| Hallow's Eve Sky Piano seul [Conducteur] - Intermédiaire FJH
Piano - Intermediate SKU: FJ.W9457 Composed by Jeanne Costello. Piano Sol...(+)
Piano - Intermediate
SKU: FJ.W9457
Composed by Jeanne
Costello. Piano Solo;
Piano Supplemental.
Written For You.
Halloween. Score. The FJH
Music Company Inc
#98-W9457. Published by
The FJH Music Company Inc
(FJ.W9457). UPC:
241444394274.
English. This
tantalizing, two-page
tarantella in E minor has
the pedagogical purpose
of reinforcing chromatic
patterns and it's so much
fun to play! The
coloristic R.H.
chromaticism is balanced
by easier L.H. broken
triads. It's a great
recital piece for All
Hallows' Eve
(Halloween)¦the
audience will be
spellbound!
About FJH
Written For You Piano
Solos Spar
kling and lyrical pieces
which promote musical
expression. $2.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| 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 | | |
| Quintet in F Major, K. 497 Carl Fischer
Chamber Music Cello, Flute, Viola 1, Viola 2, Violin SKU: CF.MXE219 Compo...(+)
Chamber Music Cello,
Flute, Viola 1, Viola 2,
Violin SKU:
CF.MXE219 Composed by
Wolfgang Amadeus Mozart.
Arranged by Robert
Stallman. Sws.
56+16+16+16+16+12 pages.
Carl Fischer Music
#MXE219. Published by
Carl Fischer Music
(CF.MXE219). ISBN
9781491157794. UPC:
680160916399. 9 x 12
inches. Preface In
1990, during an intense
rehearsal of a Mozart
Quartet transcription for
flute and strings by
Franz Anton Hoffmeister,
at the Marblehead Summer
Music Festival, a
disgruntled violist
friend complained about
HoffmeisterAs awkward
string writing, suddenly
daring me to create my
own arrangement. I
balked. But the following
winterA3despite scruples
about treading on
hallowed groundA3I grew
curious and began to
experiment. Soon I was
hooked on the challenge
of learning to speak
MozartAs language with
conviction. This
fascination, encouraged
by pianist Richard Goode
and other Mozarteans,
would eventually generate
a total of thirty-nine
recreations of Mozart
piano sonatas as works
for flute and strings.
With zero tolerance for
alteration of melodic or
harmonic
materialA3MozartAs friend
Hoffmeister had
regrettably attempted
such
A!improvementsA(r)A3I
always tried to envision
what Mozart himself would
have desired. Many of the
sonatas can be heard as
if they were MozartAs
A!blueprintsA(r) of
imagined chamber works.
Hence my task was to
A!flesh outA(r) the
keyboard versions as
Mozart might have done,
had a commission or
performance opportunity
arisen. I spent hours
pondering how Mozart
might have set these
sonatas in four- or
five-part form, providing
the needed textural or
contrapuntal
enhancements. With
immersion in the
composerAs dialect,
various apt solutions
presented themselves. The
search for the
A!rightA(r) one then
became a most absorbing
study. On the eve of
releasing my BognerAs
CafA recording of
Mozart-Stallman New
Quintets (2006), I
discovered to my delight
that a prominent scholar
had long before endorsed
such an effort. Eric Blom
(1888A+-1959), author of
Mozart (1935), had taken
note of the four-hand
piano works as A!a kind
of keyboard chamber
music.A(r) Regarding
Sonata, K. 497, Mr. Blom
had observed that Mozart
is often dealing with,
not the expected four
voices (one to a hand),
but five. Blom states:
A!The F major Sonata (K.
497) removes us to
another worldA3the world
of the great chamber
music, especially of the
string quintets. Indeed
an arrangement of some
sort for a combination of
instruments would make a
magnificent concert work
of this almost
uncomfortably great piece
of domestic music.A(r)
That Mozart was in 1786
writing for piano duo
from a quintet
perspective makes sense,
as we find him returning
to the quintet form with
keen interest in his last
years, writing four
String Quintets, the
Clarinet Quintet,
rearranging a wind
serenade for String
Quintet, and leaving
several other quintets
incomplete. My
arrangement presented
here is made for flute
and strings but is also
intended for string
quintet. Quintet in F
Major for Flute and
Strings, K. 497, was
completed in 1999 and
performed with the Martin
Quartet in the Czech
Republic prior to
recording it in 2004.
Mozart had finished the
original Sonata in F
Major for Piano,
Four-Hands, K. 497, on
August 1, 1786. It shows
the unmistakable
influence of Figaro,
completed and premiered
exactly three months
prior. As signaled by the
imposing introductory
Adagio, the conception is
on a grand symphonic
scale, all three
movements being richly
developed with
contrapuntal episodes and
an abundance of
marvelously contrasting
textures and themes
throughout. Called A!the
crowning work of its
kindA(r) by Alfred
Einstein, the Sonata is
laden with examples of
MozartAs mercurial
originality. Here we have
a perfect synthesis of
concertante brilliance,
operatic intensity and
intimate dialogue. The
work opens in unison with
a probing, minor-tinged
Adagio, whose question
comes to a pause on the
dominant, before being
answered with jaunty
certainty by the opening
theme of the Allegro di
moltoA3an F-major tune as
sunny and confident as an
aria from Figaro itself.
This movementAs
declamatory A!opera
chorusA(r) persistently
intones its rhythmic
motto over a swirling
scale figure. The amorous
second theme (initially
presented in the first
viola) also seems to be
plucked from Figaro. The
Andante opens with a
heavenly melody, which
takes as its springboard
the Romanza theme from
the Horn Concerto in E
Major, K. 495, written
only five weeks before.
The A!love duetA(r)
between flute and first
viola seems to anticipate
the impassioned
A!duettingA(r) between
violin and viola in the
Andante of the String
Quintet in C Major, K.
515, written about nine
months later. The
ingenious stretto canon
of the AndanteAs middle
section requires the
precision of a Swiss
clock (which its chiming
thirds recall). Affecting
bucolic codettas close
each of the main sections
of the movement. In the
final Allegro, a rondo in
6/8a time, the puckish,
yet aristocratic
character of the opening
theme contrasts with the
bumptious, popular tune
used for the second theme
(heard first in the
violin and then the
flute, over pizzicato
cello). Lilting hymn-like
episodes in three, four-
and finally five-part
counterpoint are
repeatedly interrupted by
startling scale figures
that rise up in furioso
episodes throughout the
movement. As in the
A!Swiss clockA(r) section
of the Andante, Mozart
uses a stretto imitation
treatment with this
tempest theme, thereby
heightening both
intensity and sense of
instability. I am most
grateful to the
adventuresome Martin
Quartet for their warm
support and collaboration
over the years with
several of my
arrangements, and to my
friend Edwin Swanborn for
the original typesetting
of this score. Gratitude
is also due Weekend
Edition, Performance
Today and innumerable
classical stations across
the United States for
their enthusiastic and
repeated airings of my
A!newA(r) Mozart Quintet
endeavorsA3and most of
all, to violist Katherine
Murdock for that dare in
1990. A3Compiled from the
writings of Robert
Stallman by Hannah Woods
Stallman, February 2,
2020. Preface In 1990,
during an intense
rehearsal of a Mozart
Quartet transcription for
flute and strings by
Franz Anton Hoffmeister,
at the Marblehead Summer
Music Festival, a
disgruntled violist
friend complained about
Hoffmeisteris awkward
string writing, suddenly
daring me to create my
own arrangement. I
balked. But the following
winterodespite scruples
about treading on
hallowed groundoI grew
curious and began to
experiment. Soon I was
hooked on the challenge
of learning to speak
Mozartis language with
conviction. This
fascination, encouraged
by pianist Richard Goode
and other Mozarteans,
would eventually generate
a total of thirty-nine
recreations of Mozart
piano sonatas as works
for flute and strings.
With zero tolerance for
alteration of melodic or
harmonic
materialoMozartis friend
Hoffmeister had
regrettably attempted
such iimprovementsioI
always tried to envision
what Mozart himself would
have desired. Many of the
sonatas can be heard as
if they were Mozartis
iblueprintsi of imagined
chamber works. Hence my
task was to iflesh outi
the keyboard versions as
Mozart might have done,
had a commission or
performance opportunity
arisen. I spent hours
pondering how Mozart
might have set these
sonatas in four- or
five-part form, providing
the needed textural or
contrapuntal
enhancements. With
immersion in the
composeris dialect,
various apt solutions
presented themselves. The
search for the irighti
one then became a most
absorbing study. On the
eve of releasing my
Bogneris CafE recording
of Mozart-Stallman New
Quintets (2006), I
discovered to my delight
that a prominent scholar
had long before endorsed
such an effort. Eric Blom
(1888n1959), author of
Mozart (1935), had taken
note of the four-hand
piano works as ia kind of
keyboard chamber music.i
Regarding Sonata, K. 497,
Mr. Blom had observed
that Mozart is often
dealing with, not the
expected four voices (one
to a hand), but five.
Blom states: iThe F major
Sonata (K. 497) removes
us to another worldothe
world of the great
chamber music, especially
of the string quintets.
Indeed an arrangement of
some sort for a
combination of
instruments would make a
magnificent concert work
of this almost
uncomfortably great piece
of domestic music.i That
Mozart was in 1786
writing for piano duo
from a quintet
perspective makes sense,
as we find him returning
to the quintet form with
keen interest in his last
years, writing four
String Quintets, the
Clarinet Quintet,
rearranging a wind
serenade for String
Quintet, and leaving
several other quintets
incomplete. My
arrangement presented
here is made for flute
and strings but is also
intended for string
quintet. Quintet in F
Major for Flute and
Strings, K. 497, was
completed in 1999 and
performed with the Martin
Quartet in the Czech
Republic prior to
recording it in 2004.
Mozart had finished the
original Sonata in F
Major for Piano,
Four-Hands, K. 497, on
August 1, 1786. It shows
the unmistakable
influence of Figaro,
completed and premiered
exactly three months
prior. As signaled by the
imposing introductory
Adagio, the conception is
on a grand symphonic
scale, all three
movements being richly
developed with
contrapuntal episodes and
an abundance of
marvelously contrasting
textures and themes
throughout. Called ithe
crowning work of its
kindi by Alfred Einstein,
the Sonata is laden with
examples of Mozartis
mercurial originality.
Here we have a perfect
synthesis of concertante
brilliance, operatic
intensity and intimate
dialogue. The work opens
in unison with a probing,
minor-tinged Adagio,
whose question comes to a
pause on the dominant,
before being answered
with jaunty certainty by
the opening theme of the
Allegro di moltooan
F-major tune as sunny and
confident as an aria from
Figaro itself. This
movementis declamatory
iopera chorusi
persistently intones its
rhythmic motto over a
swirling scale figure.
The amorous second theme
(initially presented in
the first viola) also
seems to be plucked from
Figaro. The Andante opens
with a heavenly melody,
which takes as its
springboard the Romanza
theme from the Horn
Concerto in E Major, K.
495, written only five
weeks before. The ilove
dueti between flute and
first viola seems to
anticipate the
impassioned iduettingi
between violin and viola
in the Andante of the
String Quintet in C
Major, K. 515, written
about nine months later.
The ingenious stretto
canon of the Andanteis
middle section requires
the precision of a Swiss
clock (which its chiming
thirds recall). Affecting
bucolic codettas close
each of the main sections
of the movement. In the
final Allegro, a rondo in
6/8+time, the puckish,
yet aristocratic
character of the opening
theme contrasts with the
bumptious, popular tune
used for the second theme
(heard first in the
violin and then the
flute, over pizzicato
cello). Lilting hymn-like
episodes in three, four-
and finally five-part
counterpoint are
repeatedly interrupted by
startling scale figures
that rise up in furioso
episodes throughout the
movement. As in the
iSwiss clocki section of
the Andante, Mozart uses
a stretto imitation
treatment with this
tempest theme, thereby
heightening both
intensity and sense of
instability. I am most
grateful to the
adventuresome Martin
Quartet for their warm
support and collaboration
over the years with
several of my
arrangements, and to my
friend Edwin Swanborn for
the original typesetting
of this score. Gratitude
is also due Weekend
Edition, Performance
Today and innumerable
classical stations across
the United States for
their enthusiastic and
repeated airings of my
inewi Mozart Quintet
endeavorsoand most of
all, to violist Katherine
Murdock for that dare in
1990. oCompiled from the
writings of Robert
Stallman by Hannah Woods
Stallman, February 2,
2020. Preface In 1990,
during an intense
rehearsal of a Mozart
Quartet transcription for
flute and strings by
Franz Anton Hoffmeister,
at the Marblehead Summer
Music Festival, a
disgruntled violist
friend complained about
Hoffmeister's awkward
string writing, suddenly
daring me to create my
own arrangement. I
balked. But the following
winter--despite scruples
about treading on
hallowed ground--I grew
curious and began to
experiment. Soon I was
hooked on the challenge
of learning to speak
Mozart's language with
conviction. This
fascination, encouraged
by pianist Richard Goode
and other Mozarteans,
would eventually generate
a total of thirty-nine
recreations of Mozart
piano sonatas as works
for flute and strings.
With zero tolerance for
alteration of melodic or
harmonic
material--Mozart's friend
Hoffmeister had
regrettably attempted
such improvements--I
always tried to envision
what Mozart himself would
have desired. Many of the
sonatas can be heard as
if they were Mozart's
blueprints of imagined
chamber works. Hence my
task was to flesh out the
keyboard versions as
Mozart might have done,
had a commission or
performance opportunity
arisen. I spent hours
pondering how Mozart
might have set these
sonatas in four- or
five-part form, providing
the needed textural or
contrapuntal
enhancements. With
immersion in the
composer's dialect,
various apt solutions
presented themselves. The
search for the right one
then became a most
absorbing study. On the
eve of releasing my
Bogner's Cafe recording
of Mozart-Stallman New
Quintets (2006), I
discovered to my delight
that a prominent scholar
had long before endorsed
such an effort. Eric Blom
(1888-1959), author of
Mozart (1935), had taken
note of the four-hand
piano works as a kind of
keyboard chamber music.
Regarding Sonata, K. 497,
Mr. Blom had observed
that Mozart is often
dealing with, not the
expected four voices (one
to a hand), but five.
Blom states: The F major
Sonata (K. 497) removes
us to another world--the
world of the great
chamber music, especially
of the string quintets.
Indeed an arrangement of
some sort for a
combination of
instruments would make a
magnificent concert work
of this almost
uncomfortably great piece
of domestic music. That
Mozart was in 1786
writing for piano duo
from a quintet
perspective makes sense,
as we find him returning
to the quintet form with
keen interest in his last
years, writing four
String Quintets, the
Clarinet Quintet,
rearranging a wind
serenade for String
Quintet, and leaving
several other quintets
incomplete. My
arrangement presented
here is made for flute
and strings but is also
intended for string
quintet. Quintet in F
Major for Flute and
Strings, K. 497, was
completed in 1999 and
performed with the
Martinu Quartet in the
Czech Republic prior to
recording it in 2004.
Mozart had finished the
original Sonata in F
Major for Piano,
Four-Hands, K. 497, on
August 1, 1786. It shows
the unmistakable
influence of Figaro,
completed and premiered
exactly three months
prior. As signaled by the
imposing introductory
Adagio, the conception is
on a grand symphonic
scale, all three
movements being richly
developed with
contrapuntal episodes and
an abundance of
marvelously contrasting
textures and themes
throughout. Called the
crowning work of its kind
by Alfred Einstein, the
Sonata is laden with
examples of Mozart's
mercurial originality.
Here we have a perfect
synthesis of concertante
brilliance, operatic
intensity and intimate
dialogue. The work opens
in unison with a probing,
minor-tinged Adagio,
whose question comes to a
pause on the dominant,
before being answered
with jaunty certainty by
the opening theme of the
Allegro di molto--an
F-major tune as sunny and
confident as an aria from
Figaro itself. This
movement's declamatory
opera chorus persistently
intones its rhythmic
motto over a swirling
scale figure. The amorous
second theme (initially
presented in the first
viola) also seems to be
plucked from Figaro. The
Andante opens with a
heavenly melody, which
takes as its springboard
the Romanza theme from
the Horn Concerto in E<=
Major, K. 495, written
only five weeks before.
The love duet between
flute and first viola
seems to anticipate the
impassioned duetting
between violin and viola
in the Andante of the
String Quintet in C
Major, K. 515, written
about nine months later.
The ingenious stretto
canon of the Andante's
middle section requires
the precision of a Swiss
clock (which its chiming
thirds recall). Affecting
bucolic codettas close
each of the main sections
of the movement. In the
final Allegro, a rondo in
6/8 time, the puckish,
yet aristocratic
character of the opening
theme contrasts with the
bumptious, popular tune
used for the second theme
(heard first in the
violin and then the
flute, over pizzicato
cello). Lilting hymn-like
episodes in three, four-
and finally five-part
counterpoint are
repeatedly interrupted by
startling scale figures
that rise up in furioso
episodes throughout the
movement. As in the Swiss
clock section of the
Andante, Mozart uses a
stretto imitation
treatment with this
tempest theme, thereby
heightening both
intensity and sense of
instability. I am most
grateful to the
adventuresome Martinu
Quartet for their warm
support and collaboration
over the years with
several of my
arrangements, and to my
friend Edwin Swanborn for
the original typesetting
of this score. Gratitude
is also due Weekend
Edition, Performance
Today and innumerable
classical stations across
the United States for
their enthusiastic and
repeated airings of my
new Mozart Quintet
endeavors--and most of
all, to violist Katherine
Murdock for that dare in
1990. --Compiled from the
writings of Robert
Stallman by Hannah Woods
Stallman, February 2,
2020. PrefaceIn 1990,
during an intense
rehearsal of a Mozart
Quartet transcription for
flute and strings by
Franz Anton Hoffmeister,
at the Marblehead Summer
Music Festival, a
disgruntled violist
friend complained about
Hoffmeister’s
awkward string writing,
suddenly daring me to
create my own
arrangement. I balked.
But the following
winter—despite
scruples about treading
on hallowed
ground—I grew
curious and began to
experiment. Soon I was
hooked on the challenge
of learning to speak
Mozart’s language
with conviction. This
fascination, encouraged
by pianist Richard Goode
and other Mozarteans,
would eventually generate
a total of thirty-nine
recreations of Mozart
piano sonatas as works
for flute and
strings.With zero
tolerance for alteration
of melodic or harmonic
material—Mozartâ
™s friend Hoffmeister
had regrettably attempted
such
“improvementsâ€
—I always tried
to envision what Mozart
himself would have
desired. Many of the
sonatas can be heard as
if they were
Mozart’s
“blueprintsâ€
of imagined chamber
works. Hence my task was
to “flesh
out†the keyboard
versions as Mozart might
have done, had a
commission or performance
opportunity arisen. I
spent hours pondering how
Mozart might have set
these sonatas in four- or
five-part form, providing
the needed textural or
contrapuntal
enhancements. With
immersion in the
composer’s
dialect, various apt
solutions presented
themselves. The search
for the
“right†one
then became a most
absorbing study.On the
eve of releasing my
Bogner’s Café
recording of
Mozart-Stallman New
Quintets (2006), I
discovered to my delight
that a prominent scholar
had long before endorsed
such an effort. Eric Blom
(1888–1959),
author of Mozart (1935),
had taken note of the
four-hand piano works as
“a kind of keyboard
chamber music.â€
Regarding Sonata, K. 497,
Mr. Blom had observed
that Mozart is often
dealing with, not the
expected four voices (one
to a hand), but five.
Blom states: “The F
major Sonata (K. 497)
removes us to another
world—the world of
the great chamber music,
especially of the string
quintets. Indeed an
arrangement of some sort
for a combination of
instruments would make a
magnificent concert work
of this almost
uncomfortably great piece
of domestic music.â€
That Mozart was in 1786
writing for piano duo
from a quintet
perspective makes sense,
as we find him returning
to the quintet form with
keen interest in his last
years, writing four
String Quintets, the
Clarinet Quintet,
rearranging a wind
serenade for String
Quintet, and leaving
several other quintets
incomplete. My
arrangement presented
here is made for flute
and strings but is also
intended for string
quintet.Quintet in F
Major for Flute and
Strings, K. 497, was
completed in 1999 and
performed with the
Martinů Quartet in the
Czech Republic prior to
recording it in 2004.
Mozart had finished the
original Sonata in F
Major for Piano,
Four-Hands, K. 497, on
August 1, 1786. It shows
the unmistakable
influence of Figaro,
completed and premiered
exactly three months
prior. As signaled by the
imposing introductory
Adagio, the conception is
on a grand symphonic
scale, all three
movements being richly
developed with
contrapuntal episodes and
an abundance of
marvelously contrasting
textures and themes
throughout. Called
“the crowning work
of its kind†by
Alfred Einstein, the
Sonata is laden with
examples of
Mozart’s mercurial
originality. Here we have
a perfect synthesis of
concertante brilliance,
operatic intensity and
intimate dialogue.The
work opens in unison with
a probing, minor-tinged
Adagio, whose question
comes to a pause on the
dominant, before being
answered with jaunty
certainty by the opening
theme of the Allegro di
molto—an F-major
tune as sunny and
confident as an aria from
Figaro itself. This
movement’s
declamatory “opera
chorusâ€
persistently intones its
rhythmic motto over a
swirling scale figure.
The amorous second theme
(initially presented in
the first viola) also
seems to be plucked from
Figaro.The Andante opens
with a heavenly melody,
which takes as its
springboard the Romanza
theme from the Horn
Concerto in E≤
Major, K. 495, written
only five weeks before.
The “love
duet†between flute
and first viola seems to
anticipate the
impassioned
“duettingâ€
between violin and viola
in the Andante of the
String Quintet in C
Major, K. 515, written
about nine months later.
The ingenious stretto
canon of the
Andante’s middle
section requires the
precision of a Swiss
clock (which its chiming
thirds recall). Affecting
bucolic codettas close
each of the main sections
of the movement.In the
final Allegro, a rondo in
6/8Â time, the puckish,
yet aristocratic
character of the opening
theme contrasts with the
bumptious, popular tune
used for the second theme
(heard first in the
violin and then the
flute, over pizzicato
cello). Lilting hymn-like
episodes in three, four-
and finally five-part
counterpoint are
repeatedly interrupted by
startling scale figures
that rise up in furioso
episodes throughout the
movement. As in the
“Swiss clockâ€
section of the Andante,
Mozart uses a stretto
imitation treatment with
this tempest theme,
thereby heightening both
intensity and sense of
instability.I am most
grateful to the
adventuresome Martinů
Quartet for their warm
support and collaboration
over the years with
several of my
arrangements, and to my
friend Edwin Swanborn for
the original typesetting
of this score. Gratitude
is also due Weekend
Edition, Performance
Today and innumerable
classical stations across
the United States for
their enthusiastic and
repeated airings of my
“new†Mozart
Quintet
endeavors—and most
of all, to violist
Katherine Murdock for
that dare in
1990.—Compiled
from the writings of
Robert Stallmanby Hannah
Woods Stallman,February
2, 2020. $42.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Easy Movie Fake Book – 2nd Edition Hal Leonard
Melody, Lyrics and Simplified Chords C Instruments; Melody/Lyrics/Chords SKU:...(+)
Melody, Lyrics and
Simplified Chords C
Instruments;
Melody/Lyrics/Chords
SKU: HL.298905
100 Songs in the Key
of C. Composed by
Various. Easy Fake Book.
Movies. Softcover. 232
pages. Published by Hal
Leonard (HL.298905).
ISBN 9781540059901.
UPC: 888680955274.
9.0x12.0x0.556
inches. This
updated second edition
features 100 songs from
the silver screen in
larger-than-usual fake
book notation and all in
the key of C. Songs
include: Born Free
• Chariots of Fire
• City of Stars
(from La La Land) •
Endless Love •
Footloose •
Ghostbusters •
Happy (from Despicable Me
2) • I Will Always
Love You (from The
Bodyguard) • Theme
from Jaws • Let It
Go (from Frozen) •
A Million Dreams (from
The Greatest Showman)
• My Heart Will Go
On (Love Theme from
Titanic) • Nine to
Five • Over the
Rainbow (from The Wizard
of Oz) • Shallow
(from A Star Is Born)
• Singin' in the
Rain • Summer
Nights (from Grease)
• (I've Had) The
Time of My Life (from
Dirty Dancing) •
The Wind Beneath My Wings
(from Beaches) •
Yellow Submarine •
and more. $29.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Relaxing Piano Ballads Piano seul - Intermédiaire Hal Leonard
Piano/Keyboard - Intermediate to Early Advanced SKU: HL.1303099 Arranged by Phi...(+)
Piano/Keyboard -
Intermediate to Early
Advanced
SKU: HL.1303099
Arranged by Phillip
Keveren. Piano Solo
Songbook. Movies, New
Age, Pop. Softcover.
Published by Hal Leonard
(HL.1303099).
ISBN 9798350108439. UPC:
196288172833. 9.0x12.0
inches.
16 gorgeous piano solos,
each arranged in a way
intended to soothe the
soul and spirit. Phillip
writes in the preface how
he finds practicing the
piano in itself relaxing,
and how the joy really is
in the journey.
$16.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Sacred and hallowed fire Orgue Oxford University Press
Composed by Cecilia McDowall. For organ. 12 pages. Duration 6.5 minutes. Publish...(+)
Composed by Cecilia
McDowall. For organ. 12
pages. Duration 6.5
minutes. Published by
Oxford University Press
$16.50 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Four Piedmont Choruses Chorale SATB SATB divisi, A Cappella Hal Leonard
Choral (SATB divisi) SKU: HL.8752173 Composed by William Bolcom. Choral. ...(+)
Choral (SATB divisi)
SKU: HL.8752173
Composed by William
Bolcom. Choral.
Collection, Contemporary,
Poetry. 52 pages.
Published by Hal Leonard
(HL.8752173). UPC:
884088518431.
6.75x10.5x0.12
inches. Commissione
d by the Piedmont Chamber
Singers of Winston-Salem,
NC in honor of its 30th
anniversary, “Four
Piedmont Chorusesâ€
are settings of the four
moody poems by North
Carolina poet laureate
Kathryn Stripling Byer
for SATB chorus and
piano. I) Black Road, II)
All Hallows Eve, III)
Dusk, and IV) The Ballad
Singers. Available for
SATB. $5.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Shallow Piano Facile - Facile Alfred Publishing
From A Star Is Born. Composed by Words, Music by Lady Gaga, Mark Ronson, Antho...(+)
From A Star Is Born.
Composed
by Words, Music by Lady
Gaga,
Mark Ronson, Anthony
Rossomando, and Andrew
Wyatt.
Arranged by Tom Gerou.
Sheet;
Solo; Solo Small
Ensembles.
Original Sheet Music
Edition.
Movie; Pop. Sheet. 4
pages.
Alfred Music #00-47844.
Published by Alfred Music
$3.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Allan Holdsworth - Reaching for the Uncommon Chord* Guitare notes et tablatures Hal Leonard
Performed by Allan Holdsworth. Transcribed Score (Authentic transcriptions of al...(+)
Performed by Allan
Holdsworth. Transcribed
Score (Authentic
transcriptions of all
instruments). With notes
and tablature. Size 9x12
inches. 112 pages.
Published by Hal Leonard.
(3)$24.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Top Hits - Really Easy Guitar Paroles et Accords - Facile Hal Leonard
22 Songs with Chords, Lyrics and Basic Tab. By Various. Really Easy Guitar. Po...(+)
22 Songs with Chords,
Lyrics
and Basic Tab. By
Various.
Really Easy Guitar. Pop.
Softcover. With guitar
tablature. 48 pages.
Published by Hal Leonard
$10.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Shallow CD Chorale Hal Leonard
Choral (ShowTrax CD) SKU: HL.287332 From A Star Is Born. By Bradle...(+)
Choral (ShowTrax CD)
SKU: HL.287332
From A Star Is
Born. By Bradley
Cooper and Lady Gaga. By
Lady Gaga and Mark
Ronson. Arranged by Mac
Huff. Pop Choral Series.
Country, Duet, Movies,
Pop, Pop/Rock, Rock, Show
Choir, Southern Rock. CD.
Duration 210 seconds.
Published by Hal Leonard
(HL.287332). UPC:
888680903671.
5.0x5.0x0.16
inches. A pivotal
moment in the 2018 remake
of A Star Is Born,
Shallow marks the moment
at which Lady Gaga's Ally
is thrust into the
spotlight and the title
of the film is fulfilled.
Marked by a beautiful and
conversational opening
passage with
opportunities for
soloists, the back half
of the arrangement stays
true to the original
melody with effective
harmonies, country rock
phrasing and a musical
assuredness that
juxtaposes phenomenally
with the hardship and
all-or-nothing rhetoric
that the text
presents. $26.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Shallow (from A Star Is Born) Orchestre [Conducteur et Parties séparées] - Intermédiaire Alfred Publishing
As Performed by Lady Gaga and Bradley Cooper. Composed by Lady Gaga, Mark Rons...(+)
As Performed by Lady Gaga
and
Bradley Cooper. Composed
by
Lady Gaga, Mark Ronson,
Anthony Rossomando, and
Andrew Wyatt. Arranged by
Victor Lopez. Full
Orchestra;
Performance Music
Ensemble;
Single Titles. Pop
Concert
Full Orchestra. Movie.
Score
and Parts. 166 pages.
Alfred
Music #00-47451.
Published by
Alfred Music
$85.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Shallow (from A Star Is Born) Orchestre [Conducteur] - Intermédiaire Alfred Publishing
As Performed by Lady Gaga and Bradley Cooper. Composed by Lady Gaga, Mark Rons...(+)
As Performed by Lady Gaga
and
Bradley Cooper. Composed
by
Lady Gaga, Mark Ronson,
Anthony Rossomando, and
Andrew Wyatt. Arranged by
Victor Lopez. Full
Orchestra;
Performance Music
Ensemble;
Single Titles. Pop
Concert
Full Orchestra. Movie.
Score.
16 pages. Alfred Music
#00-
47451S. Published by
Alfred
Music
$9.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Rockschool Acoustic Guitar Level 2 [Partition + Accès audio] - Facile Rock School Limited (RSL)
Level 2 Acoustic Guitar; Guitar SKU: HL.360467 Guitar. Instruction. Softc...(+)
Level 2 Acoustic Guitar;
Guitar SKU:
HL.360467 Guitar.
Instruction. Softcover
Audio Online. Rockschool
#RSK200112US. Published
by Rockschool
(HL.360467). ISBN
9781789361858. UPC:
840126990553.
9.0x12.0x0.205
inches. Learn to
play rock and pop with
Rockschool. These
specially written
arrangements develop the
skills and techniques you
need to help you achieve
your musical goals.
Rockschool has
commissioned arrangements
of titles reflecting
popular music's rich
heritage in all its forms
and have tailored each
piece to make it exactly
right for the grade. You
can also use titles from
Rockschool's Classics
series as part of the
syllabus. The
arrangements have been
written and performed by
top session musicians who
have worked with some of
the biggest names in
rock, metal and pop. The
tracks were recorded at
Real World's acclaimed
recording studios and
feature live instruments
and first rate
performances for an
unrivalled level of feel,
authenticity and
musicianship. Featuring:
Everybody Hurts (R.E.M.)
• Let Her Go
(Passenger) • Other
Side of the World (KT
Tunstall) • Shallow
(Lady Gaga & Bradley
Cooper) • (Sittin'
on) The Dock of the Bay
(Otis Redding) • We
Are Never Ever Getting
Back Together (Taylor
Swift) • and six
Rockschool originals.
Plus: • Band and
artist fact files with
recommended listening
• In-depth
walkthroughs of every
track • Easy-access
downloadable audio
• Example tests and
exercises. $22.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Southern Gospel Piano - Devotion Piano seul - Intermédiaire Mel Bay
Piano - Intermediate SKU: MB.31086 Saddle-stitched. Gospel. Book. Mel Bay...(+)
Piano - Intermediate
SKU: MB.31086
Saddle-stitched. Gospel.
Book. Mel Bay
Publications, Inc #31086.
Published by Mel Bay
Publications, Inc
(MB.31086). ISBN
9781513477763. 8.75X11.75
inches. We all have
experienced devotion at
varying levels of
intensity within our
lives. Sometimes it is
temporary, but in other
cases it is lasting and
perhaps even
permanent.Devotion can be
directed toward an idea,
a purpose, plan, pet or
person, a concept, a
sport or hobby, a
philosophy, or a feeling
or relationship, but we
all have known it in some
measure.It can be so
pathetically shallow as
devotion to an object or
possession, but its
highest expression is
found in devotion to the
most noble of lasting and
eternal values and in
pursuit of knowing the
awesome Creator of the
universe- - - God
himself. Hopefully, these
piano pieces will inspire
a greater measure of
devotion from each of
us. $17.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| All the Best Songs for Easy Guitar Guitare Lillenas Publishing Co.
(75 Hymns and Choruses). By David Winkler. String ensemble. For medium voice, gu...(+)
(75 Hymns and Choruses).
By David Winkler. String
ensemble. For medium
voice, guitar. Easy.
Published by Lillenas
Publishing Company
$14.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Shallow Piano Facile - Facile Alfred Publishing
From A Star Is Born. Composed by Words, Music by Lady Gaga, Mark Ronson, Antho...(+)
From A Star Is Born.
Composed
by Words, Music by Lady
Gaga,
Mark Ronson, Anthony
Rossomando, and Andrew
Wyatt.
Arranged by Tom Gerou.
This
edition: Piano. Sheet;
Solo;
Solo Small Ensembles.
Movie;
Pop. Sheet. 8 pages.
Alfred
Music #00-47843.
Published by
Alfred Music
$3.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Top 300 Contemporary Christian Songs Voix seule Lillenas Publishing Co.
(Leadsheets for Performance and Personal Enjoyment). Composed by David Mcdonald....(+)
(Leadsheets for
Performance and Personal
Enjoyment). Composed by
David Mcdonald. For voice
solo. Sacred Vocal.
Published by Lillenas
Publishing Company
$34.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| 100 Most Beautiful Christmas Songs Hal Leonard
Electronic Keyboard; Piano/Keyboard SKU: HL.348318 E-Z Play Today #53<...(+)
Electronic Keyboard;
Piano/Keyboard SKU:
HL.348318 E-Z Play
Today #53. Composed
by Various. E-Z Play
Today. Christmas.
Softcover. 352 pages.
Published by Hal Leonard
(HL.348318). ISBN
9781540097347. UPC:
840126930009.
9.0x12.0x0.731
inches. A giant
Christmas collection with
easy-to-read and play
arrangements for all
keyboardists! E-Z Play
Today songbooks feature
simple arrangements with
authentic-sounding chords
and melody lines with a
minimum number of page
turns. The books also
include lyrics for
ultimate playing and
sing-along enjoyment.
This collection features
a variety of holiday
favorites, including:
Baby, It's Cold Outside
• The Christmas
Shoes • The
Christmas Song (Chestnuts
Roasting on an Open Fire)
• Christmas Time Is
Here • Do You Hear
What I Hear • Have
Yourself a Merry Little
Christmas • I'll Be
Home for Christmas
• The Little
Drummer Boy • Mary,
Did You Know? •
Merry Christmas, Darling
• O Holy Night
• Silver Bells
• Ukrainian Bell
Carol • White
Christmas • and
many more! Over 300
pages!
About Hal
Leonard E-Z Play
Today For
organs, pianos, and
electronic keyboards. E-Z
Play Today is the
shortest distance between
beginning music and
playing fun. Now there
are more than 300 reasons
why you should play E-Z
Play Today. * World's
largest series of music
folios * Full-size books
- large 9 x 12 format
features easy-to-read,
easy-to-play music *
Accurate arrangements...
simple enough for the
beginner, but accurate
chords and melody lines
are maintained *
Eye-catching, full-color
covers * Lyrics... most
arrangements include
words and music * Most
up-to-date registrations
- books in the series
contain a general
registration guide, as
well as individual song
rhythm suggestions *
Guitar Chord Chart - all
songs in the series can
also be played on
guitar. $27.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Shallow (from a Star Is Born) Ensemble Jazz [Conducteur et Parties séparées] - Intermédiaire Hal Leonard
Key: F. By Bradley Cooper and Lady Gaga. By Andrew Wyatt, Anthony Rossomando, ...(+)
Key: F. By Bradley Cooper
and Lady Gaga. By Andrew
Wyatt, Anthony
Rossomando,
Mark Ronson, and Stefani
Germanotta. Arranged by
Rick
Stitzel. Vocal Solo/Jazz
Ensemble Series. Ballad.
Softcover. Published by
Hal
Leonard
$55.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Really Easy Piano - Movie Musicals Piano seul - Facile Hal Leonard
Composed by Various. Really Easy Piano. Movies, Musicals. Softcover. 56 pages....(+)
Composed by Various.
Really
Easy Piano. Movies,
Musicals.
Softcover. 56 pages.
Published by Hal Leonard
$12.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Lily's Theme (Main Theme from Harry Potter and the Deathly Hallows, Part 2) Piano Facile [Feuillet] - Facile Alfred Publishing
http://www.sheetmusicplus .com/title/Lily-s-Theme-M ain-Theme-from-Harry-Pott er...(+)
http://www.sheetmusicplus
.com/title/Lily-s-Theme-M
ain-Theme-from-Harry-Pott
er-and-the-Deathly-Hallow
s-Part-2/19581887
$4.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Laudate, Volume 5 Orgue Concordia Publishing House
By Kosnik. For organ. General, sacred. Published by Concordia Publishing House. ...(+)
By Kosnik. For organ.
General, sacred.
Published by Concordia
Publishing House.
Level: Moderately
Easy.
$24.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Bach: Chorals. Awake my heart Chorale [Partition] Carus Verlag
By Johann Sebastian / Herman Bach. Edited by Klaus Hofmann. Hymn settings, Mass ...(+)
By Johann Sebastian /
Herman Bach. Edited by
Klaus Hofmann. Hymn
settings, Mass Sections;
Choral Collections, Mixed
Choir; Occasions: Peace
and Justice, Morning,
Midday, Evening; Use
during church year:
Advent, Special Days,
Epiphany, Lent and
Passiontide, Holy Week,
Easter and Eastertide,
Ascension, Christmas.
Choral collection. 80
pages. Published by Carus
Verlag (German import).
$15.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Within These Hallowed Halls Orchestre d'harmonie - Facile Opus III Wind Orchestra Publications
Grade 3 SKU: CL.012-3326-99 Concert Band. Heritage of the March Series. A...(+)
Grade 3 SKU:
CL.012-3326-99
Concert Band. Heritage of
the March Series. Audio
recording available
separately (items
CL.WFR337, CL.WFR331 &
CL.WFR343). String score
and parts set. Composed
2004. Duration 4 minutes,
44 seconds. Opus III Wind
Orchestra Publications
#012-3326-99. Published
by Opus III Wind
Orchestra Publications
(CL.012-3326-99).
For band with
optional choir, strings,
narrator and audience
sing-a-long. This
glorious setting of two
of America's favorite
hymns, Amazing Grace and
Battle Hymn of The
Republic, is destined to
be the work of choice
when selecting that
special number for your
program's grand finale.
Playable by band alone,
this patriotic
arrangement also offers
the creative option of
adding choir, strings,
narrator, bagpiper and
even a group sing-a-long.
Musically appealing for
bands of varied levels,
this spectacular
production number will
offer grateful audiences,
young and old alike, a
wonderful opportunity to
experience the ultimate
in listening pleasure. A
guaranteed winner!
About Heritage
of the
March Full
-sized concert band
editions of the greatest
marches of all time. Each
has been faithfully
re-scored to accommodate
modern instrumentation
and incorporate
performance practices of
classic march style $40.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Emmanuel (Hallowed Manger Ground) (Orchestration) Chorale SATB Lillenas Publishing Co.
SATB choir - Moderate SKU: LP.765762174207 Composed by Chris Tomlin & Ed ...(+)
SATB choir - Moderate
SKU:
LP.765762174207
Composed by Chris Tomlin
& Ed Cash. Arranged by
Gary Rhodes & Tim Cates.
Anthems. Praise & Worship
and Sacred. CD-ROM
orchestration. Published
by Lillenas Publishing
Company
(LP.765762174207).
UPC:
765762174207. Easy-
to-learn melody and
accessible choral writing
make this new offering
from popular solo artist
Chris Tomlin and arranger
Gary Rhodes a perfect
addition to the Christmas
choral repertoire of any
church. Gentle and
reverent with a sensitive
artistic touch this new
classic is sure to carry
listeners to a place of
worship at that hallowed
manger ground.
Instrumentation: Flute 1
& 2 Oboe Clarinet Horn 1
& 2 Trumpet 1 Trumpet 2 &
3 Trombone 1 & 2 Trombone
3/Tuba Percussion Rhythm
Harp Violin 1 & 2 Viola
Cello String Bass
Substitute
Instrumentation: Keyboard
String Reduction; Soprano
Sax (sub for Oboe); Alto
Sax 1 & 2 (sub for Horn 1
& 2); Baritone T.C./Tenor
Sax (sub for Trombone 1 &
2); Baritone Sax (sub for
Trombone 3/Tuba);
Bassoon/Bass Clarinet
(sub for Cello). $74.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
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