Instrumental Play-Along for Oboe. Composed by Various. Instrumental Play-Along...(+)
Instrumental Play-Along
for
Oboe. Composed by
Various.
Instrumental Play-Along.
Children, Disney, Movies.
Softcover Audio Online.
24
pages. Published by Hal
Leonard
Instrumental Play-Along for Trombone. Composed by Various. Instrumental Play-A...(+)
Instrumental Play-Along
for
Trombone. Composed by
Various.
Instrumental Play-Along.
Children, Disney, Movies.
Softcover Audio Online.
24
pages. Published by Hal
Leonard
Instrumental Play-Along for Horn. Composed by Various. Instrumental Play-Along...(+)
Instrumental Play-Along
for
Horn. Composed by
Various.
Instrumental Play-Along.
Children, Disney, Movies.
Softcover Audio Online.
24
pages. Published by Hal
Leonard
Instrumental Play-Along for Viola. Composed by Various. Instrumental Play-Alon...(+)
Instrumental Play-Along
for
Viola. Composed by
Various.
Instrumental Play-Along.
Children, Disney, Movies.
Softcover Audio Online.
24
pages. Published by Hal
Leonard
Instrumental Play-Along for Clarinet. Composed by Various. Instrumental Play-A...(+)
Instrumental Play-Along
for
Clarinet. Composed by
Various.
Instrumental Play-Along.
Children, Disney, Movies.
Softcover Audio Online.
24
pages. Published by Hal
Leonard
Instrumental Play-Along for Cello. Composed by Various. Instrumental Play-Alon...(+)
Instrumental Play-Along
for
Cello. Composed by
Various.
Instrumental Play-Along.
Children, Disney, Movies.
Softcover Audio Online.
24
pages. Published by Hal
Leonard
Instrumental Play-Along for Recorder. Composed by Various. Instrumental Play-A...(+)
Instrumental Play-Along
for
Recorder. Composed by
Various.
Instrumental Play-Along.
Children, Disney, Movies.
Softcover Audio Online.
24
pages. Published by Hal
Leonard
Instrumental Play-Along for Trumpet. Composed by Various. Instrumental Play-Al...(+)
Instrumental Play-Along
for
Trumpet. Composed by
Various.
Instrumental Play-Along.
Children, Disney, Movies.
Softcover Audio Online.
24
pages. Published by Hal
Leonard
(Arranged for Intermediate Piano) Arranged by Carol Matz. Collection for piano. ...(+)
(Arranged for
Intermediate Piano)
Arranged by Carol Matz.
Collection for piano.
Level: Intermediate. With
lyrics and chord names.
59 pages. Published by
Alfred Publishing.
Scott Joplin Reconsidered. Composed by Scott Joplin (1868-1917). Edited by L...(+)
Scott Joplin
Reconsidered.
Composed by Scott Joplin
(1868-1917). Edited by
Lara
Downes. Collection.
Theodore
Presser Company
#440-40028.
Published by Theodore
Presser
Company
SKU: GI.G-10368 A Document History (1835-1935). Composed by Bryan ...(+)
SKU: GI.G-10368
A Document History
(1835-1935). Composed
by Bryan J. Proksch.
Music Education. 346
pages. GIA Publications
#10368. Published by GIA
Publications
(GI.G-10368).
ISBN
9781622776276.
This
is a fascinating and
important book for
everybody even remotely
interested in the history
of American bands. Bryan
Proksch has done some
painstakingly thorough
research in putting
together an amazing
assemblage of
documents… This is
a must-have book!
—Jon Ceander
Mitchell   The
Wind Music Research
Quarterly:
Mitteilungsblatt der IGEB
  (March 2022),
14–15 For the
scholar, each entry
presents an opportunity
for expansion. For the
teacher, this work
provides source readings
for courses on wind band
history or for
complementing Strunk or
Weiss-Taruskin in
university music history
courses. That said, these
documents stand as an
enriching and
entertaining read in
their own right for
anyone interested in the
subject. —Michael
O’Connor  Â
Historic Brass Today 1/2
(Spring 2022), 32 The
Golden Age of American
Bands is ideally suited
for courses on the
history and literature of
bands in America. Indeed,
this volume could suffice
as a textbook for
adventuresome teachers in
that it touches on the
major musicians,
instruments, ensembles,
and functions expected of
such a course. . . . Both
private and classroom
band instructors will
find compelling glimpses
into the history of their
craft. [It is] bursting
with opportunities to
inspire curiosity in
their students while
effectively supporting
their own curricular
goals. —Benjamin
D. Lawson and James A.
Davis   The
Journal of Music History
Pedagogy Proksch’s
new collection of
documents is a most
welcome step in the
direction of getting [the
story of bands] under
control. The
juxtaposition of
documents from so many
levels and types of
ensembles proves to have
a cumulative effect: one
begins to see the subtle
and long-lasting
connections among them
despite the big
differences. It is easy
to envision it as a
supplemental text in a
course on band history
and literature, but the
book is also just an
absorbing read. There is
much to learn here, and
much to enjoy.
—Ken Kreitner Â
 Notes 79/2 (December
2022): 217-218 This is
the story of the American
wind band, told
chronologically by those
who experienced it in
real time from 1835 to
1935. How did bands
become bands? How did
they rise in popularity?
Which figures had
insights and specific
impacts on the
development of the genre?
Through source documents
and articles, Bryan
Proksch takes us on an
extraordinary journey
from the time of the
first brass bands in the
1830s, through the Civil
War and the golden ages
of Gilmore and Sousa, to
the cusp of the wind
ensemble just before
World War II. Hear from a
young Frederick Fennell
about his efforts to
create the first band at
Eastman. Read the outline
of Allessandro
Liberati’s
unpublished trumpet
method book. Eavesdrop on
Karl L. King as he muses
on the fate of bands
after the death of Sousa.
See Patrick
Conway’s first
undergraduate music
education curriculum.
Gawk as trombonist
Fredrick Neil Innes
embarrasses
“world’s
greatest cornetistâ€
Jules Levy at Coney
Island. Explore as Alan
Dodworth revolutionizes
bands. Retreat with a
military band in the
middle of a Civil War
battle. Find out what it
felt like to sit in a
Sousa Band rehearsal. Ask
Herbert L. Clarke why he
thinks you should be
playing a cornet instead
of a trumpet. Find out
how P. S. Gilmore managed
to pull off the biggest
concert events in
American history. The
book includes numerous
rare and unknown
illustrations to show you
the places where band
history happened. The
documents include rare
periodical excerpts,
handwritten letters, and
other writings taken from
archives throughout the
United States. These
first-person accounts are
certain to further refine
and deepen our
understanding and
appreciation of American
band history on a grand
scale. Contents:
Beginnings
(1835–1859) The
Civil War
(1860–1865) The
Jubilees
(1866–1879) The
Gilded Age
(1880–1896) The
Band Age
(1897–1914) World
War I (1915–1919)
Transition and Decline
(1920–1935) Â
Click here to download a
FREE addenda. Bryan
Proksch is a
distinguished faculty
lecturer and associate
professor of music
history and literature at
Lamar University in
Beaumont, Texas. This is
his third book. His A
Sousa Reader: Essays,
Interviews, and Clippings
(GIA Publications, 2016)
explores the documents
relating to the life and
career of John Philip
Sousa.
(Hands-On Basic Training for Musicians). Composed by Bobby Owsinski. Book; Books...(+)
(Hands-On Basic Training
for Musicians). Composed
by Bobby Owsinski. Book;
Books and DVDs; DVD;
Method/Instruction; Pro
Audio; Pro Audio
Textbook; Reference
Textbooks. Boot Camp. 160
pages. Published by
Alfred Music
For voice, piano and guitar chords. Format: piano/vocal/chords songbook. With vo...(+)
For voice, piano and
guitar chords. Format:
piano/vocal/chords
songbook. With vocal
melody, piano
accompaniment, lyrics,
chord names and guitar
chord diagrams. Country
pop and country. 269
pages. 9x12 inches.
Published by Hal Leonard.
Composed
by Johann Sebastian Bach.
Edited by Malcolm Bruno.
Choir; Softbound.
Partitur-Bibliothek
(Score Library).
The
music scholar Malcolm
Bruno has prepared a new
reconstruction of the
work based on the
meanwhile established
parody model
Trauerode BWV
198.
Oratorio/passion;
Baroque. Full score. 136
pages. Duration 85'.
Breitkopf and Haertel #PB
5611. Published by
Breitkopf and Haertel
(BR.PB-5611).
ISBN
9790004215081. 10 x 12.5
inches.
Welcome
comebackBach's St John
and St. Matthew Passions
are popular and well
established in concert
life. Of a third, the
Markus Passion, only
Picander's original
libretto is extant.
Parallel arias from
various cantatas replace
the lacking music for
arias, and instead of the
lost recitative and the
turba [crowd] choruses,
the spoken gospel text is
bilingually published in
this edition (in
German/English). The
freshly-prepared
performance material
including a detailed
commentary is
supplemented by a
newly-arranged piano
reduction.,,Une version
qui n'a rien
d'authentique, mais qui
tient la route. C'est du
Bach de bout en bout et,
contrairement a d'autres
reconstitutions,
l'editeur ne propose rien
pour les recitatifs.
L'evangeliste pourrait
meme etre un recitant.
Interessante suggestion.
(Alain Paris, La Lettre
du Musicien)
The
music scholar Malcolm
Bruno has prepared a new
reconstruction of the
work based on the
meanwhile established
parody model Trauerode
BWV 198.
Composed by Johann
Sebastian Bach. Edited by
Malcolm Bruno. Arranged
by Andreas (KlA) Kohs.
Choir; Softbound. Edition
Breitkopf.
The music
scholar Malcolm Bruno has
prepared a new
reconstruction of the
work based on the
meanwhile established
parody model
Trauerode BWV
198.
Oratorio/passion;
Baroque. Piano/Vocal
Score. 92 pages. Duration
85'. Breitkopf and
Haertel #EB 8916.
Published by Breitkopf
and Haertel (BR.EB-8916).
ISBN 9790004185827.
7.5 x 10.5
inches.
Welcome
comebackBach's St John
and St. Matthew Passions
are popular and well
established in concert
life. Of a third, the
Markus Passion, only
Picander's original
libretto is extant.
Parallel arias from
various cantatas replace
the lacking music for
arias, and instead of the
lost recitative and the
turba [crowd] choruses,
the spoken gospel text is
bilingually published in
this edition (in
German/English). The
freshly-prepared
performance material
including a detailed
commentary is
supplemented by a
newly-arranged piano
reduction.,,Une version
qui n'a rien
d'authentique, mais qui
tient la route. C'est du
Bach de bout en bout et,
contrairement a d'autres
reconstitutions,
l'editeur ne propose rien
pour les recitatifs.
L'evangeliste pourrait
meme etre un recitant.
Interessante suggestion.
(Alain Paris, La Lettre
du Musicien)
The
music scholar Malcolm
Bruno has prepared a new
reconstruction of the
work based on the
meanwhile established
parody model Trauerode
BWV 198.
Piano, Voix et Guitare [Partition] - Intermédiaire Hal Leonard
Budget Books. Piano/Vocal/Chords Mixed Folio (Arrangements for piano and voice w...(+)
Budget Books.
Piano/Vocal/Chords Mixed
Folio (Arrangements for
piano and voice with
guitar chords). Size
8.37x10.87 inches. 352
pages. Published by Hal
Leonard.
Concert Band Concert Band - Grade 2.5 SKU: FJ.B1381S Score Only. C...(+)
Concert Band Concert Band
- Grade 2.5
SKU:
FJ.B1381S
Score
Only. Composed by
Charles Wesley and Felix
Bartholdy Mendelssohn.
Arranged by Erik Morales.
Concert Band. FJH Young
Band. Christmas; Holiday
Pops. Score. Duration
2:30. The FJH Music
Company Inc #98-B1381S.
Published by The FJH
Music Company Inc
(FJ.B1381S).
English.
Here is
a fresh and welcome
arrangement of a classic
Christmas carol that is
the perfect choice for
directors looking for
something different and
extremely compelling.
Beginning with a lyrical
approach coupled with
interesting harmonies,
the arrangement quickly
takes on an exotic feel
with percussion while
displaced rhythms give
the melody a unique and
contemporary twist.
Outstanding writing and
an ideal selection for
the lighter portion of a
concert without having to
resort to generic
pop-sounding
arrangements.
About FJH
Young
Band
Appro
priate for middle school
and smaller high school
groups. Second clarinets
usually stay below the
break. Parts are written
with more independence,
and instrumentation
increases slightly. There
is still adequate
doubling in the lower
voices. Grades 2 -
2.5
Piano (2-part mixed) - early intermediate SKU: CR.984361 Composed by Jona...(+)
Piano (2-part mixed) -
early intermediate
SKU: CR.984361
Composed by Jonathan
Kohrs. Choral. Octavo.
With music. Concordia
Publishing House #984361.
Published by Concordia
Publishing House
(CR.984361).
ISBN
9780758669032. 7 X 10.25
inches.
This
text by Lisa M. Clark is
set to a memorable tune
and two-part mixed
setting by Jonathan
Kohrs. The text
highlights the story of
salvation, while carrying
themes of outreach, the
new creation, and the end
times. The choral texture
builds from start to
finish and blossoms with
a descant in the final
stanza.
In
paradise, You shared Your
best With
us, Your children
dear. Your
bounty, presence, work,
and
rest: Secure
from guilt or fear.
But we
brought shame upon the
land And
disobeyed Your clear
command. Oh,
we will never
understand T
he darkness we brought
near.
In
exile, driven from Your
face, We
hid and worked in
vain. We
lost the children's
honored
place And
earned Your just
disdain. But
Jesus came to take our
blame And
took away our horrid
shame And
gave to us His holy
name, That
we may life regain.
In
restoration, we are
free And
welcomed home
anew. You
smile on us
abundantly A
nd bless us through and
through. But
as we wait for that great
day, When
all dishonor melts
away, Let
us, Your own beloved,
say: 'Our
Lord, we honor
You!'
Tenor & String Quartet SKU: PE.EP72822 Composed by Jonathan Dove. Voice(s...(+)
Tenor & String Quartet
SKU: PE.EP72822
Composed by Jonathan
Dove. Voice(s) & Various
Instruments. Edition
Peters. Living Composer.
Score and Part(s). 164
pages. Duration 00:30:00.
Edition Peters
#98-EP72822. Published by
Edition Peters
(PE.EP72822).
ISBN
9790577011769. 232 x
303mm inches.
English.
I have
only visited Damascus
once, twenty years ago,
on the way to
Palmyra. I had a
purpose (I was writing
music for a play about
Palmyra’s Queen
Zenobia) but essentially
I was a tourist.
Like any visitor, I was
thrilled to step out of
the noisy modern city
into the magical ancient
world of the walled Old
City, its vibrant souk
leading to the
magnificent mosque, and a
labyrinth of winding,
narrow streets filled
with the smell of
unleavened
bread.
In Palmyra,
I was met with
extraordinary kindness
everywhere. On one
occasion, a little
Bedouin boy noticed that
I was risking sunstroke
wandering bare-headed
among the spectacular
ruins: he showed me how
to tie a turban, then
took me to have tea with
his family in their
tent.
Since then, I
have watched helplessly
as these places of wonder
have been devastated and
their inhabitants
scattered and
killed. When the
Sacconi Quartet suggested
that I might choose a
Syrian poet for our
collaboration, I welcomed
the idea.
I
searched for a long time
to find a contemporary
poet whose work might
gain from any music I
could imagine. I
felt it was important to
find first-hand accounts
of the Syrian experience
– but, of course, I
was always reading them
in translation. In
an anthology
called Syria
Speaks, I was
astonished to read
something that looked
like prose, but was full
of poetry. It was
Anne-Marie
McManus’s fine
translation of Ali
Safar’s A
Black Cloud in a Leaden
White Sky
– an
eloquent, thoughtful,
contained yet vivid
account of life in a
war-torn country, all the
more moving for its
restraint.
In
setting these words, I
have not attempted to
imitate Syrian
music. However,
there is what might be
called a linguistic
accommodation in my
choice of scale, or
mode. Several
movements are in a mode
that I first discovered
while writing a cantata
commemorating the First
World War: it has a
tuning that I associate
with war, its violence
and desolation.
This eight-note
mode is similar to scales
found in Syrian
music. I did not
choose it in the
abstract: it emerged from
the harmonies I was
exploring in the earlier
work, and emerged again
as I was looking for the
right musical colours to
set Ali Safar’s
words. In this
work, its Arabic aspect
is more prominent. -
Jonathan
Dove
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