| Grainger Walking Tune Flute Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor Schott
Wind quintet SKU: HL.49029809 Composed by Percy Aldridge Grainger. Sheet ...(+)
Wind quintet SKU:
HL.49029809 Composed
by Percy Aldridge
Grainger. Sheet music.
Edition Schott. Separate
part, Flute. Schott Music
#ED11342-01. Published by
Schott Music
(HL.49029809).
$2.95 - Voir plus => Acheter | | |
| Grainger Walking Tune Bassoon Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor Schott
Wind quintet SKU: HL.49029813 Composed by Percy Aldridge Grainger. Sheet ...(+)
Wind quintet SKU:
HL.49029813 Composed
by Percy Aldridge
Grainger. Sheet music.
Edition Schott. Separate
part, Bassoon. Schott
Music #ED11342-05.
Published by Schott Music
(HL.49029813).
$2.95 - Voir plus => Acheter | | |
| Grainger Walking Tune Scorepts Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor [Conducteur] Schott
Wind quintet SKU: HL.49029808 Composed by Percy Aldridge Grainger. This e...(+)
Wind quintet SKU:
HL.49029808 Composed
by Percy Aldridge
Grainger. This edition:
ED11342. Sheet music.
Edition Schott. Score.
Composed 1912/1940. 8
pages. Duration 4'.
Schott Music #ED 11342.
Published by Schott Music
(HL.49029808). ISBN
9790220109553. UPC:
884088099008.
9.0x12.0x0.065
inches. $13.95 - Voir plus => Acheter | | |
| Grainger Walking Tune Clar Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor Schott
Wind quintet SKU: HL.49029811 Composed by Percy Aldridge Grainger. Sheet ...(+)
Wind quintet SKU:
HL.49029811 Composed
by Percy Aldridge
Grainger. Sheet music.
Edition Schott. Separate
part, Clarinet. Schott
Music #ED11342-03.
Published by Schott Music
(HL.49029811).
$2.95 - Voir plus => Acheter | | |
| Grainger Walking Tune Horn Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor Schott
Wind quintet SKU: HL.49029812 Composed by Percy Aldridge Grainger. Sheet ...(+)
Wind quintet SKU:
HL.49029812 Composed
by Percy Aldridge
Grainger. Sheet music.
Edition Schott. Separate
part, Horn. Schott Music
#ED11342-04. Published by
Schott Music
(HL.49029812).
$2.95 - Voir plus => Acheter | | |
| Pop for Flute Book 1 Flûte traversière [Partition + CD] - Facile Schott
12 Pop-Hits in Easy Arrangements with additional 2nd part. Composed by Variou...(+)
12 Pop-Hits in Easy
Arrangements with
additional
2nd part. Composed by
Various. Edited by Uwe
Bye.
Arranged by Uwe Bye. This
edition: Saddle
stitching.
Sheet music with online
material. Woodwind Solo.
Die
Pop-Reihe fur
Blasinstrumente. Wer
gerne
aktuelle Popsongs,
bekannte
Filmsongs und zeitlose
Evergreens in einfachen,
gut
klingenden Arrangements
spielen will, ist hier
genau
richtig! Classical, Pop,
Traditional. Softcover
Audio
Online. 32 pages. Schott
Music #ED22421. Published
by
Schott Music
$22.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The All-Jazz Real Book - C Edition Instruments en Do [Fake Book] Sher Music Company
By Various. Jazz. Fake Book. 550 pages. Published by Sher Music Company. CD Incl...(+)
By Various. Jazz. Fake
Book. 550 pages.
Published by Sher Music
Company. CD Included with
the book contains 37
melodies played by the
following artists:
Bob Sheppard - saxes and
flute
Steve Houghton - drums
Dave Carpenter - acoustic
bass
Paul van Wageningen -
drums
Marc van Wageningen -
electric bass
Larry Dunlap - piano and
synthesizer
Dave Mac Nab - guitar.
(3)$44.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Abracadabra Saxophone & CD Saxophone Alto [Partition + CD]
Alto Saxophone SKU: BT.9781408105290 Composed by Jonathan Rutland. Abraca...(+)
Alto Saxophone SKU:
BT.9781408105290
Composed by Jonathan
Rutland. Abracadabra.
Method. Book with CD.
Collins Music Publishing
#9781408105290. Published
by Collins Music
Publishing
(BT.9781408105290).
ISBN 9781408105290.
English. The
perfect book for pupil
and teacher
- Tunes you know and
want to play
- Technique carefully
graded
- Clear
fingering diagrams
- Concise theory
explanations
- Jazz improvisations
andstyles
- New
duets
- Fresh new
look
$14.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| A Walking Prayer Chorale SATB SATB, Clavier GIA Publications
SATB choir, assembly, keyboard accompaniment, 2 violins, cello, flute SKU: GI...(+)
SATB choir, assembly,
keyboard accompaniment, 2
violins, cello, flute
SKU: GI.G-007319
Composed by Karen
Schneider Kirner. Easter
7 A, Most Holy Trinity,
Trinity Sunday A, Holy
Thursday. Tune Name: The
Humours Of Ballyloughlin
Traditional Irish
Jig. Sacred. Octavo. With
guitar chord names. 8
pages. GIA Publications
#007319. Published by GIA
Publications
(GI.G-007319).
$1.40 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Traveller’s Joy for Ob. & Pf. Hautbois, Piano (duo) Clifton Edition
Oboe and piano SKU: ST.C550 Composed by Mary Chandler. Wind & brass music...(+)
Oboe and piano SKU:
ST.C550 Composed by
Mary Chandler. Wind &
brass music. Clifton
Edition #C550. Published
by Clifton Edition
(ST.C550). ISBN
9790570815500.
Traveller’s
Joy — Two Walking
Tunes for Oboe and Piano
was composed in 1956.
This is the first time
the piece has been
published.
Mary
Chandler was born in Kent
in 1911. She studied
music privately, and her
teachers included Harry
Farjeon (composition),
Margaret Eliot and Leon
Goossens (oboe) and
Harold Craxton (piano).
She read English at
Oxford University and
taught in London schools
before joining the City
of Birmingham Symphony
Orchestra as principal
oboist. She appeared with
the CBSO as soloist (oboe
and piano) and composer
and gave broadcasts and
recitals in the Midlands.
Later, as a free-lance
orchestral player, she
formed the Mercian Trio
(flute, oboe and piano)
which gave concerts
around the
country.
In 1960
Mary became Area Director
of the Kent Music School,
in charge of its wind
teaching and of the
varied activities of its
Tonbridge Music Centre.
She conducted many
student groups and
composed and arranged
music for them until she
retired in 1971. She
continued to be actively
involved in music
thereafter, examining,
composing and organising
concerts. She spent her
later years in
Gloucestershire and died
in 1996.
Dr.
Kristin Leitterman is
currently the Assistant
Professor of Oboe at
Arkansas State University
in Jonesboro, Arkansas,
USA, where she teaches
oboe and bassoon, Double
Reed Techniques, and
coaches small chamber
ensembles. She is also
the Director of the
Lucarelli Oboe Master
Class, a week-long
immersive oboe master
class founded by Bert
Lucarelli in 1996. As a
guest artist she has
presented master classes
at many institutions,
including the Manhattan
School of Music, New York
University, and the Hartt
School.
As a
researcher, Kirstin has
interests in the life and
works of Mary Chandler.
She has presented her
research at The Juilliard
School, Music by Women
Festival, the
International Double Reed
Society conferences, and
the Brazilian Double Reed
Society’s conference in
João Pessoa, Paraíba,
Brazil.
$14.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Berko's Journey Theodore Presser Co.
Orchestra Bass Clarinet, Bass Trombone, Bassoon 1, Bassoon 2, Cello, Clarinet in...(+)
Orchestra Bass Clarinet,
Bass Trombone, Bassoon 1,
Bassoon 2, Cello,
Clarinet in Bb 1,
Clarinet in Bb 2,
Clarinet in Bb 3,
Contrabassoon, Double
Bass, English Horn, Flute
1, Flute 2, Flute 3,
Harp, Horn 1, Horn 3,
Horn 4, Oboe 1, Oboe 2,
Percussion 1 and more.
SKU: PR.11642143L
Composed by Stacy Garrop.
Spiral. Large Score. 68
pages. Duration 20
minutes. Theodore Presser
Company #116-42143L.
Published by Theodore
Presser Company
(PR.11642143L). UPC:
680160693320. 11 x 17
inches. For most of
my life, I never knew
where my father’s
family came from, beyond
a few broad strokes: they
had emigrated in the
early 1900s from Eastern
Europe and altered the
family name along the
way. This radically
changed in the summer of
2021 when my mother and
sister came across a
folder in our family
filing cabinet and made
an astounding discovery
of documents that
revealed when, where, and
how my great-grandfather
came to America. The
information I had been
seeking was at home all
along, waiting over forty
years to be
discovered.Berko
Gorobzoff, my
great-grandfather, left
Ekaterinoslav in 1904. At
that time, this city was
in the southern Russian
area of modern-day
Ukraine; as his family
was Jewish, he and his
siblings were attempting
to escape the ongoing
religious persecution and
pogroms instigated by
Tzar Nicholas II to root
out Jewish people from
Russia. Berko’s older
brother Jakob had already
emigrated to Illinois,
and Berko was traveling
with Chaje, Jakob’s
wife, to join him. Their
timing was fortuitous, as
the following year saw a
series of massive, brutal
pogroms in the region.
After arriving in
Illinois, Berko went on
to Omaha, Nebraska, where
he married my
great-grandmother Anna
about eighteen months
later. They remained in
Omaha for the rest of
their lives.There is one
more intriguing part to
this historical account:
I have a great-aunt in
Texas who, as it turns
out, is the youngest
daughter of Berko and
Anna. Through a series of
phone calls, my
great-aunt and I
discussed what she could
remember: her parents
spoke Yiddish at home,
her mother didn’t learn
to read or write in
English so my great-aunt
was tasked with writing
letters to family
members, Berko ran a
grocery store followed by
a small hotel, and her
parents enjoyed playing
poker with friends. Above
all else, neither of her
parents ever spoke a word
about their past or how
they got to America. This
was a common trait among
Eastern European Jewish
immigrants whose goal was
to “blend in” within
their new communities and
country.To
craft Berko’s
Journey, I melded the
facts I uncovered about
Berko with my own
research into methods of
transportation in the
early 1900s. Also, to
represent his heritage, I
wove two Yiddish songs
and one Klezmer tune into
the work. In movement
1, Leaving
Ekaterinoslav, we hear
Berko packing his
belongings, saying his
goodbyes to family and
friends, and walking to
the train station.
Included in this movement
is a snippet of the
Yiddish song “The
Miller’s Tears” which
references how the Jews
were driven out of their
villages by the Russian
army. In movement 2, In
Transit, we follow Berko
as he boards a train and
then a steamship, sails
across the Atlantic
Ocean, arrives at Ellis
Island and anxiously
waits in line for
immigration, jubilantly
steps foot into New York
City, and finally boards
a train that will take
him to Chicago. While
he’s on the steamship,
we hear a group of fellow
steerage musicians play a
klezmer tune
(“Freylachs in d
minor”). In movement
3, At Home in Omaha, we
hear Berko court and
marry Anna. Their
courtship is represented
by “Tumbalalaika,” a
Yiddish puzzle folksong
in which a man asks a
woman a series of riddles
in order to get better
acquainted with each
other and to test her
intellect.On a final
note, I crafted a musical
motive to represent Berko
throughout the piece.
This motive is heard at
the beginning of the
first movement; its first
pitches are B and E,
which represent the first
two letters of Berko’s
name. I scatter this
theme throughout the
piece as Berko travels
towards a new world and
life. As the piece
concludes, we hear
Berko’s theme
repeatedly and in close
succession, representing
the descendants of the
Garrop line that came
from Berko and
Anna. For most of my
life, I never knew where
my father’s family came
from, beyond a few broad
strokes: they had
emigrated in the early
1900s from Eastern Europe
and altered the family
name along the way. This
radically changed in the
summer of 2021 when my
mother and sister came
across a folder in our
family filing cabinet and
made an astounding
discovery of documents
that revealed when,
where, and how my
great-grandfather came to
America. The information
I had been seeking was at
home all along, waiting
over forty years to be
discovered.Berko
Gorobzoff, my
great-grandfather, left
Ekaterinoslav in 1904. At
that time, this city was
in the southern Russian
area of modern-day
Ukraine; as his family
was Jewish, he and his
siblings were attempting
to escape the ongoing
religious persecution and
pogroms instigated by
Tzar Nicholas II to root
out Jewish people from
Russia. Berko’s older
brother Jakob had already
emigrated to Illinois,
and Berko was traveling
with Chaje, Jakob’s
wife, to join him. Their
timing was fortuitous, as
the following year saw a
series of massive, brutal
pogroms in the region.
After arriving in
Illinois, Berko went on
to Omaha, Nebraska, where
he married my
great-grandmother Anna
about eighteen months
later. They remained in
Omaha for the rest of
their lives.There is one
more intriguing part to
this historical account:
I have a great-aunt in
Texas who, as it turns
out, is the youngest
daughter of Berko and
Anna. Through a series of
phone calls, my
great-aunt and I
discussed what she could
remember: her parents
spoke Yiddish at home,
her mother didn’t learn
to read or write in
English so my great-aunt
was tasked with writing
letters to family
members, Berko ran a
grocery store followed by
a small hotel, and her
parents enjoyed playing
poker with friends. Above
all else, neither of her
parents ever spoke a word
about their past or how
they got to America. This
was a common trait among
Eastern European Jewish
immigrants whose goal was
to “blend in” within
their new communities and
country.To
craftxa0Berko’s
Journey,xa0I melded the
facts I uncovered about
Berko with my own
research into methods of
transportation in the
early 1900s. Also, to
represent his heritage, I
wove two Yiddish songs
and one Klezmer tune into
the work. In movement
1,xa0Leaving
Ekaterinoslav,xa0we hear
Berko packing his
belongings, saying his
goodbyes to family and
friends, and walking to
the train station.
Included in this movement
is a snippet of the
Yiddish song “The
Miller’s Tears” which
references how the Jews
were driven out of their
villages by the Russian
army. In movement 2,xa0In
Transit,xa0we follow
Berko as he boards a
train and then a
steamship, sails across
the Atlantic Ocean,
arrives at Ellis Island
and anxiously waits in
line for immigration,
jubilantly steps foot
into New York City, and
finally boards a train
that will take him to
Chicago. While he’s on
the steamship, we hear a
group of fellow steerage
musicians play a klezmer
tune (“Freylachs in d
minor”). In movement
3,xa0At Home in
Omaha,xa0we hear Berko
court and marry Anna.
Their courtship is
represented by
“Tumbalalaika,” a
Yiddish puzzle folksong
in which a man asks a
woman a series of riddles
in order to get better
acquainted with each
other and to test her
intellect.On a final
note, I crafted a musical
motive to represent Berko
throughout the piece.
This motive is heard at
the beginning of the
first movement; its first
pitches are B and E,
which represent the first
two letters of Berko’s
name. I scatter this
theme throughout the
piece as Berko travels
towards a new world and
life. As the piece
concludes, we hear
Berko’s theme
repeatedly and in close
succession, representing
the descendants of the
Garrop line that came
from Berko and Anna. $71.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Berko's Journey [Conducteur] Theodore Presser Co.
Orchestra Bass Clarinet, Bass Trombone, Bassoon 1, Bassoon 2, Cello, Clarinet in...(+)
Orchestra Bass Clarinet,
Bass Trombone, Bassoon 1,
Bassoon 2, Cello,
Clarinet in Bb 1,
Clarinet in Bb 2,
Clarinet in Bb 3,
Contrabassoon, Double
Bass, English Horn, Flute
1, Flute 2, Flute 3,
Harp, Horn 1, Horn 3,
Horn 4, Oboe 1, Oboe 2,
Percussion 1 and more.
SKU: PR.11642143S
Composed by Stacy Garrop.
Sws. Score. 68 pages.
Duration 20 minutes.
Theodore Presser Company
#116-42143S. Published by
Theodore Presser Company
(PR.11642143S). UPC:
680160693313. 11 x 17
inches. For most of
my life, I never knew
where my father’s
family came from, beyond
a few broad strokes: they
had emigrated in the
early 1900s from Eastern
Europe and altered the
family name along the
way. This radically
changed in the summer of
2021 when my mother and
sister came across a
folder in our family
filing cabinet and made
an astounding discovery
of documents that
revealed when, where, and
how my great-grandfather
came to America. The
information I had been
seeking was at home all
along, waiting over forty
years to be
discovered.Berko
Gorobzoff, my
great-grandfather, left
Ekaterinoslav in 1904. At
that time, this city was
in the southern Russian
area of modern-day
Ukraine; as his family
was Jewish, he and his
siblings were attempting
to escape the ongoing
religious persecution and
pogroms instigated by
Tzar Nicholas II to root
out Jewish people from
Russia. Berko’s older
brother Jakob had already
emigrated to Illinois,
and Berko was traveling
with Chaje, Jakob’s
wife, to join him. Their
timing was fortuitous, as
the following year saw a
series of massive, brutal
pogroms in the region.
After arriving in
Illinois, Berko went on
to Omaha, Nebraska, where
he married my
great-grandmother Anna
about eighteen months
later. They remained in
Omaha for the rest of
their lives.There is one
more intriguing part to
this historical account:
I have a great-aunt in
Texas who, as it turns
out, is the youngest
daughter of Berko and
Anna. Through a series of
phone calls, my
great-aunt and I
discussed what she could
remember: her parents
spoke Yiddish at home,
her mother didn’t learn
to read or write in
English so my great-aunt
was tasked with writing
letters to family
members, Berko ran a
grocery store followed by
a small hotel, and her
parents enjoyed playing
poker with friends. Above
all else, neither of her
parents ever spoke a word
about their past or how
they got to America. This
was a common trait among
Eastern European Jewish
immigrants whose goal was
to “blend in” within
their new communities and
country.To
craft Berko’s
Journey, I melded the
facts I uncovered about
Berko with my own
research into methods of
transportation in the
early 1900s. Also, to
represent his heritage, I
wove two Yiddish songs
and one Klezmer tune into
the work. In movement
1, Leaving
Ekaterinoslav, we hear
Berko packing his
belongings, saying his
goodbyes to family and
friends, and walking to
the train station.
Included in this movement
is a snippet of the
Yiddish song “The
Miller’s Tears” which
references how the Jews
were driven out of their
villages by the Russian
army. In movement 2, In
Transit, we follow Berko
as he boards a train and
then a steamship, sails
across the Atlantic
Ocean, arrives at Ellis
Island and anxiously
waits in line for
immigration, jubilantly
steps foot into New York
City, and finally boards
a train that will take
him to Chicago. While
he’s on the steamship,
we hear a group of fellow
steerage musicians play a
klezmer tune
(“Freylachs in d
minor”). In movement
3, At Home in Omaha, we
hear Berko court and
marry Anna. Their
courtship is represented
by “Tumbalalaika,” a
Yiddish puzzle folksong
in which a man asks a
woman a series of riddles
in order to get better
acquainted with each
other and to test her
intellect.On a final
note, I crafted a musical
motive to represent Berko
throughout the piece.
This motive is heard at
the beginning of the
first movement; its first
pitches are B and E,
which represent the first
two letters of Berko’s
name. I scatter this
theme throughout the
piece as Berko travels
towards a new world and
life. As the piece
concludes, we hear
Berko’s theme
repeatedly and in close
succession, representing
the descendants of the
Garrop line that came
from Berko and
Anna. For most of my
life, I never knew where
my father’s family came
from, beyond a few broad
strokes: they had
emigrated in the early
1900s from Eastern Europe
and altered the family
name along the way. This
radically changed in the
summer of 2021 when my
mother and sister came
across a folder in our
family filing cabinet and
made an astounding
discovery of documents
that revealed when,
where, and how my
great-grandfather came to
America. The information
I had been seeking was at
home all along, waiting
over forty years to be
discovered.Berko
Gorobzoff, my
great-grandfather, left
Ekaterinoslav in 1904. At
that time, this city was
in the southern Russian
area of modern-day
Ukraine; as his family
was Jewish, he and his
siblings were attempting
to escape the ongoing
religious persecution and
pogroms instigated by
Tzar Nicholas II to root
out Jewish people from
Russia. Berko’s older
brother Jakob had already
emigrated to Illinois,
and Berko was traveling
with Chaje, Jakob’s
wife, to join him. Their
timing was fortuitous, as
the following year saw a
series of massive, brutal
pogroms in the region.
After arriving in
Illinois, Berko went on
to Omaha, Nebraska, where
he married my
great-grandmother Anna
about eighteen months
later. They remained in
Omaha for the rest of
their lives.There is one
more intriguing part to
this historical account:
I have a great-aunt in
Texas who, as it turns
out, is the youngest
daughter of Berko and
Anna. Through a series of
phone calls, my
great-aunt and I
discussed what she could
remember: her parents
spoke Yiddish at home,
her mother didn’t learn
to read or write in
English so my great-aunt
was tasked with writing
letters to family
members, Berko ran a
grocery store followed by
a small hotel, and her
parents enjoyed playing
poker with friends. Above
all else, neither of her
parents ever spoke a word
about their past or how
they got to America. This
was a common trait among
Eastern European Jewish
immigrants whose goal was
to “blend in” within
their new communities and
country.To
craftxa0Berko’s
Journey,xa0I melded the
facts I uncovered about
Berko with my own
research into methods of
transportation in the
early 1900s. Also, to
represent his heritage, I
wove two Yiddish songs
and one Klezmer tune into
the work. In movement
1,xa0Leaving
Ekaterinoslav,xa0we hear
Berko packing his
belongings, saying his
goodbyes to family and
friends, and walking to
the train station.
Included in this movement
is a snippet of the
Yiddish song “The
Miller’s Tears” which
references how the Jews
were driven out of their
villages by the Russian
army. In movement 2,xa0In
Transit,xa0we follow
Berko as he boards a
train and then a
steamship, sails across
the Atlantic Ocean,
arrives at Ellis Island
and anxiously waits in
line for immigration,
jubilantly steps foot
into New York City, and
finally boards a train
that will take him to
Chicago. While he’s on
the steamship, we hear a
group of fellow steerage
musicians play a klezmer
tune (“Freylachs in d
minor”). In movement
3,xa0At Home in
Omaha,xa0we hear Berko
court and marry Anna.
Their courtship is
represented by
“Tumbalalaika,” a
Yiddish puzzle folksong
in which a man asks a
woman a series of riddles
in order to get better
acquainted with each
other and to test her
intellect.On a final
note, I crafted a musical
motive to represent Berko
throughout the piece.
This motive is heard at
the beginning of the
first movement; its first
pitches are B and E,
which represent the first
two letters of Berko’s
name. I scatter this
theme throughout the
piece as Berko travels
towards a new world and
life. As the piece
concludes, we hear
Berko’s theme
repeatedly and in close
succession, representing
the descendants of the
Garrop line that came
from Berko and Anna. $40.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| The All-Jazz Real Book - Eb Edition Instruments en Mib [Fake Book] Sher Music Company
| | |
| The All-Jazz Real Book - Bb Edition Instruments en Sib [Partition + CD] Sher Music Company
| | |
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