|
| Mary the Dawn (Choral Score)
Chorale SATB
SATB divisi
MorningStar Music Publishers
Composed by Charles S. Thatcher. Advent, Easter, Triduum/Three Days. Octavo. ...(+)
Composed by Charles S.
Thatcher. Advent, Easter,
Triduum/Three Days.
Octavo.
MorningStar Music
Publishers
#50-0074. Published by
MorningStar Music
Publishers
$2.85 - Voir plus => AcheterDélais: 1 to 2 weeks | | | |
| Uke'n Play Ukulele
Ukulele [Partition + Accès audio] - Débutant
Amsco Wise Publications
Ukulele - Grade 1 SKU: BT.MUSAM1011604 Composed by Mike Jackson. Uke'n Pl...(+)
Ukulele - Grade 1 SKU:
BT.MUSAM1011604
Composed by Mike Jackson.
Uke'n Play Ukulele. Pop
and Rock. Book with
Online Audio. Composed
2016. 36 pages. Wise
Publications
#MUSAM1011604. Published
by Wise Publications
(BT.MUSAM1011604).
ISBN 9781921029783.
English. This newly
updated edition of the
bestselling Uken Play
Ukulele book will get
beginners of any age
strumming chords and
playing songs in no time.
Written by professional
player and educator Mike
Jackson, the book
features his instant play
methodtogether with
downloadable play-along
audio. The book begins
with the basics - chord
diagrams and tuning -
before delving into Mike
Jacksons unique method
that will help you
remember where to put
your fingers for
different chords. Once
youve mastered this, Uken
Play will teach you 25
greatsongs. The songs get
progressively more
challenging with each
featuring chord diagrams,
lyrics and chord symbols,
helping you to learn to
play the Ukulele by
practising strumming the
chords while also playing
25 recognisable tunes.
The accompanying audio
downloads will let you
tune up, hear the songs
how they should sound,
then let you play along
with a full backing band.
Some songs feature Mikes
handy hints so learning
the Uke goes as smoothly
as possible. If youve
struggled to learn to
play the Ukulele because
you cant remember the
chords, or you just want
to polish up the basics
while playing songs like
You Are My Sunshine,
Drunken Sailor and Que
Sera Sera, Uken Play is
an instant play method
thattruly does work. Mike
Jackson is a professional
Ukulele player and
multi-instrumentalist who
has sold over 250,000
albums and performed
extensively across
Australia and the rest of
the world. $15.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | | |
| Prophesies [Conducteur et Parties séparées]
Theodore Presser Co.
Chamber Music Cello, Viola, Violin 1, Violin 2 SKU: PR.114419030 Score...(+)
Chamber Music Cello,
Viola, Violin 1, Violin 2
SKU: PR.114419030
Score and Parts.
Composed by Mohammed
Fairouz. Sws. Score and
parts. With Standard
notation. 68 pages.
Duration 25 minutes.
Theodore Presser Company
#114-41903. Published by
Theodore Presser Company
(PR.114419030). ISBN
9781491114124. UPC:
680160669851. 9 x 12
inches. A
fascination with
polycultural synergy
between diverse literary
textsdrives the
inspiration for much of
Mohammed Fairouz’s
prodigiouscreative
output, including
instrumental music as
well as vocal. Inhis
profound and extensive
essay preceding the
score, Fairouz shedslight
on how Edgar Allen
Poe’s “Israfel”
relates to the
prophetsand prophesies of
the Quran, Old Testament,
and New Testament.The
eight-movement quartet
may be heard as a
dramatic galleryof
portraits and of
story-telling,
flourishing in a
post-traditionallanguage
that is at once
vernacular and spiritual,
Middle Easternand
Western. The complete set
of score and parts is
included in
thispublication.
(See
pages 2-3 of score for
clear distinction of
paragraphs,
etc.)Prophesies, by
Mohammed FairouzEdgar
Allen Poe’s rendition
of Israfel was the point
of departure for the
final movement of my
previous stringquartet
which is titled The Named
Angels. At the opening of
his poem, Poe evokes the
Quran:“And the angel
Israfel, whose
heartstrings are a lute,
and who has the sweetest
voice of all God’s
creatures.”This informs
the first lines of the
poem that, in turn, gave
me the title for the
final movement of The
Named
Angels,“Israfel’s
Spell”:In Heaven a
spirit doth dwell“Whose
heartstrings are a
lute”None sing so
wildly wellAs the angel
Israfel,And the giddy
stars (so legends
tell),Ceasing their
hymns, attend the spellOf
his voice, all mute.It is
the end of that poem,
however, that is the
starting point for the
current quartet,
Prophesies, which
concernsitself with
mortal prophets rather
than eternal Angelic
spirits.If I could
dwellWhere IsrafelHath
dwelt, and he where I,He
might not sing so wildly
wellA mortal melody,While
a bolder note than this
might swellFrom my lyre
within the sky.Islamic
thought has asked us to
look at the example of
the prophets. That’s
significant because of
the fact thatJoseph and
all the prophets were
human beings with the
flaws of human beings. No
prophet was perfect,
andIslamic tradition has
never asked its followers
to aspire to the example
of the Angels, the
perfected ones. Instead
weare given the gift of
our prophets. While The
Named Angels drew on the
motion and energy of
everlasting
spirits,Prophesies is a
depiction of the
movements within our own
mortal coil.This quartet
is a continuation of a
long tradition of Muslim
artists telling their
stories and singing their
songs.Many of these
renditions are, in fact,
figurative and (contrary
to popular belief) the
Quran contains no
“Islamicedict”
prohibiting figurative
renditions of the figures
described in the Old
Testament, New Testament,
or Quran.The majority of
artists, however, have
preferred eternal and
abstract forms such as
words and their
calligraphicrepresentatio
ns, poems (Yusuf and
Zuleikha or the
Conference of Birds come
immediately to mind),
architecture,and many
other non-figurative art
forms to the
representation of man.
These cold, ancient, and
everlasting shapesof
unending time flourished,
and the divine infinity
of representing geometric
forms gained favor over
the placementof the
explicit representation
of mankind and our own
likeness at the center of
the universes.Adding the
string quartet to these
forms which express the
recursive spheres of
heavens and earth
abstractly shouldexplain
why I have chosen to
render higher things
through the use of music
without the addition of
words or anyother
art-form. It is the
abstract art of pure
form, in which all is
form and all is content,
which compels me.
Thisquartet should be
seen as no more
programmatic than the
arches of the Great
Mosque at Cordoba.The
first movement, Yāqub
(Jacob), is slow, quiet
and prayerful. It evokes
the patient sorrow of a
slow choraledeveloping
over time as it coaxes
our pulse out of the
ticking of a clock-like
meter that defines our
day-to-day livesand into
a divine eternity.The
second, Saleh, imagines
the spirit of that
desert-prophet through
the use of a Liwa; the
dance-sequence that
hasbeen such a prevalent
form of expression in the
Arabian Peninsula for
much of our recorded
history.The third
movement is titled
Dawoōd, and it is
emblematic of the beloved
Prophet, King, and
Psalmist, David.Though it
has no lyrics, the
movement functions as a
dabkeh (an ancient dance
native to the Levant) and
also “sets”the
opening of Psalm 100
(Make a joyful noise unto
the Lord, all ye lands).
This line is never set to
music or sung inthe
quartet but is evoked
through the rhythmic
shape of the violin part
which imitates the
phonology and rhythmof my
speaking the opening line
in the Hebrew and
develops the contours of
that line incessantly
throughout
themovement.3The fourth
movement is an ode to
Yousef (Joseph) and
relates to the first
movement in tempo and
tone just as
Josephrelates to Jacob,
his father. Together, the
first and fourth
movements provide a sort
of Lamentation and
relief.Joseph had the
appearance of a noble
angel, but he was very
much a human being. And
the story of this
particularprophet had
tragic beginnings many
years before he found
himself in a position of
power in Egypt. Back in
his youth,still among the
Israelites, Joseph
experienced a series of
revelations through his
dreams that spoke of his
impendingcareer in
prophecy. He confided his
dreams to his father, the
Prophet Jacob, who told
his son of the greatness
thatawaited him in his
future only to have his
brothers throw him into a
well and leave him for
dead. Joseph
eventuallyfound his way
from Israel to Egypt and
rose out of slavery into
a position of power.
Meanwhile, famine engulfs
Israel.Forty years pass,
and back in the land of
Jacob and Rachel, of
Joseph’s brothers and
Abraham’s tribe, Israel
wasnot spared the effects
of the famine. They
sorely lacked Joseph’s
prophecy and his vision.
The Qur’an then tells
usthat Jacob, sensing
Joseph, sends the other
brothers to Egypt
instructing them to come
back with food and
grain.Arriving in Egypt,
they unwittingly appear
before Joseph. They
don’t recognize their
little brother who has
risen toa position of
might, dressed in his
Egyptian regalia. They
ask for the food and the
grain.After some
conversation, Joseph is
no longer able to contain
his emotion. Overcome, he
reveals himself to his
nowterrified brothers. He
embraces them. He asks
them eagerly, “How is
our father?” Joseph
gives them the gift of
thefood and the grain
that they came in search
of. He relieves them from
hunger and alleviates
their fear. He sendsthem
back with proof that he
is alive, and it is this
joyful proof from the
miraculous hands of a
prophet that bringsback
the ancient Jacob’s
vision after 40 years of
blindness.In this story,
I am struck by the fact
that Joseph may not have
made the decision to
forgive his brothers on
thespot, but that
something inside the
prophet’s soul found
forgiveness and peace for
the brothers who had so
gravelywronged him at
some point along his
journey. I would suspect
this point to have been
present at Joseph’s
inception,even before he
had ever been
wronged.This is proof, if
we needed it, that
Joseph’s angel-like
beauty was not only
physical and external,
but also internalas well:
Joseph possessed a
profound loveliness of
spirit that bound his
appearance and his soul.
In Joseph, formand soul
are one.Time is to
musicians what light is
to a painter. In this
way, the story of Joseph
also shows us that time
can affectour perception
of even the most tragic
wounds. In fact, the most
common Arabic word for
“human being” is
insaan,which shares its
roots with the word
insaa, “to forget.”
While our ability to
remember is essential to
how we learnabout
ourselves, our capacity
to “forgive and
forget” may also be one
of our great gifts as
human beings.The fifth
movement follows my ode
to Joseph with a
structural memory of
Mūsa (Moses). The
movement consistsentirely
of descending motifs
which I constructed as an
indication of Moses’
descending movement as he
emergedto his people from
the heights of Mt. Sinai.
The music is constructed
in five phrases which
function as a
formalreference to the
five books of Moses, the
Pentateuch. The movement
is placed as the fifth of
the quartet for the
samereason.While Joseph
is always evoked as
supremely beautiful in
the Books of Judaism,
Christianity, and Islam,
Suleiman(Solomon) is
described as surpassing
in his quicksilver
intelligence. This
movement is composed of a
seven-partriddle which
passes by in an instant
but can be caught by the
attentive listener. From
Solomon, we work our
wayback to Yishak (Isaac)
in a seventh movement
that evokes Isaac’s
literal meaning in Arabic
and Hebrew: laughter.The
eighth and final movement
of this quartet is named
for the Patriarch of the
entire Book: Ibrahim
(Abraham). Itrelates to
Isaac just as Joseph
relates to Jacob; they
are father and son. The
lines are prayerful and
contemplative;the form of
the music evolves from a
fugue joining together
many different forms of
prayer into a single
tapestry ofcounterpoint,
to the cyclical form of
this entire quartet which
is rendered through the
motion of pilgrims
circling theKaaba (cube)
in Mecca — a structure
which was built by
Abraham for Hagaar and
their son Ismail.These
are just some of the
figures that are
cherished by all three of
the Middle Eastern
monotheisms
(Judaism,Christianity,
and Islam) that the
Qur’an refers to
collectively as Ahl
Al-Kitab. This Arabic
phrase is most
commonlytranslated as
“The People of the
Book,” but here the
most common translation
is a flawed one: the
Arabic word“ahl”
means “family” and
not just “people.” A
better translation would
be “Family of the
Book.” Each of the
eightmovements of
Prophesies grows from a
single musical cell.This
quartet is a family
album.—Mohammed Fairouz
(2018. $45.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | | |
| Foundation Studies for the Violoncello, Book 1
Carl Fischer
Chamber Music Solo Cello SKU: CF.BF128 60 Studies (from Opp. 45, 54, 7...(+)
Chamber Music Solo Cello
SKU: CF.BF128
60 Studies (from Opp.
45, 54, 74). Composed
by Franz Wohlfahrt.
Edited by Richard Hughey.
Arranged by K Aiqouni.
Score and part(s). With
Standard notation. 56
pages. Carl Fischer Music
#BF128. Published by Carl
Fischer Music (CF.BF128).
ISBN 9781491153413.
UPC:
680160910915. Wohlf
ahrt’s Foundation
Studies have long been
successful tools
forviolinists and
violists in mastering the
technical difficulties of
theirinstruments.
Originally conceived for
a complete comprehension
offirst position on the
violin and viola, Richard
Hughey presents thisnew
edition for cello
students. Transcribing
these etudes for the
cellopresents new
challenges for the
performer. Particular
passages, forexample,
require the student to
make use of the second
and eventhird positions.
The fingerings chosen for
these passages
reflectthese shifting
positions in a coherent
and logical way.
Trainedcomprehensively in
both cello and
conducting, Hughey shares
hiswealth of experience
and knowledge in
Wohlfahrt’s
FoundationStudies for the
Violoncello.
The
violin etudes and
exercises of Franz
Wohlfahrt havebeen and
continue to be used by
violin and recently
violateachers the world
over. Franz was the son
of HeinrichWohlfahrt
(1797,
Kößnitz–1883
, Leipzig), a noted
pianoteacher who also
published many studies
for piano thatwere very
successful with younger
students.
Heinrichdeveloped a keen
sense for the pedagogical
development ofchildren
and composed excellent
studies accordingly.
Withthe education of his
sons Robert (1826,
Weimar–deathdate
unknown) and Franz (1833,
Frauenpriesnitz–18
84,Leipzig), he passed
these pedagogical
abilities to the
nextgeneration.In the
preface to his Violin
Studies Opus 45,
FranzWohlfahrt wrote:The
study of the violin
presents certain
difficultiesfor beginners
which are frequently the
cause of a suddendecrease
in the pupil’s
zeal and ambition, even
before he hasmastered the
first fundamentals.The
blame for this is
commonly laid on the
teacher,who is called
incapable or negligent;
losing sight of thefact
that the pupil began his
studies without the
slightestnotion, not
merely of the
difficulties to be
encountered,but also of
the regular and diligent
effort indispensable
forovercoming them.It is
important, therefore, to
smooth these first
severitiesby showing
their usefulness and
making them agreeable;
tothis end my Violin
Method was published and
the presentexercises have
been written, which
latter may be
consideredas forming a
supplement to the
former.If practiced
carefully and
intelligently, they will
serve asa solid
foundation for the
technique of any player
ambitiousto become an
artist.These studies have
been successful tools for
violinistsand violists to
begin to master the
technical difficulties
oftheir instruments.
Clearly conceived for a
more
completecomprehension of
the use of the first
position on the violinand
similarly for the viola,
presenting these etudes
forthe cello presents a
new challenge. As ongoing
violinistsand violists
can use the fourth finger
to play the note ofthe
next higher open string,
this is not possible on
thecello. To perform
these exercises on the
cello,
particularlyreaching the
“E†on the
A-string, requires the
studentto make use of the
second and even third
positions. Thefingerings
chosen for these passages
reflect the necessityof
shifting to these
positions. This is of
great advantage,as a new
set of studies now can be
used by the studentto
practice shifting to and
from those positions and
thusincreases technical
proficiency in the second
and thirdpositions of the
cello. $16.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | | |
| Songs of Harriet Tubman
Theodore Presser Co.
Chamber Music Piano, soprano voice SKU: PR.411411690 Composed by Nkeiru O...(+)
Chamber Music Piano,
soprano voice SKU:
PR.411411690 Composed
by Nkeiru Okoye. 32
pages. Duration 25
minutes. Theodore Presser
Company #411-41169.
Published by Theodore
Presser Company
(PR.411411690). UPC:
680160686032. The
four name arias in
HARRIET TUBMAN: When I
crossed that Line To
Freedom, portray stages
in the title character's
transformation from slave
to freedom-fighter.
First, as a child, she
introduces herself as
Araminta, who is often
called, Minty. Her naive
prattlings establish a
dramatic contrast between
childhood's contentment
and the harsh realities
of slave existence. My
name is Harriet, now.
Don't call me Minty any
more, declares the
teenaged heroine. Having
survived a series of
abusive masters and a
debilitating injury, she
asserts her rites of
womanhood through the
shedding of her childhood
moniker. The grown
Harriet Tubman
reintroduces herself as a
free woman, recounting
the harrowing tale of
escape from slavery.
Confronted by bittersweet
poignancy at having
crossed the line to
freedom without family to
welcome her, she is
inspired towards a new
goal: returning home to
rescue loved ones. In the
final aria, Tubman, a
seasoned conductor on the
Underground Railroad,
embraces the folkloric
title given to her by
escapees and aspiring
runaways. I am 'Moses,
the Liberator,' she
proclaims. Her
transformation is
complete.
The four
“name†arias
in HARRIET TUBMAN: When I
crossed thatLine To
Freedom, portray stages
in the title character's
transformationfrom slave
to freedom-fighter.First,
as a child, she
introduces herself as
“Araminta,â€
who is oftencalled,
“Minty.†Her
naïve prattlings
establish a dramatic
contrastbetween
childhood's contentment
and the harsh realities
of
slaveexistence.“My
name is Harriet, now.
Don't call me Minty any
more,†declares
theteenaged heroine.
Having survived a series
of abusive masters and
adebilitating injury, she
asserts her rites of
womanhood through
theshedding of her
childhood moniker.The
grown Harriet Tubman
reintroduces herself as a
free woman,recounting the
harrowing tale of escape
from slavery. Confronted
bybittersweet poignancy
at having crossed the
line to freedom
withoutfamily to welcome
her, she is inspired
towards a new goal:
returninghome to rescue
loved ones.In the final
aria, Tubman, a seasoned
conductor on the
UndergroundRailroad,
embraces the folkloric
title given to her by
escapees andaspiring
runaways. “I am
'Moses, the
Liberator,'†she
proclaims.
Hertransformation is
complete. $27.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | | |
| South African Folk Songs Collection
Piano seul
Hal Leonard
24 Traditional Folk Songs for Intermediate Piano Solo. Arranged by James Wildi...(+)
24 Traditional Folk Songs
for
Intermediate Piano Solo.
Arranged by James Wilding
and
Nkululeko Zungu.
Educational
Piano Solo. Folk, Solos.
Softcover. Published by
Hal
Leonard
$12.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | | |
| English, Welsh, Scottish, and Irish Fiddle Tunes
Violon [Partition + CD]
Oak Publications
Edited by Robin Williamson. For violin. Includes violin solo songbook and exampl...(+)
Edited by Robin
Williamson. For violin.
Includes violin solo
songbook and examples CD.
With standard notation,
chord names, performance
notes and introductory
text. British and folk.
96 pages. 9x12 inches.
Published by Oak
Publications
(3)$29.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | | |
| Boulemeta
Cadenza Music
Clarinet (Clarinet) SKU: HL.50601846 For Clarinet. Composed by Che...(+)
Clarinet (Clarinet)
SKU: HL.50601846
For Clarinet.
Composed by Cheryl
Frances-Hoad.
Instrumental. Concert,
Recital. Softcover.
Duration 2340 seconds.
Cadenza Music
#CAZCFHBOU01. Published
by Cadenza Music
(HL.50601846). UPC:
888680937065. Cheryl
Frances-Hoad's
Bouleumata for solo Clarinet.
'Shortly before
writing this piece I
reached the final of a
competition to compose
the music for the
Cambridge Greek Play,
which happened to be
Medea that year. Although
I didn’t end up
winning, Euripides’
play stunned me with its
depiction of Medea, a
woman who kills her two
children to spite her
husband Jason (who has
just left her for a
Corinthian princess).
This piece was inspired
by the wildly contrasting
emotions that Medea
experiences during a
monologue immediately
preceding the
double-murder: that she
can’t
possibly
go through with it, but
thatshe must in order to
punish her enemies. In
one passage she says
“I understand that
what I am about to do is
wrong, but my thumos
(emotion) has vanquished
my bouleumata (ability to
deliberate)'.'
- Cheryl
Frances-Hoad
$9.50 - Voir plus => AcheterDélais: 2 to 3 weeks | | | |
| A Tribute to Ray Charles
Orchestre d'harmonie [Conducteur] - Facile
Music Sales
Concert Band/Harmonie - Grade 3 SKU: BT.1267-05-140-MS Arranged by Peter ...(+)
Concert Band/Harmonie -
Grade 3 SKU:
BT.1267-05-140-MS
Arranged by Peter Kleine
Schaars. Peter's Popular
Collection. Pop & Rock.
Score Only. Composed
2005. 36 pages. Music
Sales #1267-05-140 MS.
Published by Music Sales
(BT.1267-05-140-MS).
9x12 inches.
English-German-French-Dut
ch. Ray Charles
(1930-2004) was a
multitalented and
pioneering American
pianist and soul singer
who became very popular
in the late fifties, and
remained respected for
his music in the decades
that followed. By
incorporating gospel,
jazz, blues, and big band
elements, he helped shape
the sound of rhythm and
blues, and brought a
soulful sound to
everything from country
music to pop standards.
Ray Charles embodied the
American dream, starting
out a poor, blind boy
from the southern United
States and becoming an
international music
phenomenon; his nickname
was “the
Genius†for a good
reasonIn this arrangement
for concert band, Peter
Kleine Schaars presents
five of the songs
thatcontributed to Ray
Charles’ fame: I
Can’t Stop Loving
You, Hit the Road Jack,
Georgia on My Mind,
Hallelujah I Love Her So,
and Unchain My Heart.
Ray Charles
(1930-2004) was een
vernieuwend Amerikaans
pianist en soulzanger die
populair werd in de jaren
vijftig en geliefd bleef
in de decennia die
volgden. Hij gaf mede
vorm aan de sound van de
rhythm & blues en hij gaf
een soulachtigeklank aan
alle muziek van country
tot aan popstandards -
waarin hij gospel, jazz,
blues en
bigband-elementen
verwerkte. Dit
arrangement bevat vijf
van de songs die
bijdroegen aan de roem
van Ray Charles: I
Can’t StopLoving
You, Hit the Road Jack,
Georgia on My Mind,
Hallelujah I Love Her
So en Unchain My
Heart.
Ray
Charles, dem Hollywood
jüngst mit einer Oscar
preisgekrönten
Filmproduktion huldigte,
ist die Verkörperung
des amerikanischen
Traums: Vom armen,
blinden Jungen aus den
Südstaaten wurde er
zum internationalen
musikalischen
Phänomen; seinen
Spitznamen Genie trug er
völlig zu Recht. In
dieser Bearbeitung für
Blasorchester
präsentiert Peter
Kleine Schaars fünf
der Lieder, die zu Ray
Charles' Ruhm beitrugen.
RRay Charles
(1930-2004) était un
pianiste et un chanteur
de soul américain
l’esprit novateur
et aux multiples talents.
Il connut le succès
dès la fin des
années 1950 et son
immense notoriété
ne le quittera plus. En
intégrant dans son jeu
des éléments venus
du gospel, du jazz, du
blues et du big band, il
a contribué la
naissance et au
développement du
rhythm and blues et
apporté une
sonorité pleine de
sensibilité tous les
styles musicaux, de la
musique country aux
grands classiques de la
musique pop. Ray Charles
incarnait le rêve
américain : musicien
noir, aveugle, issu du
milieu défavorisé
du Sud des
États-Unis, il
accède au statut de
phénomène musical
dans le mondeentier. On
ne l’a pas
surnommé “the
Genius†par hasard.
Dans cet arrangement pour
Orchestre
d’Harmonie, Peter
Kleine Schaars a
rassemblé cinq titres
emblématiques de Ray
Charles : I
Can’t Stop Loving
You, Hit the Road Jack,
Georgia on My Mind,
Hallelujah I Love Her
So et Unchain My
Heart.
Ray
Charles è un vero
mito: cinque decenni di
successi, una carriera
eccezionale ricca di
decine di successi che
hanno fatto il giro del
mondo diventando fonte di
ispirazione per intere
generazioni di giovani
artisti. Soprannominato
“The Geniusâ€,
questo pioniere del R&B e
della soul music, cieco
dall’et di sette
anni, ha composto alcune
delle canzoni memorabili
della musica nera
americana tra cui I
Can’t Stop Loving
You, Hit the Road Jack,
Georgia on My Mind,
Hallelujah I Love Her
so e Unchain My
Heart. $27.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | | |
| Six Sonatas and Partitas for Violin Alone
Violon
Carl Fischer
Chamber Music Violin SKU: CF.BF115 Composed by Johann Sebastian Bach. Edi...(+)
Chamber Music Violin
SKU: CF.BF115
Composed by Johann
Sebastian Bach. Edited by
Rachel Barton Pine. SWS.
Collection. With Standard
notation. 80 pages. Carl
Fischer Music #BF115.
Published by Carl Fischer
Music (CF.BF115). ISBN
9781491150993. UPC:
680160908493. 9x12
inches. Johann
Sebastian Bach’s
(1685—1750)
SixSonatas and Partitas
have captivated
violinistsfor centuries.
Rachel Barton
Pine—havingspent
decades studying the
music of Bach,his
contemporaries, and his
predecessors—now
offers this unparalleled
edition completewith
detailed historical
notes,
performancesuggestions,
and downloadable study
materialsincluding a new
Urtext edition and a
speciallyprepared
manuscript. Pine’s
interpretationis informed
by thorough historical
study, which has been
polished byyears of
performance insight, but
also encourages those
studying
Bach’srepertoire
to craft their own unique
interpretation of these
timelessmasterpieces.
This edition closely
follows Pine’s
critically acclaimed
2016recording
“Testament:
Complete Sonatas and
Partitas for Solo Violin
byJ.S. Bach†(Avie
2360) making it an
invaluable resource for
any student,teacher, or
performer enthralled with
J.S. Bach’s long
standing legacy.Ms. Pine
holds the distinction of
being the only American
and youngestperson to win
the gold medal at the
J.S. Bach International
ViolinCompetition in
Leipzig, Germany,
1992.
here is no one
right way to play Bach.
More thanalmost any
repertoire, each
individual’s
interpretation isas
unique as their
personality. Though I
have spent
decadesstudying
Bach’s music as
well as that of his
contemporariesand
predecessors, my final
rationale for
artisticdecisions is
often taste and instinct.
Every violinist
whoundertakes a
lifetime’s journey
with this incredible
repertoireis continually
discovering new ideas.
Thus, theopinions on the
following pages may
evolve over time.However,
everything in the sheet
music closely follows
my2016 recording
“Testament:
Complete Sonatas and
Partitasfor Solo Violin
by J.S. Bach†(Avie
2360), which I trulyfeel
represents the
culmination of my
exploration intothese
extraordinary works.In
choosing to present this
edition, my hope is
thatyou will find useful
solutions to challenges
of fingering,bowing, and
polyphony, and helpful
information
aboutphrasing. I have
also included additional
dynamic suggestionswith
the hope that trying
these ideas will help
inspireyou to discover
your own. All of these
markings aredesigned to
work with a baroque
violin and baroque bow,a
modern violin and baroque
bow, or a modern
violinand modern bow.
While the information in
this editionis unusually
dense, there is much that
I did not include,such as
lifts, breaths,
articulations, whether to
play on oroff the string,
metronome markings,
details of timing,and
emphases other than
hemiolas.I offer this
book to you in the spirit
of Bach: “SoliDeo
Gloria.â€. $21.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | | |
| Singing FUNdamentals: Toy Box Collection
GIA Publications
SKU: GI.G-007186 Composed by Lee Gwozdz. Sacred. Collection. GIA Publicat...(+)
SKU: GI.G-007186
Composed by Lee Gwozdz.
Sacred. Collection. GIA
Publications #007186.
Published by GIA
Publications
(GI.G-007186).
English. Lee
Gwozdz brings a lifetime
of singing in choirs to
his wildly successful
choral programs at Corpus
Christi Cathedral in
Corpus Christi, Texas.
Now Lee shares those
winning techniques in a
remarkable new choral
training program. Singing
FUNdamentals‚Ñ
¢ combines concepts,
techniques, and toys in a
way that makes singing a
joy. Lee's Singing
FUNdamentals Toy Box and
related videos and DVDs
have received rave
reviews from vocal
experts and users alike:
‚I started a
children's choir last
fall and began right off
using Lee Gwozdz's toy
box. I was amazed at the
result. Believe it or
not, the punching
dinosaur even worked with
the adult choir. Thanks
to WLP for that box of
magic!‚ -- Charles
Thatcher, composer and
music director, Orlando,
FL The Toy Box includes a
dozen toys that provide
visual imagery for good
choral singing, making
concepts like posture and
phrasing concrete for
young singers. Great for
high school and adult
choirs as well! The toys
are packaged in a sturdy
reusable toy box for easy
storage and long-term
use. The Toy Handbook,
included in the Toybox,
demonstrates how to use
toys like the punching
puppet or the Mr.
Pooch‚ tennis ball
effectively to illustrate
choral concepts. Musical
exercises are included. A
treasure for
professionals and
amateurs alike
— anyone
who works with
children‚ and adult
choirs and wants to teach
the basics of good choral
sound. $90.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | | |
| A Tribute to Ray Charles
Orchestre d'harmonie [Conducteur et Parties séparées] - Facile
Music Sales
Concert Band/Harmonie - Grade 3 SKU: BT.1267-05-010-MS Arranged by Peter ...(+)
Concert Band/Harmonie -
Grade 3 SKU:
BT.1267-05-010-MS
Arranged by Peter Kleine
Schaars. Peter's Popular
Collection. Pop & Rock.
Set (Score & Parts).
Composed 2005. Music
Sales #1267-05-010 MS.
Published by Music Sales
(BT.1267-05-010-MS).
9x12 inches.
English-German-French-Dut
ch. Ray Charles
(1930-2004) was a
multitalented and
pioneering American
pianist and soul singer
who became very popular
in the late fifties, and
remained respected for
his music in the decades
that followed. By
incorporating gospel,
jazz, blues, and big band
elements, he helped shape
the sound of rhythm and
blues, and brought a
soulful sound to
everything from country
music to pop standards.
Ray Charles embodied the
American dream, starting
out a poor, blind boy
from the southern United
States and becoming an
international music
phenomenon; his nickname
was “the
Genius†for a good
reasonIn this arrangement
for concert band, Peter
Kleine Schaars presents
five of the songs
thatcontributed to Ray
Charles’ fame: I
Can’t Stop Loving
You, Hit the Road Jack,
Georgia on My Mind,
Hallelujah I Love Her So,
and Unchain My Heart.
Ray Charles
(1930-2004) was een
vernieuwend Amerikaans
pianist en soulzanger die
populair werd in de jaren
vijftig en geliefd bleef
in de decennia die
volgden. Hij gaf mede
vorm aan de sound van de
rhythm & blues en hij gaf
een soulachtigeklank aan
alle muziek van country
tot aan popstandards -
waarin hij gospel, jazz,
blues en
bigband-elementen
verwerkte. Dit
arrangement bevat vijf
van de songs die
bijdroegen aan de roem
van Ray Charles: I
Can’t StopLoving
You, Hit the Road Jack,
Georgia on My Mind,
Hallelujah I Love Her
So en Unchain My
Heart.
In den
fünfziger Jahren
erlangte der Pianist und
Soulsänger Ray Charles
große, bis heute
ungebrochene
Popularität. In dieser
Bearbeitung für
Blasorchester
präsentiert Peter
Kleine Schaars fünf
der Lieder, die
wesentlich zu Ray
Charles’ Ruhm
beitrugen und auch heute
noch ein hoch
ansteckendes Soul-Fieber
unter Musikern und
Zuhörern auslösen
können.
Ray
Charles (1930-2004)
était un pianiste et
un chanteur de soul
américain
l’esprit novateur
et aux multiples talents.
Il connut le succès
dès la fin des
années 1950 et son
immense notoriété
ne le quittera plus. En
intégrant dans son jeu
des éléments venus
du gospel, du jazz, du
blues et du big band, il
a contribué la
naissance et au
développement du
rhythm and blues et
apporté une
sonorité pleine de
sensibilité tous les
styles musicaux, de la
musique country aux
grands classiques de la
musique pop. Ray Charles
incarnait le rêve
américain : musicien
noir, aveugle, issu du
milieu défavorisé
du Sud des
États-Unis, il
accède au statut de
phénomène musical
dans le mondeentier. On
ne l’a pas
surnommé “the
Genius†par hasard.
Dans cet arrangement pour
Orchestre
d’Harmonie, Peter
Kleine Schaars a
rassemblé cinq titres
emblématiques de Ray
Charles : I
Can’t Stop Loving
You, Hit the Road Jack,
Georgia on My Mind,
Hallelujah I Love Her
So et Unchain My
Heart.
Ray
Charles è un vero
mito: cinque decenni di
successi, una carriera
eccezionale ricca di
decine di successi che
hanno fatto il giro del
mondo diventando fonte di
ispirazione per intere
generazioni di giovani
artisti. Soprannominato
“The Geniusâ€,
questo pioniere del R&B e
della soul music, cieco
dall’et di sette
anni, ha composto alcune
delle canzoni memorabili
della musica nera
americana tra cui I
Can’t Stop Loving
You, Hit the Road Jack,
Georgia on My Mind,
Hallelujah I Love Her
so e Unchain My
Heart. $186.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | | |
| Swaying in the West Wind
Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire
De Haske Publications
Concert Band (Score & Parts) - Grade 5 SKU: HL.44011067 The Resounding...(+)
Concert Band (Score &
Parts) - Grade 5 SKU:
HL.44011067 The
Resounding Passionate
Heartbeat. Composed
by Satoshi Yagisawa. De
Haske Concert Band. Set
(Score & Parts). Composed
2010. De Haske
Publications #1115007010.
Published by De Haske
Publications
(HL.44011067). UPC:
884088640125.
9.0x12.0x1.03 inches.
English-German-French-Dut
ch-Japanese. This
piece was commissioned by
Japan Ground Self Defense
Force Western Army Band.
In the programme note for
the premiere the composer
wrote: I am always
impressed by the
expansive earth and
sparkling ocean scenery
when I come to Kyushu. I
have met many local
people here and they are
all expressive and
energetic. I wrote this
dramatic piece to convey
to the whole of Japan the
memory of my experience
here, swaying in the west
wind. I wrote this,
hoping that the Self
Defense Force will forge
closer ties with the
community through this
piece. Eastern drama felt
in the west
wind!
This piece
was commissioned by Japan
Ground Self Defense Force
Western Army Band. In the
programme note for the
premiere the composer
wrote: I am always
impressed by the
expansive earth and
sparkling ocean scenery
when I come toKyushu. I
have met many local
people here and they are
all expressive and
energetic. I wrote this
dramatic piece to convey
to the whole of Japan the
memory of my experience
here, swaying in the west
wind. I wrote this,
hoping thatthe Self
Defense Force will forge
closer ties with the
community through this
piece. Eastern drama felt
in the west
wind!
Dieses
Stück basiert auf
dem Motto eines
japanischen
Musikfestivals der
japanischen Streitkrafte:
Unsere Leidenschaft soll
in unserem Herzen
widerhallen. Der
Komponist liess sich
ausserdem von der
eindrucksvollen
Küstenlandschaft in
Kyushu, wo das Festival
stattfand, inspirieren
und vom Wunsch, dass die
verschiedenen
Militarblasorchester der
Region engere Bande
knüpfen mogen,
leiten. Aus diesen Themen
entstand dieses
ausdruckvolle,
dramatische
Werk.
L'oeuvre fut
donnee en creation dans
le cadre du Festival des
Musiques Militaires des
Forces armees japonaises
2010, qui s'est tenu sur
l'ile de Kyushu. Le theme
fut << La passion est en
nous >>. Swaying in the
West Wind revele une
profondeur d'expression
poignante. Depuis des
siecles, Kyushu s'est
ouverte aux cultures
occidentales. Et c'est la
force de ce souffle
occidental, de l'energie
des habitants de l'ile
que Satoshi Yagisawa
depeint dans son oeuvre.
Questo brano e
stato commissionato dal
Japan Ground Self Defense
Force Western Army Band
di stanza a Kyushu. Il
compositore si e ispirato
alla questa regione
giapponese dichiarando la
bellezza della natura, le
grandi distese e il
colore dell'Oceano mi
hanno profondamente. E
questa natura, sono
sicuro trasmette le
proprie energie agli
abitanti di Kyushu, gente
molto espressiva ed
energia, in perfetta
sintonia con la terra in
cui vivono. $184.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | | |
| Gimenez: La Boda De Luis Alonso No. 4
Piano seul
Unión Musical Ediciones
Piano SKU: BT.MUSUMV53934 Intermedio for Piano. Composed by Geroni...(+)
Piano SKU:
BT.MUSUMV53934
Intermedio for
Piano. Composed by
Geronimo Gimenez. Opera
or Operetta. Book Only.
99 pages. Union Musical
Ediciones #MUSUMV53934.
Published by Union
Musical Ediciones
(BT.MUSUMV53934).
Spanish.
Gerónimo
Giménez was a
Spanish conductor and
composer, who dedicated
his career to writing
zarzuelas, such as La
tempranica and La
boda de Luis
Alonso. Zarzuela
is a Spanish
lyric-dramatic genre
thatalternates between
spoken and sung scenes,
the latter incorporating
operatic and popular
song, as well as
dance. In 1896,
Giménez wrote
‘El baile de Luis
Alonso’, based on
a text by Javier de
Burgos. Following
thesuccess of this piece,
he set to music another
sainete by Burgos with
the same characters,
which became one of his
most famous works:
Las bodas de Luis
Alonso (1897).
This energetic work is
full of
sweepingmelodiclines and
light, fast-moving bass
lines. True to form, the
piece has plenty of
dramatic and comedic
flair. The 4th
movement of the late
nineteenth century
composer’s prime
work, written originally
for orchestra, is
presentedhere in a
whimsical and virtuoso
Piano transcription.
Performance time is
approximately 6
minutes. $6.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | | |
| Eyesight
Chorale SATB
SATB, Piano
Theodore Presser Co.
Choral SATB choir, piano SKU: PR.342402070 Composed by Steven Stucky. -. ...(+)
Choral SATB choir, piano
SKU: PR.342402070
Composed by Steven
Stucky. -. Ars Nova
Chamber Singers, Boulder
CO. Performance Score.
With Standard notation.
Composed 7-Feb. 8 pages.
Duration 3 minutes.
Theodore Presser Company
#342-40207. Published by
Theodore Presser Company
(PR.342402070). ISBN
9781491111253. UPC:
680160643226. Octavo
inches. Text: Archibald
R. Ammons. Archibald
Ammons. Text by A.R.
Ammons. To benefit
Chorus America, Stucky
allowed himself to be
auctioned off as a prize
- the high bidder would
receive a new work from
the composer. After a few
years and not really
hearing anything, Stucky
suddenly found himself up
against a deadline. He
reached back to a
favorite poem by A.R.
Ammons, Eyesight, which,
he says, Won't let...his
reader rest till the very
last word...one of those
sudden insights that
leave us
breathless..
This
piece has an odd history.
A few years ago, I agreed
to be one of
the“prizesâ€
in an auction to benefit
Chorus America: the
highest bidder wouldget a
new piece from me, while
their money went to the
organization. Thewinning
bid came from a
collection of several
professional choruses
anddirectors. But I was
always a little vague
about the details, and,
hearingnothing more about
it for a few years,
forgot the whole
thing.One day I received
a message from Thomas
Edward Morgan, directorof
the Ars Nova Chamber
Singers in Boulder: they
had scheduled thepremiere
of my new piece for a few
weeks later, and could
they have themusic,
please? I needed a text,
quickly, and (as usual) I
was in a Los Angeleshotel
room, not at home with my
books. So I turned to the
internet andsoon tracked
down my favorite poet,
A.R. Ammons
(1926-2001).Once I
stumbled on
“Eyesight,†I
remembered having loved
the poemyears before.
Archie must have loved
it, too, because he
included it bothin his
Collected Poems 1951-1971
and in the later Selected
Poems. It haseverything
you want in an Archie
Ammons poem: what Edward
Hirschcalled his
“offbeat, sideways,
unpredictable
radiance,†his
“homespunglory.â
It has one of his
trademark conversations
with a mountain
(perhapsfrom his native
North Carolina), it has
the fluid motion from one
line tothe next
(enjambment, if you want
to get technical) that
won’t let him
orhis reader rest till
the very last word of the
very last line, and it
has in thatlast line one
of those sudden insights
that leave us breathless:
“some thingsthat go
are gone.â€I miss
Archie, but he’s
not gone. I’m
grateful for the
wonderful poems heleft
us, and I’m
grateful that he was
always generous and kind
when I hadthe chutzpah to
add my music to his. $2.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
|
