| The Folksong Fake Book - C Edition
Fake Book [Fake Book] Hal Leonard
For voice and C instrument. Format: fakebook. With vocal melody, lyrics and chor...(+)
For voice and C
instrument. Format:
fakebook. With vocal
melody, lyrics and chord
names. Folk. Series: Hal
Leonard Fake Books. 536
pages. 9.6x12 inches.
Published by Hal Leonard.
(10)$34.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Hymn Fake Book - C Edition
Ligne De Mélodie, Paroles et Accords [Fake Book] - Facile Hal Leonard
For voice and C instrument. Format: fakebook (spiral bound). With vocal melody, ...(+)
For voice and C
instrument. Format:
fakebook (spiral bound).
With vocal melody,
lyrics, piano
accompaniment, chord
names and leadsheet
notation. Hymn. Series:
Hal Leonard Fake Books.
494 pages. 9x12 inches.
Published by Hal Leonard.
(3)$39.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| 24 Varied Scales And Exercises For Clarinet
Clarinette Carl Fischer
In All Major and Minor Keys. Composed by J. B. Albert. Edited by Julie DeRoche...(+)
In All Major and Minor
Keys.
Composed by J. B. Albert.
Edited by Julie DeRoche.
Book.
With Standard notation.
32
pages. Carl Fischer Music
#O99X. Published by Carl
Fischer Music
$12.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Concerto - Piano And Orchestra - Solo Part Schott
Piano and orchestra - difficult SKU: HL.49046544 For piano and orchest...(+)
Piano and orchestra -
difficult SKU:
HL.49046544 For
piano and orchestra.
Composed by Gyorgy
Ligeti. This edition:
Saddle stitching. Sheet
music. Edition Schott.
Softcover. Composed
1985-1988. Duration 24'.
Schott Music #ED23178.
Published by Schott Music
(HL.49046544). ISBN
9781705122655. UPC:
842819108726.
9.0x12.0x0.224
inches. I composed
the Piano Concerto in two
stages: the first three
movements during the
years 1985-86, the next
two in 1987, the final
autograph of the last
movement was ready by
January, 1988. The
concerto is dedicated to
the American conductor
Mario di Bonaventura. The
markings of the movements
are the following: 1.
Vivace molto ritmico e
preciso 2. Lento e
deserto 3. Vivace
cantabile 4. Allegro
risoluto 5. Presto
luminoso.The first
performance of the
three-movement Concerto
was on October 23rd, 1986
in Graz. Mario di
Bonaventura conducted
while his brother,
Anthony di Bonaventura,
was the soloist. Two days
later the performance was
repeated in the Vienna
Konzerthaus. After
hearing the work twice, I
came to the conclusion
that the third movement
is not an adequate
finale; my feeling of
form demanded
continuation, a
supplement. That led to
the composing of the next
two movements. The
premiere of the whole
cycle took place on
February 29th, 1988, in
the Vienna Konzerthaus
with the same conductor
and the same pianist. The
orchestra consisted of
the following: flute,
oboe, clarinet, bassoon,
horn, trumpet, tenor
trombone, percussion and
strings. The flautist
also plays the piccoIo,
the clarinetist, the alto
ocarina. The percussion
is made up of diverse
instruments, which one
musician-virtuoso can
play. It is more
practical, however, if
two or three musicians
share the instruments.
Besides traditional
instruments the
percussion part calls
also for two simple wind
instruments: the swanee
whistle and the
harmonica. The string
instrument parts (two
violins, viola, cello and
doubles bass) can be
performed soloistic since
they do not contain
divisi. For balance,
however, the ensemble
playing is recommended,
for example 6-8 first
violins, 6-8 second, 4-6
violas, 4-6 cellos, 3-4
double basses. In the
Piano Concerto I realized
new concepts of harmony
and rhythm. The first
movement is entirely
written in bimetry:
simultaneously 12/8 and
4/4 (8/8). This relates
to the known triplet on a
doule relation and in
itself is nothing new.
Because, however, I
articulate 12 triola and
8 duola pulses, an
entangled, up till now
unheard kind of polymetry
is created. The rhythm is
additionally complicated
because of asymmetric
groupings inside two
speed layers, which means
accents are
asymmetrically
distributed. These
groups, as in the talea
technique, have a fixed,
continuously repeating
rhythmic structures of
varying lengths in speed
layers of 12/8 and 4/4.
This means that the
repeating pattern in the
12/8 level and the
pattern in the 4/4 level
do not coincide and
continuously give a
kaleidoscope of renewing
combinations. In our
perception we quickly
resign from following
particular rhythmical
successions and that what
is going on in time
appears for us as
something static,
resting. This music, if
it is played properly, in
the right tempo and with
the right accents inside
particular layers, after
a certain time 'rises, as
it were, as a plane after
taking off: the rhythmic
action, too complex to be
able to follow in detail,
begins flying. This
diffusion of individual
structures into a
different global
structure is one of my
basic compositional
concepts: from the end of
the fifties, from the
orchestral works
Apparitions and
Atmospheres I
continuously have been
looking for new ways of
resolving this basic
question. The harmony of
the first movement is
based on mixtures, hence
on the parallel leading
of voices. This technique
is used here in a rather
simple form; later in the
fourth movement it will
be considerably
developed. The second
movement (the only slow
one amongst five
movements) also has a
talea type of structure,
it is however much
simpler rhythmically,
because it contains only
one speed layer. The
melody is consisted in
the development of a
rigorous interval mode in
which two minor seconds
and one major second
alternate therefore nine
notes inside an octave.
This mode is transposed
into different degrees
and it also determines
the harmony of the
movement; however, in
closing episode in the
piano part there is a
combination of diatonics
(white keys) and
pentatonics (black keys)
led in brilliant,
sparkling quasimixtures,
while the orchestra
continues to play in the
nine tone mode. In this
movement I used isolated
sounds and extreme
registers (piccolo in a
very low register,
bassoon in a very high
register, canons played
by the swanee whistle,
the alto ocarina and
brass with a harmon-mute'
damper, cutting sound
combinations of the
piccolo, clarinet and
oboe in an extremely high
register, also
alternating of a
whistle-siren and
xylophone). The third
movement also has one
speed layer and because
of this it appears as
simpler than the first,
but actually the rhythm
is very complicated in a
different way here. Above
the uninterrupted, fast
and regular basic pulse,
thanks to the asymmetric
distribution of accents,
different types of
hemiolas and inherent
melodical patterns appear
(the term was coined by
Gerhard Kubik in relation
to central African
music). If this movement
is played with the
adequate speed and with
very clear accentuation,
illusory
rhythmic-melodical
figures appear. These
figures are not played
directly; they do not
appear in the score, but
exist only in our
perception as a result of
co-operation of different
voices. Already earlier I
had experimented with
illusory rhythmics,
namely in Poeme
symphonique for 100
metronomes (1962), in
Continuum for harpsichord
(1968), in Monument for
two pianos (1976), and
especially in the first
and sixth piano etude
Desordre and Automne a
Varsovie (1985). The
third movement of the
Piano Concerto is up to
now the clearest example
of illusory rhythmics and
illusory melody. In
intervallic and chordal
structure this movement
is based on alternation,
and also inter-relation
of various modal and
quasi-equidistant harmony
spaces. The tempered
twelve-part division of
the octave allows for
diatonical and other
modal interval
successions, which are
not equidistant, but are
based on the alternation
of major and minor
seconds in different
groups. The tempered
system also allows for
the use of the
anhemitonic pentatonic
scale (the black keys of
the piano). From
equidistant scales,
therefore interval
formations which are
based on the division of
an octave in equal
distances, the
twelve-tone tempered
system allows only
chromatics (only minor
seconds) and the six-tone
scale (the whole-tone:
only major seconds).
Moreover, the division of
the octave into four
parts only minor thirds)
and three parts (three
major thirds) is
possible. In several
music cultures different
equidistant divisions of
an octave are accepted,
for example, in the
Javanese slendro into
five parts, in Melanesia
into seven parts, popular
also in southeastern
Asia, and apart from
this, in southern Africa.
This does not mean an
exact equidistance: there
is a certain tolerance
for the inaccurateness of
the interval tuning.
These exotic for us,
Europeans, harmony and
melody have attracted me
for several years.
However I did not want to
re-tune the piano
(microtone deviations
appear in the concerto
only in a few places in
the horn and trombone
parts led in natural
tones). After the period
of experimenting, I got
to pseudo- or
quasiequidistant
intervals, which is
neither whole-tone nor
chromatic: in the
twelve-tone system, two
whole-tone scales are
possible, shifted a minor
second apart from each
other. Therefore, I
connect these two scales
(or sound resources), and
for example, places occur
where the melodies and
figurations in the piano
part are created from
both whole tone scales;
in one band one six-tone
sound resource is
utilized, and in the
other hand, the
complementary. In this
way whole-tonality and
chromaticism mutually
reduce themselves: a type
of deformed
equidistancism is formed,
strangely brilliant and
at the same time
slanting; illusory
harmony, indeed being
created inside the
tempered twelve-tone
system, but in sound
quality not belonging to
it anymore. The
appearance of such
slantedequidistant
harmony fields
alternating with modal
fields and based on
chords built on fifths
(mainly in the piano
part), complemented with
mixtures built on fifths
in the orchestra, gives
this movement an
individual, soft-metallic
colour (a metallic sound
resulting from
harmonics). The fourth
movement was meant to be
the central movement of
the Concerto. Its
melodc-rhythmic elements
(embryos or fragments of
motives) in themselves
are simple. The movement
also begins simply, with
a succession of
overlapping of these
elements in the mixture
type structures. Also
here a kaleidoscope is
created, due to a limited
number of these elements
- of these pebbles in the
kaleidoscope - which
continuously return in
augmentations and
diminutions. Step by
step, however, so that in
the beginning we cannot
hear it, a compiled
rhythmic organization of
the talea type gradually
comes into daylight,
based on the simultaneity
of two mutually shifted
to each other speed
layers (also triplet and
duoles, however, with
different asymmetric
structures than in the
first movement). While
longer rests are
gradually filled in with
motive fragments, we
slowly come to the
conclusion that we have
found ourselves inside a
rhythmic-melodical whirl:
without change in tempo,
only through increasing
the density of the
musical events, a
rotation is created in
the stream of successive
and compiled, augmented
and diminished motive
fragments, and increasing
the density suggests
acceleration. Thanks to
the periodical structure
of the composition,
always new but however of
the same (all the motivic
cells are similar to
earlier ones but none of
them are exactly
repeated; the general
structure is therefore
self-similar), an
impression is created of
a gigantic, indissoluble
network. Also, rhythmic
structures at first
hidden gradually begin to
emerge, two independent
speed layers with their
various internal
accentuations. This
great, self-similar whirl
in a very indirect way
relates to musical
associations, which came
to my mind while watching
the graphic projection of
the mathematical sets of
Julia and of Mandelbrot
made with the help of a
computer. I saw these
wonderful pictures of
fractal creations, made
by scientists from Brema,
Peitgen and Richter, for
the first time in 1984.
From that time they have
played a great role in my
musical concepts. This
does not mean, however,
that composing the fourth
movement I used
mathematical methods or
iterative calculus;
indeed, I did use
constructions which,
however, are not based on
mathematical thinking,
but are rather craftman's
constructions (in this
respect, my attitude
towards mathematics is
similar to that of the
graphic artist Maurits
Escher). I am concerned
rather with intuitional,
poetic, synesthetic
correspondence, not on
the scientific, but on
the poetic level of
thinking. The fifth, very
short Presto movement is
harmonically very simple,
but all the more
complicated in its
rhythmic structure: it is
based on the further
development of ''inherent
patterns of the third
movement. The
quasi-equidistance system
dominates harmonically
and melodically in this
movement, as in the
third, alternating with
harmonic fields, which
are based on the division
of the chromatic whole
into diatonics and
anhemitonic pentatonics.
Polyrhythms and harmonic
mixtures reach their
greatest density, and at
the same time this
movement is strikingly
light, enlightened with
very bright colours: at
first it seems chaotic,
but after listening to it
for a few times it is
easy to grasp its
content: many autonomous
but self-similar figures
which crossing
themselves. I present my
artistic credo in the
Piano Concerto: I
demonstrate my
independence from
criteria of the
traditional avantgarde,
as well as the
fashionable
postmodernism. Musical
illusions which I
consider to be also so
important are not a goal
in itself for me, but a
foundation for my
aesthetical attitude. I
prefer musical forms
which have a more
object-like than
processual character.
Music as frozen time, as
an object in imaginary
space evoked by music in
our imagination, as a
creation which really
develops in time, but in
imagination it exists
simultaneously in all its
moments. The spell of
time, the enduring its
passing by, closing it in
a moment of the present
is my main intention as a
composer. (Gyorgy
Ligeti). $34.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Quadri Morandi Guitare Fennica Gehrman
Guitar SKU: FG.55011-324-4 Composed by Kai Nieminen. Fennica Gehrman #550...(+)
Guitar SKU:
FG.55011-324-4
Composed by Kai Nieminen.
Fennica Gehrman
#55011-324-4. Published
by Fennica Gehrman
(FG.55011-324-4). ISBN
9790550113244. Quad
ri Morandi (2014) ties
together two essential
themes of Kai Niminen's
(b. 1953) compositional
style: guitar and a
subject inspired by
Italy. The strong
presence of the guitar in
his works is natural
since he is in an
actively performing
guitarist himself, and
guitar works indeed play
a significant role in his
oeuvre. Moreover, he has
written plenty of
orchestral music; for
instance two symphonies,
numerous concertos, and
chamber music. In the
field of Finnish music he
is a composer who can be
characterized as free
from any specific school
or style. In his musical
language, free tonal in
essence, one can detect
traces of Impressionism,
Neoromanticism and even
Expressionism at times,
but he is also willing to
employ more recent
20th-century stylistic
devices. Nieminen has
mentioned that he finds
himself very similar to
Japanese Toru Takemitsu
both musically and in
thought.
Mediterannean culture and
Italy especially have
been close to Nieminen's
heart ever since he first
visited the country and
appeared in the jury of
the international
Fernando Sor guitar
competition in 1981. He
has composed a great
number of works which
refer to Italian
landscapes or artists.
The work Quadri Morandi
(Morandi's pictures) is
written in four
movements. It has at its
centre the painter
Giorgio Morandi
(1890-1964), who is known
as a master of still
lifes and landscapes
painted in a plain manner
and is subdued colours.
Their atmosphere
typically reflects a calm
spirit. This is the third
guitar work that nieminen
has written for Kleemola.
It is easy to
find a counterpart for
the encaptivating realm
of Morandi's art in
Nieminen's clear and pure
expression. The titles
and expression markings
also include several
references to Morandi.
For example, in the
opening movement Prelude
the words la Natura morta
(still life) appear as an
additional note on the
chord sequence following
the freely flowing
opening section. At the
end of the movement one
can hear rhythmic motif
coloured with flageolets
that repeats the
syllables of the
painter's name: Gior-gio
Moran-di. A similar motif
can be heard at the end
of the second movement
Quasi cadenza. The
tranquilly breathing
third movement Paesaggio
(landscape) creates an
illusion of landscape by
imitating the echo of
monastery bells (come
campane del monastero)
and at the same time
refers to il monaco (the
monk), the name by which
Morandi was often called.
The final movement
Ritratto (Portrait) is
the most extensive of all
the movements and can be
seen, with its recurring
motifs, as a reflection
of the stable yet subtly
varying elements of
Morandi's art. The work
ends with the rhythmic
motif that once more
echoes Morandi's name,
like signature. $16.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Letsch Play Mouth Organ +cd - Débutant Schott
French harp (NOTEN+CD) - very easy to easy SKU: HL.49033045 Die Schule...(+)
French harp (NOTEN+CD) -
very easy to easy SKU:
HL.49033045 Die
Schule fur diatonische
Mundharmonika (Blues
Harp) fur Jugendliche und
Erwachsene. Composed
by Glenn Letsch. This
edition: Paperback/Soft
Cover. Sheet music with
CD. Edition Schott.
'Mundharmonika spielen -
mein schonstes Hobby' is
a modern harmonica method
for young people and
adults which never makes
them lose the fun and joy
of learning. No matter
whether with or without
teacher, this method
provides the beginner
with a solid foun.
Edition with CD. 80
pages. Schott Music #ED
9367. Published by Schott
Music (HL.49033045).
ISBN 9783795755560.
German. The
harmonica is a small
fantastic instrument
which can be learnt to
play without any previous
knowledge. Unlike with
the keyboard or guitar,
however, with the
harmonica one cannot see
'how to do it'. This is
why the best tips and
tricks have been compiled
in this book,
guaranteeing a smooth
start. All playing
techniques are explained
in a clear and
comprehensible way.
Graphic illustrations and
easy exercises make it
easy to learn to play the
harmonica. In addition,
the book not only
contains a large
selection of great
musical pieces, but also
describes in a
comprehensive and
accurate way how to
generate all semitones of
the 'harp', thus
providing even advanced
players with new
material.'Mundharmonika
spielen - mein schonstes
Hobby' is a modern
harmonica method for
young people and adults
which never makes them
lose the fun and joy of
learning. No matter
whether with or without
teacher, this method
provides the beginner
with a solid foundation
for playing the
harmonica. The clear
layout with info boxes
and tests makes it easy
for the players to find
their way around and
learn to play this
instrument. In addition,
all pieces have been
recorded on the CD so
that it is possible to
listen to them
repeatedly, thus having a
perfect acoustic learning
aid. As regards the
instrument, it is
advisable to use a
Richter-tuned diatonic
harmonica in C with 10
holes (harp). $28.99 - Voir plus => Acheter | | |
| Interactive Rock Guitar Guitare [CD-ROM] EMedia
| | |
| Easy Soloing: Blues Keyboard Clavier [Partition + CD] Alfred Publishing
By Tricia Woods. For Electronic Keyboard. Electronic Keyboard. National Guitar W...(+)
By Tricia Woods. For
Electronic Keyboard.
Electronic Keyboard.
National Guitar Workshop.
Blues. Level: Advanced.
Book and CD. 48 pages.
Published by Alfred
Publishing.
$16.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Foundations of Rock: Guitar Riffs in the Style of the 60s and 70s Guitare notes et tablatures [DVD|Curriculum Guides] - Débutant Mel Bay
By Jon Finn. For Guitar (Electric). Licks and Phrases. MBGU. Rock. Book DVD. 48 ...(+)
By Jon Finn. For Guitar
(Electric). Licks and
Phrases. MBGU. Rock. Book
DVD. 48 pages. Published
by Mel Bay Publications,
Inc. Level:
Beginning-Intermediate.
$22.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Alfred's Basic Rock Guitar Method, Book 1 Guitare notes et tablatures [Partition + DVD] Alfred Publishing
(The Most Popular Series for Learning How to Play). Composed by Nathaniel Gunod,...(+)
(The Most Popular Series
for Learning How to
Play). Composed by
Nathaniel Gunod, L. C.
Harnsberger, and Ron
Manus. For Guitar. Book;
DVD; Guitar Method or
Supplement;
Method/Instruction.
Alfred's Basic Guitar
Library. Rock. 64 pages.
Published by Alfred Music
$19.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Alfred's Basic Rock Guitar Method, Book 1 Guitare [Partition + CD] Alfred Publishing
(The Most Popular Series for Learning How to Play). By Ron Manus, L. C. Harnsber...(+)
(The Most Popular Series
for Learning How to
Play). By Ron Manus, L.
C. Harnsberger, and
Nathaniel Gunod. For
Guitar. Book; CD; Guitar
Method or Supplement;
Method/Instruction.
Alfred's Basic Guitar
Library. Rock. 64 pages.
Published by Alfred Music
(AP.4
$14.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Jazz Solo Series for Guitar Guitare [Partition + Accès audio] - Intermédiaire ADG productions
Composed by Mark Vega. Saddle stitch. Jazz/Guitar Instruction. Book and Download...(+)
Composed by Mark Vega.
Saddle stitch.
Jazz/Guitar Instruction.
Book and Downloadable
audio. Duration 70
minutes. Published by ADG
Productions
$21.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Alfred's Teach Yourself Studio One v. 2.0 Livre - Pas de partitions [Livre + DVD] Alfred Publishing
(Everything You Need to Know to Start Recording Now!). By David Terry. Book; Boo...(+)
(Everything You Need to
Know to Start Recording
Now!). By David Terry.
Book; Books and DVDs;
DVD; Pro Audio; Pro Audio
Textbook; Reference
Textbooks. Teach Yourself
Series. 92 pages.
Published by Alfred Music
Publishing
$19.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| 17 Daily Exercises Flûte traversière Theodore Presser Co.
The complete 17 Grands Exercices Journaliers with Practice Strategies and Exp...(+)
The complete 17 Grands
Exercices Journaliers
with
Practice Strategies and
Expanded Exercises.
Composed
by Philippe Gaubert Paul
Taffanel. Edited by
Jasmine
Choi. Theodore Presser
Company
#414-41239. Published by
Theodore Presser Company
$29.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Christmas Story Chorale SATB [Partition] Lillenas Publishing Co.
(In Carols and Poetry). By Marty Parks. For SATB choir or Senior Adult Choir. Th...(+)
(In Carols and Poetry).
By Marty Parks. For SATB
choir or Senior Adult
Choir. This edition:
Paperback. Musical.
Christmas Musical for
Senior Adult Choir.
Traditional and Sacred.
Easy. Book. 80 pages.
Duration 32 minutes.
Published by Lillenas
Publishing Company
$7.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Louez le Signeur! Chorale SATB SATB, Percussion(s) Carl Fischer
A Camaroon Marching Song. Composed by Camaroon Folksong. Arranged by Ken B...(+)
A Camaroon Marching Song.
Composed by Camaroon
Folksong. Arranged by Ken
Berg. Fold. Octavo. 12
pages.
Duration 2 minutes, 35
seconds. Carl Fischer
Music
#CM9658. Published by
Carl
Fischer Music
$2.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Bang the Drum All Day (I Don't Want to Work) Orchestre d'harmonie [Conducteur et Parties séparées] - Débutant Alfred Publishing
By Todd Rundgren. Arranged by Michael Story. Words and music by Todd Rundgren / ...(+)
By Todd Rundgren.
Arranged by Michael
Story. Words and music by
Todd Rundgren / arr.
Michael Story. For
Concert Band. Concert
Band. Pop Beginning Band.
Pop/Rock. Level: Very
Easy (grade 1). Conductor
Score and Parts. Duration
1:52:00. Published by
Alfred Publishing.
$56.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Keyboard Essentials - Playing Keyboards the New Way Piano seul - Débutant Schott
Piano (Piano) - very easy SKU: HL.49007464 Volume 1. Composed by A...(+)
Piano (Piano) - very easy
SKU: HL.49007464
Volume 1. Composed
by Alex Benson. This
edition: Saddle
stitching. Sheet music.
Edition Schott. The
Keyboard Method for all
one manual models with
automatic accompaniment
and rhythm facility for
teaching and private
study. Classical,
Contemporary,
Educational. 64 pages.
Schott Music #ED 7710.
Published by Schott Music
(HL.49007464). ISBN
9790001080293.
9.0x12.0x0.217 inches.
English. Keyboard
Essentials is aimed at
all who want to learn to
play keyboards
successfully in
methodically thought-out
teaching units with the
aid of popular songs and
useful tips, though
tutoring or private
study. It is aimed at
beginners of all ages but
also, for example, wind
players, singers or
guitaristswho want to
become musical 'insiders'
and who though playing
the keyboard see an
introduction to
improvisation,
composition, harmony,
etc. On the keyboard in
particular, with its
clearly arranged, regular
structure of keys,
scales, chords, and
harmonic relations are
presented more clearly
and systematically than
on any other instrument.
Musicians with previous
knowledge may join in at
volume 2 or 3. $19.99 - Voir plus => Acheter | | |
| Alfred's Self-Teaching Adult Piano Course
Piano seul [Partition + CD] - Débutant Alfred Publishing
The new, easy and fun way to teach yourself to play. Willard A. Palmer and Morto...(+)
The new, easy and fun way
to teach yourself to
play. Willard A. Palmer
and Morton Manus. For
Piano. Piano Method. Book
and CD. 192 pages.
Published by Alfred
Publishing.
(1)$24.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Jazz Solo Series for "Eb" instruments Saxophone Alto [Partition + Accès audio] - Intermédiaire ADG productions
Composed by Mark Vega. Saddle stitch. Jazz/Saxophone Instruction. Book and Downl...(+)
Composed by Mark Vega.
Saddle stitch.
Jazz/Saxophone
Instruction. Book and
Downloadable audio.
Duration 70 minutes.
Published by ADG
Productions
$21.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Animato Theory For Piano Students Piano seul [Partition] Kjos Music Company
For piano. Piano. Method. Level: Primer. Music Book. Published by Neil A. Kjos M...(+)
For piano. Piano. Method.
Level: Primer. Music
Book. Published by Neil
A. Kjos Music Company.
$19.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Easy to Play Irish Jigs and Reels for Piano Piano seul Kevin Mayhew
Irish traditional music is central to much of Irish culture and life. These reel...(+)
Irish traditional music
is central to much of
Irish culture and life.
These reels and jigs
capture the rhythm and
vitality of Irish music
in settings for easy
piano. Reels are simple
dance tunes in fairly
fast 2/2 time, consisting
of eight-measure phrases
which are repeated over
and over again. Jigs are
popular dance tunes in
6/8 time. With thirteen
reels and thirteen jigs,
this collection is sure
to provide hours of
enjoyment
$9.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Jesus, Lamb of God GIA Publications
(Fraction rite). By Carol Browning. For 2 Voice Mixed Choir, Cantor, Piano accom...(+)
(Fraction rite). By Carol
Browning. For 2 Voice
Mixed Choir, Cantor,
Piano accompaniment, and
C Instrument. Ritual
Prayer. Includes guitar
chord names. Sacred.
Easy. 8 pages. Published
by GIA Publications
$1.30 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
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