brass mallets.
Balter 10 Phenolic
mallets or equivalent
(such as clear Balter
Lexan or white Medium
Hard Poly models) are
most appropriate. Think
of the m. 10 accented
quarter notes tied to the
half notes (and similar
later examples) as being
akin to Horn rips in a
Hollywood movie. They are
to be emphasized slightly
but should not be
blaring. Even though they
are the only things
happening on counts 2 and
3, care must be given
that the young players
don't get carried away
and give them more
emphasis than is
musically desired. At m.
21, be careful that the
bass line isn't plodding
or over-emphasized due to
the accents. Those
players should be aware
of the sudden drop in
volume and lack of
accents at m. 25.
Attention to sudden
dynamic shifts will add
interest to the piece and
present a more musical
performance. Throughout
this entire section, try
to get all winds to
sustain a single breath
through four bars until
the breath marks. If they
are unable to do so,
please explain the
concept of staggered
breathing between members
of their section. There
may be a tendency among
the players to blast out
m. 57 to the end. Notes
should have more power
than the section from mm.
21-56, but are still to
be approached musically.
Explaining such concepts
during their early
musical development will
go far in helping them
develop good traits that
will pay off dividends in
the future. Fanfare
and Jubilation is a Grade
1 work that is playable
by any beginning band
with any instrumentation
due to extensive
doubling. The mood is
regal and optimistic and
is non-programmatic,
conveying no picturesque
image or storyline. It is
appropriate for any
occasion.Accents are to
be emphasized more than
non-accented notes, but
are not to be hammered
hard. Stress that
accented notes are to be
played with the same good
tone as the other notes
and that pitches should
not suffer from the
additional emphasis.
Think of the accents as
more of an additional
emphasis from the air
column and not the
tongue.Percussion accents
are to played with more
emphasis than
non-accented notes, but
shouldn’t be
perceived as being much
louder. Timpani is only
two pitches and is
optional. The piece will
not suffer at all if you
don’t have access
to Timpani or a
timpanist. Bells cover a
wide range…the
lower octave sections
should not be played
louder just because
they’re low
pitched, as those notes
will still be
appropriately heard while
supporting the melody. Do
not use brass mallets.
Balter 10 Phenolic
mallets or equivalent
(such as clear Balter
Lexan or white Medium
Hard Poly models) are
most appropriate.Think of
the m. 10 accented
quarter notes tied to the
half notes (and similar
later examples) as being
akin to Horn rips in a
Hollywood movie. They are
to be emphasized slightly
but should not be
blaring. Even though they
are the only things
happening on counts 2 and
3, care must be given
that the young players
don’t get carried
away and give them more
emphasis than is
musically desired.At m.
21, be careful that the
bass line isn’t
plodding or
over-emphasized due to
the accents. Those
players should be aware
of the sudden drop in
volume and lack of
accents at m. 25.
Attention to sudden
dynamic shifts will add
interest to the piece and
present a more musical
performance. Throughout
this entire section, try
to get all winds to
sustain a single breath
through four bars until
the breath marks. If they
are unable to do so,
please explain the
concept of staggered
breathing between members
of their section.There
may be a tendency among
the players to blast out
m. 57 to the end. Notes
should have more power
than the section from mm.
21-56, but are still to
be approached musically.
Explaining such concepts
during their early
musical development will
go far in helping them
develop good traits that
will pay off dividends in
the future. $7.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Fanfare and Jubilation - Débutant Carl Fischer
Band Bass Clarinet, Bass Drum, Bass Trombone, Bassoon, Bells, Clarinet 1, Clarin...(+)
Band Bass Clarinet, Bass
Drum, Bass Trombone,
Bassoon, Bells, Clarinet
1, Clarinet 2, Crash
Cymbals, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Horn, Mallet
Percussion, Oboe,
Percussion 1, Percussion
2, Snare Drum, Timpani,
Trombone, Trumpet 1 and
more. - Grade 1 SKU:
CF.BPS137 Composed by
Michael Boo. Folio. Bps.
Set of Score and Parts.
4+4+2+4+4+2+2+3+2+2+2+4+4
+3+2+2+2+3+1+1+2+1+16
pages. Duration 2:20.
Carl Fischer Music
#BPS137. Published by
Carl Fischer Music
(CF.BPS137). ISBN
9781491158487. UPC:
680160917082. 9 x 12
inches. Fanfare and
Jubilation is a Grade 1
work that is playable by
any beginning band with
any instrumentation due
to extensive doubling.
The mood is regal and
optimistic and is
non-programmatic,
conveying no picturesque
image or storyline. It is
appropriate for any
occasion. Accents are to
be emphasized more than
non-accented notes, but
are not to be hammered
hard. Stress that
accented notes are to be
played with the same good
tone as the other notes
and that pitches should
not suffer from the
additional emphasis.
Think of the accents as
more of an additional
emphasis from the air
column and not the
tongue. Percussion
accents are to played
with more emphasis than
non-accented notes, but
shouldnat be perceived as
being much louder.
Timpani is only two
pitches and is optional.
The piece will not suffer
at all if you donat have
access to Timpani or a
timpanist. Bells cover a
wide rangea|the lower
octave sections should
not be played louder just
because theyare low
pitched, as those notes
will still be
appropriately heard while
supporting the melody. Do
not use brass mallets.
Balter 10 Phenolic
mallets or equivalent
(such as clear Balter
Lexan or white Medium
Hard Poly models) are
most appropriate. Think
of the m. 10 accented
quarter notes tied to the
half notes (and similar
later examples) as being
akin to Horn rips in a
Hollywood movie. They are
to be emphasized slightly
but should not be
blaring. Even though they
are the only things
happening on counts 2 and
3, care must be given
that the young players
donat get carried away
and give them more
emphasis than is
musically desired. At m.
21, be careful that the
bass line isnat plodding
or over-emphasized due to
the accents. Those
players should be aware
of the sudden drop in
volume and lack of
accents at m. 25.
Attention to sudden
dynamic shifts will add
interest to the piece and
present a more musical
performance. Throughout
this entire section, try
to get all winds to
sustain a single breath
through four bars until
the breath marks. If they
are unable to do so,
please explain the
concept of staggered
breathing between members
of their section. There
may be a tendency among
the players to blast out
m. 57 to the end. Notes
should have more power
than the section from mm.
21-56, but are still to
be approached musically.
Explaining such concepts
during their early
musical development will
go far in helping them
develop good traits that
will pay off dividends in
the future. Fanfare
and Jubilation is a Grade
1 work that is playable
by any beginning band
with any instrumentation
due to extensive
doubling. The mood is
regal and optimistic and
is non-programmatic,
conveying no picturesque
image or storyline. It is
appropriate for any
occasion. Accents are to
be emphasized more than
non-accented notes, but
are not to be hammered
hard. Stress that
accented notes are to be
played with the same good
tone as the other notes
and that pitches should
not suffer from the
additional emphasis.
Think of the accents as
more of an additional
emphasis from the air
column and not the
tongue. Percussion
accents are to played
with more emphasis than
non-accented notes, but
shouldn't be perceived as
being much louder.
Timpani is only two
pitches and is optional.
The piece will not suffer
at all if you don't have
access to Timpani or a
timpanist. Bells cover a
wide range...the lower
octave sections should
not be played louder just
because they're low
pitched, as those notes
will still be
appropriately heard while
supporting the melody. Do
not use brass mallets.
Balter 10 Phenolic
mallets or equivalent
(such as clear Balter
Lexan or white Medium
Hard Poly models) are
most appropriate. Think
of the m. 10 accented
quarter notes tied to the
half notes (and similar
later examples) as being
akin to Horn rips in a
Hollywood movie. They are
to be emphasized slightly
but should not be
blaring. Even though they
are the only things
happening on counts 2 and
3, care must be given
that the young players
don't get carried away
and give them more
emphasis than is
musically desired. At m.
21, be careful that the
bass line isn't plodding
or over-emphasized due to
the accents. Those
players should be aware
of the sudden drop in
volume and lack of
accents at m. 25.
Attention to sudden
dynamic shifts will add
interest to the piece and
present a more musical
performance. Throughout
this entire section, try
to get all winds to
sustain a single breath
through four bars until
the breath marks. If they
are unable to do so,
please explain the
concept of staggered
breathing between members
of their section. There
may be a tendency among
the players to blast out
m. 57 to the end. Notes
should have more power
than the section from mm.
21-56, but are still to
be approached musically.
Explaining such concepts
during their early
musical development will
go far in helping them
develop good traits that
will pay off dividends in
the future. Fanfare
and Jubilation is a Grade
1 work that is playable
by any beginning band
with any instrumentation
due to extensive
doubling. The mood is
regal and optimistic and
is non-programmatic,
conveying no picturesque
image or storyline. It is
appropriate for any
occasion.Accents are to
be emphasized more than
non-accented notes, but
are not to be hammered
hard. Stress that
accented notes are to be
played with the same good
tone as the other notes
and that pitches should
not suffer from the
additional emphasis.
Think of the accents as
more of an additional
emphasis from the air
column and not the
tongue.Percussion accents
are to played with more
emphasis than
non-accented notes, but
shouldn’t be
perceived as being much
louder. Timpani is only
two pitches and is
optional. The piece will
not suffer at all if you
don’t have access
to Timpani or a
timpanist. Bells cover a
wide range…the
lower octave sections
should not be played
louder just because
they’re low
pitched, as those notes
will still be
appropriately heard while
supporting the melody. Do
not use brass mallets.
Balter 10 Phenolic
mallets or equivalent
(such as clear Balter
Lexan or white Medium
Hard Poly models) are
most appropriate.Think of
the m. 10 accented
quarter notes tied to the
half notes (and similar
later examples) as being
akin to Horn rips in a
Hollywood movie. They are
to be emphasized slightly
but should not be
blaring. Even though they
are the only things
happening on counts 2 and
3, care must be given
that the young players
don’t get carried
away and give them more
emphasis than is
musically desired.At m.
21, be careful that the
bass line isn’t
plodding or
over-emphasized due to
the accents. Those
players should be aware
of the sudden drop in
volume and lack of
accents at m. 25.
Attention to sudden
dynamic shifts will add
interest to the piece and
present a more musical
performance. Throughout
this entire section, try
to get all winds to
sustain a single breath
through four bars until
the breath marks. If they
are unable to do so,
please explain the
concept of staggered
breathing between members
of their section.There
may be a tendency among
the players to blast out
m. 57 to the end. Notes
should have more power
than the section from mm.
21-56, but are still to
be approached musically.
Explaining such concepts
during their early
musical development will
go far in helping them
develop good traits that
will pay off dividends in
the future. $53.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Violin - Concerto Orchestre, Violon SATB, Orchestre Editorial de Musica Boileau
Violin and orchestra SKU: BO.B.3340 Composed by Jordi Cervello. Instrumen...(+)
Violin and orchestra
SKU: BO.B.3340
Composed by Jordi
Cervello. Instrumental
Sets. Duration 29:00.
Published by Editorial de
Musica Boileau
(BO.B.3340). ISBN
9788480207591. Engl
ish comments: My
dedication to the string
instruments has been a
constant throughout my
compositional career and
I knew that sooner or
later the time would come
to compose a concerto for
violin and orchestra.
That moment came in the
autumn of 2002 and after
ten months of
uninterrupted work I
finished it in August of
2003. It is a work
structured similarly to
the traditional
concertos. An important
impetus for the
elaboration of my
concerto was due to the
ill-fated violinist
Ginette Neveu. Her
version of Sibelius'
Concerto has always
stayed with me. For this
reason the first
movement,
Moderato-Allegro, begins
with a contemplative
atmosphere similar to
that of Sibelius'
Concerto in which the
principal thematic ideas
appear tentatively. These
ideas, two rhythmic and
two melodic, are
reaffirmed through a
broad development that
culminates in an
orchestral fullness. A
calm, mysterious passage
recalls the introduction
and after becoming
blurred, three bars burst
in leading to the rapid
section of the movement.
Soloist and orchestra
engage in a dialectic
struggle of a dramatic
nature. The agitation
subsides leaving only a
tranquil and suggestive
clarinet phrase. This
will be taken up by the
soloist who leads up to
the movement's most
dramatic moment playing
an accelerating triplet
figure supported by an
orchestral pedal in
crescendo. From here the
soloist's cadenza emerges
beginning with soft
double notes. It finishes
with an ascending
progression and the
soloist settles into the
high register to elicit
the orchestra's
intervention in a soft
and transfigured
atmosphere. Once
internalised the second
movement, Adagio poco
sostenuto e leggero
begins. It has a solemn
character and opens with
two trumpet calls
answered by the
violoncellos and the
contrabasses. The violin
soloist introduces and
plays two nostalgic
themes, the first in the
low register and the
second, more extensive,
in the middle register.
The soft and delicate
Misterioso e leggero
begins with the violin
singing on high. The
rhythm of the constant
quaver figures gradually
accelerates until the
soloist provokes a
dramatic full orchestra
as in a cadenza. Once
again, the Calmo, in
which the soloist with
less and less orchestral
attire serenely bids
farewell. A rising series
of double stops by the
soloist serves to
initiate the
Finale-Scherzo. In 6/8
rhythm and with the
character of a rondo it
carries us along in a
carefree, virtuosic
ambiance. The principal
motives, brief and
concise, emerge from the
happy, playful theme
presented by the soloist.
With an intricate
progression of rapid
sixths in double stops it
reaches a tense and
somewhat combative
moment. However this
resolves itself in a
diminuendo that the
soloist peacefully takes
up with the notes re-la
to commence the cadenza.
This culminates in a
series of tied notes to
reintroduce the principal
theme. A moment of
melodic suspension serves
as a farewell before the
brief and jovial final
coda. --The
author
Comentari
os del Espanol: A lo
largo de mi carrera
compositiva mi dedicacion
a los instrumentos de
cuerda ha sido constante
y sabia que, tarde o
temprano, llegaria el
momento de componer un
concierto para violin y
orquesta. Este llego en
otono de 2002 y, tras
diez meses de trabajo
ininterrumpido, lo
termine en agosto de
2003. Se trata de una
obra estructurada de
manera similar a los
conciertos tradicionales.
Un importante impulso a
la elaboracion de mi
concierto lo debo al
recuerdo de la malograda
violinista Ginette Neveu.
Su version del concierto
de Sibelius ha
permanecido siempre
dentro de mi. Por ese
motivo, el primer
movimiento
Moderato-Allegro se
inicia con una atmosfera
contemplativa cercana a
la del mencionado
Concierto, en la que
aparecen cautamente las
principales ideas
tematicas. Con un amplio
desarrollo se llega a un
lleno orquestal en el que
estas ideas -dos ritmicas
y dos melodicas- quedan
reafirmadas. Un pasaje
calmo y misterioso
rememora la introduccion.
Tras desdibujarse,
irrumpen tres compases
que nos llevan a la parte
rapida del movimiento.
Solista y orquesta
establecen un combate
dialectico de caracter
dramatico. La inquietud
desaparece hasta una
tranquila e insinuante
frase del clarinete. Esta
sera recogida por el
solista, quien, a base de
una figuracion de
tresillos cada vez mas
rapidos apoyada por un
pedal de la orquesta in
crescendo, conduce hacia
el momento mas dramatico
del movimiento. De aqui
nace la cadenza del
solista, que se incia con
suaves notas dobles.
Finaliza con una
progresion ascendente y
el solista se coloca en
el registro agudo para
llamar la intervencion de
la orquesta dentro de una
atmosfera suave y
transfigurada.
Interiorizado es el
segundo movimiento Adagio
poco sostenuto e leggero.
Con dos llamadas de las
trompas respondidas por
los violonchelos y
contrabajos inicia el
Adagio de caracter grave.
El violin solista
introduce y canta dos
temas nostalgicos. El
primero en el registro
grave y el segundo, mas
amplio, en el medio.
Inicia el Misterioso e
leggero, de caracter
suave y delicado. Con el
violin cantando en agudo.
La constante figuracion
de corcheas acelerara
poco a poco el ritmo
hasta que el solista a
modo de cadenza provocara
un dramatico lleno
orquestal. De nuevo el
Calmo, donde el solista,
cada vez con menos ropaje
orquestal, se despide
serenamente. Una subida
de dobles cuerdas a cargo
del solista sirve para
iniciar el
Finale-Scherzo. Este, en
ritmo de 6/8 y con
caracter de rondo, nos
transporta en un clima
virtuosistico y
despreocupado. Del tema
alegre y jugueton
presentado por el solista
nacen los principales
motivos, breves y
concisos. Con una
intrincada sucesion de
rapidas sextas en doble
cuerda se llega a un
momento crispado y algo
combativo que, sin
embargo, se resolvera en
un diminuendo que el
solista recoge
apaciblemente con las
notas re-la para inciar
la cadenza. Esta culmina
con un suave rosario de
notas en ligado para
introducir de nuevo el
tema principal. Un
momento de suspension
melodica sirve como
despido antes de la breve
y jovial coda final. La
obra fue estrenada el 23
de septiembre de 2005 en
el Teatre Monumental de
Madrid por la Orquesta
Sinfonica de RTVE con
Markus Placci de solista
y Uwe Mund de director.
Gravacion: RNE y Canal
Clasico de TVE. --El
Autor. $42.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Rockin' Rhythm Raps - A Sequential Approach to Rhythm Reading (Resource) Formation musicale - Solfège [Partition + CD] Hal Leonard
By Cheryl Lavender. Music First Express. Book and CD Package. Size 8.5x11 inches...(+)
By Cheryl Lavender. Music
First Express. Book and
CD Package. Size 8.5x11
inches. 32 pages.
Published by Hal Leonard.
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