| Blues Guitar Riffs Guitare notes et tablatures [Partition] Hal Leonard
Guitar tablature songbook (riffs only) and instructional book for guitar. 32 pag...(+)
Guitar tablature songbook
(riffs only) and
instructional book for
guitar. 32 pages.
Published by Hal Leonard.
(1)$19.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Blues Rock Guitar Play-Along Guitare notes et tablatures [Partition + Accès audio] Hal Leonard
Vol. 14. Guitar Play-Along. Book and CD Package. With notes and tablature. Publi...(+)
Vol. 14. Guitar
Play-Along. Book and CD
Package. With notes and
tablature. Published by
Hal Leonard.
(2)$19.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Blues-Rock Guitar Bible Guitare notes et tablatures Hal Leonard
Guitar Recorded Versions (Authentic note-for-note transcriptions). With notes an...(+)
Guitar Recorded Versions
(Authentic note-for-note
transcriptions). With
notes and tablature. Size
9x12 inches. 288 pages.
Published by Hal Leonard.
$24.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Allman Brothers Band: Allman Brothers Band Collection
Piano, Voix et Guitare [Partition] - Intermédiaire Hal Leonard
Performed by The Allman Brothers Band. For voice, piano and guitar chords. Forma...(+)
Performed by The Allman
Brothers Band. For voice,
piano and guitar chords.
Format:
piano/vocal/chords
songbook. With vocal
melody, piano
accompaniment, lyrics,
chord names and guitar
chord diagrams. Blues
rock and classic rock.
168 pages. 9x12 inches.
Published by Hal Leonard.
(6)$29.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Allman Brothers Band: The Best Of The Allman Brothers Band - Easy Guitar Guitare notes et tablatures [Partition] - Facile Hal Leonard
Performed by The Allman Brothers Band. For guitar and voice. Easy guitar with no...(+)
Performed by The Allman
Brothers Band. For guitar
and voice. Easy guitar
with notes and tab.
Format: easy guitar
tablature songbook
(simplified guitar/vocal
arrangements). With
guitar tablature,
standard notation, vocal
melody, lyrics, chord
names, guitar chord
diagrams and strum and
pick patterns. Blues rock
and classic rock. 64
pages. 9x12 inches.
Published by Hal Leonard.
(1)$17.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Slave Songs of the United States Piano, Voix et Guitare [Partition] Hal Leonard
Piano Accompaniments by Irving Schlein. By Unknown. Piano/Vocal/Chords Songbook ...(+)
Piano Accompaniments by
Irving Schlein. By
Unknown.
Piano/Vocal/Chords
Songbook (Arrangements
for piano and voice with
guitar chords).
Softcover. 184 pages.
Published by Hal Leonard.
$15.95 - Voir plus => AcheterDélais: 3 to 5 business days | | |
| Blues Guitare Edition Complète Guitare [Partition + Accès audio] Volonte and Co
Guitar SKU: BT.VOLMB291 Composed by Hamburger, Riker, and Smith. Book wit...(+)
Guitar SKU:
BT.VOLMB291 Composed
by Hamburger, Riker, and
Smith. Book with Online
Audio. Volonte e Co
#VOLMB291. Published by
Volonte e Co
(BT.VOLMB291). ISBN
9788863882858.
French. Complete
edition of The
National Guitar Workshop
Method For Guitar
Blues. A
comprehensive manual
designed for one of the
best Guitar schools in
the United States of
America for students
wanting to learn
blues.This volume
includes; chord diagrams,
easy to read scales,
examples of music
notation and Tab, points
on the style of blues
masters, techniques and
blues theory for soloing
and accompaniment, as
well as 8 or 12
measureexercises.
**Please note: The CD
included with this title
can only be played
through an MP3 compatible
program.** $46.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Blues In Hoss Flat (Blues In FrankieS Flat) Big band [Conducteur et Parties séparées] - Intermédiaire Walrus Music Publishing
By Frank Foster. Level: Medium - difficult. Big band chart. Published by Walrus ...(+)
By Frank Foster. Level:
Medium - difficult. Big
band chart. Published by
Walrus Music Publishing.
$58.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Appalachian Fiddle Music Violon Mel Bay
Fiddle - Beginning; Intermediate; Advanced SKU: MB.30091 Featuring 43 ...(+)
Fiddle - Beginning;
Intermediate; Advanced
SKU: MB.30091
Featuring 43 Fiddlers
and 188 of Their
Tunes. Perfect
binding. Folk. Book. 212
pages. Mel Bay
Publications, Inc #30091.
Published by Mel Bay
Publications, Inc
(MB.30091). ISBN
9781513466378. 8.75 x
11.75
inches. Appalachian
fiddle music, based on
the musical traditions of
the people who settled in
the mountainous regions
of the southeastern
United States, is
widely-known and played
throughout North America
and parts of Europe
because of its complex
rhythms, its catchy
melodies, and its
often-ancient-sounding
stylistic qualities. The
authors explore the lives
and music of 43 of the
classic Appalachian
fiddlers who were active
during the first half of
the 20th century. Some of
them were recorded
commercially in the
1920s, such as Gid
Tanner, Fiddlin? John
Carson, and Charlie
Bowman. Some were
recorded by folklorists
from the Library of
Congress, such as William
Stepp, Emmett Lundy, and
Marion Reece. Others were
recorded informally by
family members and
visitors, such as John
Salyer, Emma Lee
Dickerson, and Manco
Sneed. All of them played
throughout most of their
lives and influenced the
growth and stylistic
elements of fiddle music
in their regions. Each
fiddler has been given a
chapter with a biography,
several tune
transcriptions, and tune
histories. To show the
richness of the music,
the authors make a
special effort to show
the musical elements in
detail, but also
acknowledge that nothing
can take the place of
listening. Many of the
classic recordings used
in this book can be found
on the web, allowing you
to hear and read the
music together. $24.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Roadrunner Rally Orchestre à Cordes [Conducteur et Parties séparées] - Facile Carl Fischer
Orchestra String Orchestra - Grade 2-2.5 SKU: CF.YAS10 Composed by Doris ...(+)
Orchestra String
Orchestra - Grade 2-2.5
SKU: CF.YAS10
Composed by Doris Gazda.
Edited by Amy Rosen. Carl
Fischer Young String
Orchestra Series.
Classical. Score and
Parts. With Standard
notation.
16+4+16+10+10+4+10+12
pages. Carl Fischer Music
#YAS10. Published by Carl
Fischer Music (CF.YAS10).
ISBN 9780825848261.
UPC: 798408048266. 8.5 X
11 inches. Key: D
major. When
traveling through the
desert southwest of the
United States, you may be
fortunate enough to come
across a strange looking
brown and white streaked
bird called the
Roadrunner. It has a blue
patch of skin circling
the eyes, a tiny dot of
bright red behind the
eyes, a bushy crest on
the top of its head and a
long tail that bobs up
and down. A member of the
cuckoo family, it is New
Mexico's state bird, and
can run in bursts of
speed from between ten to
twenty miles per hour.
Because it is equipped to
run rather than fly, its
feet are different from
other bird species,
having two toes in front
and two toes in the back.
Its tracks looks like the
letter X. Although
roadrunners can become
airborne, they are
basically ground birds
and do not fly. They eat
insects, scorpions, small
rodents, birds, lizards
and snakes. They do make
noise when in danger;
however, the clicks and
clatters do not resemble
the sound of a honking
horn that we think of
from the Hollywood
cartoon version of
roadrunners. The repeated
notes in the opening
melody of Roadrunner
Rally will remind
you of the sight of a
roadrunner traveling
along at breakneck speed.
A crisp spiccato
accompanied by pizzicato
in the cello and bass
paints the picture of the
bird running through the
desert. At m. 17 you will
hear that raucous honk,
honk that is associated
with the roadrunner
saying Out of my way! The
syncopation can easily be
learned by feel as well
as by counting carefully.
At m. 25 and similar
passages, the first
violins will have fun
learning the jazz licks.
The walking bass like at
m.69 with the jerky sound
of the octaves in the
upper strings will remind
you of the awkward
appearance of this
ungainly bird. And of
course, Roadrunner
Rally ends with a
loudly emphasized honking
noise, the beep that we
associate with the
humorous picture of the
roadrunner. When
traveling through the
desert southwest of the
United States, you may be
fortunate enough to come
across a strange looking
brown and white streaked
bird called the
Roadrunner. It has a blue
patch of skin circling
the eyes, a tiny dot of
bright red behind the
eyes, a bushy crest on
the top of its head and a
long tail that bobs up
and down. A member of the
cuckoo family, it is New
Mexico's state bird, and
can run in bursts of
speed from between ten to
twenty miles per hour.
Because it is equipped to
run rather than fly, its
feet are different from
other bird species,
having two toes in front
and two toes in the back.
Its tracks looks like the
letter X. Although
roadrunners can become
airborne, they are
basically ground birds
and do not fly. They eat
insects, scorpions, small
rodents, birds, lizards
and snakes. They do make
noise when in danger;
however, the clicks and
clatters do not resemble
the sound of a honking
horn that we think of
from the Hollywood
cartoon version of
roadrunners. The repeated
notes in the opening
melody ofA Roadrunner
Rally will remind
you of the sight of a
roadrunner traveling
along at breakneck speed.
A crisp spiccato
accompanied by pizzicato
in the cello and bass
paints the picture of the
bird running through the
desert. At m. 17 you will
hear that raucous honk,
honk that is associated
with the roadrunner
saying Out of my way! The
syncopation can easily be
learned by feel as well
as by counting carefully.
At m. 25 and similar
passages, the first
violins will have fun
learning the jazz licks.
The walking bass like at
m.69 with the jerky sound
of the octaves in the
upper strings will remind
you of the awkward
appearance of this
ungainly bird. And of
course,A Roadrunner
Rally ends with a
loudly emphasized honking
noise, theA beep that we
associate with the
humorous picture of the
roadrunner. When
traveling through the
desert southwest of the
United States, you may be
fortunate enough to come
across a strange looking
brown and white streaked
bird called the
Roadrunner. It has a blue
patch of skin circling
the eyes, a tiny dot of
bright red behind the
eyes, a bushy crest on
the top of its head and a
long tail that bobs up
and down. A member of the
cuckoo family, it is New
Mexico's state bird, and
can run in bursts of
speed from between ten to
twenty miles per hour.
Because it is equipped to
run rather than fly, its
feet are different from
other bird species,
having two toes in front
and two toes in the back.
Its tracks looks like the
letter X. Although
roadrunners can become
airborne, they are
basically ground birds
and do not fly. They eat
insects, scorpions, small
rodents, birds, lizards
and snakes. They do make
noise when in danger;
however, the clicks and
clatters do not resemble
the sound of a honking
horn that we think of
from the Hollywood
cartoon version of
roadrunners. The repeated
notes in the opening
melody ofA Roadrunner
Rally will remind
you of the sight of a
roadrunner traveling
along at breakneck speed.
A crisp spiccato
accompanied by pizzicato
in the cello and bass
paints the picture of the
bird running through the
desert. At m. 17 you will
hear that raucous honk,
honk that is associated
with the roadrunner
saying Out of my way! The
syncopation can easily be
learned by feel as well
as by counting carefully.
At m. 25 and similar
passages, the first
violins will have fun
learning the jazz licks.
The walking bass like at
m.69 with the jerky sound
of the octaves in the
upper strings will remind
you of the awkward
appearance of this
ungainly bird. And of
course,A Roadrunner
Rally ends with a
loudly emphasized honking
noise, theA beep that we
associate with the
humorous picture of the
roadrunner. When
traveling through the
desert southwest of the
United States, you may be
fortunate enough to come
across a strange looking
brown and white streaked
bird called the
Roadrunner. It has a blue
patch of skin circling
the eyes, a tiny dot of
bright red behind the
eyes, a bushy crest on
the top of its head and a
long tail that bobs up
and down. A member of the
cuckoo family, it is New
Mexico's state bird, and
can run in bursts of
speed from between ten to
twenty miles per hour.
Because it is equipped to
run rather than fly, its
feet are different from
other bird species,
having two toes in front
and two toes in the back.
Its tracks looks like the
letter X. Although
roadrunners can become
airborne, they are
basically ground birds
and do not fly. They eat
insects, scorpions, small
rodents, birds, lizards
and snakes. They do make
noise when in danger;
however, the clicks and
clatters do not resemble
the sound of a honking
horn that we think of
from the Hollywood
cartoon version of
roadrunners. The repeated
notes in the opening
melody of Roadrunner
Rally will remind
you of the sight of a
roadrunner traveling
along at breakneck speed.
A crisp spiccato
accompanied by pizzicato
in the cello and bass
paints the picture of the
bird running through the
desert. At m. 17 you will
hear that raucous honk,
honk that is associated
with the roadrunner
saying Out of my way! The
syncopation can easily be
learned by feel as well
as by counting carefully.
At m. 25 and similar
passages, the first
violins will have fun
learning the jazz licks.
The walking bass like at
m.69 with the jerky sound
of the octaves in the
upper strings will remind
you of the awkward
appearance of this
ungainly bird. And of
course, Roadrunner
Rally ends with a
loudly emphasized honking
noise, the beep that we
associate with the
humorous picture of the
roadrunner. When
traveling through the
desert southwest of the
United States, you may be
fortunate enough to come
across a strange looking
brown and white streaked
bird called the
Roadrunner. It has a blue
patch of skin circling
the eyes, a tiny dot of
bright red behind the
eyes, a bushy crest on
the top of its head and a
long tail that bobs up
and down. A member of the
cuckoo family, it is New
Mexico's state bird, and
can run in bursts of
speed from between ten to
twenty miles per hour.
Because it is equipped to
run rather than fly, its
feet are different from
other bird species,
having two toes in front
and two toes in the back.
Its tracks looks like the
letter X. Although
roadrunners can become
airborne, they are
basically ground birds
and do not fly. They eat
insects, scorpions, small
rodents, birds, lizards
and snakes. They do make
noise when in danger;
however, the clicks and
clatters do not resemble
the sound of a honking
horn that we think of
from the Hollywood
cartoon version of
roadrunners. The repeated
notes in the opening
melody of Roadrunner
Rally will remind you of
the sight of a roadrunner
traveling along at
breakneck speed. A crisp
spiccato accompanied by
pizzicato in the cello
and bass paints the
picture of the bird
running through the
desert. At m. 17 you will
hear that raucous honk,
honk that is associated
with the roadrunner
saying Out of my way! The
syncopation can easily be
learned by feel as well
as by counting carefully.
At m. 25 and similar
passages, the first
violins will have fun
learning the jazz licks.
The walking bass like at
m.69 with the jerky sound
of the octaves in the
upper strings will remind
you of the awkward
appearance of this
ungainly bird. And of
course, Roadrunner Rally
ends with a loudly
emphasized honking noise,
the beep that we
associate with the
humorous picture of the
roadrunner. When
traveling through the
desert southwest of the
United States, you may be
fortunate enough to come
across a strange looking
brown and white streaked
bird called the
Roadrunner. It has a blue
patch of skin circling
the eyes, a tiny dot of
bright red behind the
eyes, a bushy crest on
the top of its head and a
long tail that bobs up
and down. A member of the
cuckoo family, it is New
Mexico's state bird, and
can run in bursts of
speed from between ten to
twenty miles per hour.
Because it is equipped to
run rather than fly, its
feet are different from
other bird species,
having two toes in front
and two toes in the back.
Its tracks looks like the
letter X. Although
roadrunners can become
airborne, they are
basically ground birds
and do not fly. They eat
insects, scorpions, small
rodents, birds, lizards
and snakes. They do make
noise when in danger;
however, the clicks and
clatters do not resemble
the sound of a honking
horn that we think of
from the Hollywood
cartoon version of
roadrunners.The repeated
notes in the opening
melody of Roadrunner
Rally will remind you of
the sight of a roadrunner
traveling along at
breakneck speed. A crisp
spiccato accompanied by
pizzicato in the cello
and bass paints the
picture of the bird
running through the
desert. At m. 17 you will
hear that raucous honk,
honk that is associated
with the roadrunner
saying Out of my way! The
syncopation can easily be
learned by feel as well
as by counting carefully.
At m. 25 and similar
passages, the first
violins will have fun
learning the jazz licks.
The walking bass like at
m.69 with the jerky sound
of the octaves in the
upper strings will remind
you of the awkward
appearance of this
ungainly bird. And of
course, Roadrunner
Rally ends with a loudly
emphasized honking noise,
the beep that we
associate with the
humorous picture of the
roadrunner. $55.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| 2012 Midwest Clinic: The U.S. Army Blues Jazz Ensemble CD Chorale Mark Custom Music
Recorded live. By The United States Army Blues Jazz Ensemble. Mark Record...(+)
Recorded live. By
The United States Army
Blues Jazz Ensemble. Mark
Records. Listening CD.
Duration 68:35:00.
Published by Mark Custom
Music (MK.50317-MCD).
$14.99 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| The Big Book of Blues
Piano, Voix et Guitare [Partition] Hal Leonard
| | |
| Blues Songs (Piano/Vocal/Guitar)
Piano, Voix et Guitare [Partition] Hal Leonard
Budget Books. By Various. Piano/Vocal/Chords Songbook (Arrangements for piano an...(+)
Budget Books. By Various.
Piano/Vocal/Chords
Songbook (Arrangements
for piano and voice with
guitar chords).
Softcover. 352 pages.
Published by Hal Leonard.
(1)$14.99 - Voir plus => AcheterDélais: 3 to 5 business days | | |
| Big Guitar Chord Songbook Blues Music Sales
| | |
| Little Black Songbook of the Blues Paroles et Accords Music Sales
(Lyrics/Chord Symbols). By Various. For Guitar. The Little Black Songbook. Softc...(+)
(Lyrics/Chord Symbols).
By Various. For Guitar.
The Little Black
Songbook. Softcover. 192
pages. Music Sales
#AM1002331. Published by
Music Sales
$22.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Altered States-Applying Diminished and Whole-Tone Concepts to Rock Guitar [Partition + Accès audio] - Intermédiaire Mel Bay
Guitar (Flatpick) - Intermediate SKU: MB.20791 Applying Diminished and...(+)
Guitar (Flatpick) -
Intermediate SKU:
MB.20791 Applying
Diminished and Whole-Tone
Concepts to Rock
Guitar. Composed by
Stephen Delach.
Technique, Theory,
Reference & Rhythm, Jazz,
Contemporary, Pop,
Perfect binding,
Improvising/Licks,
Technique, Theory and
Reference, Rock, Adult
Contemporary. Bill's
Music Shelf. All styles.
Book and online audio. 32
pages. Mel Bay
Publications, Inc #20791.
Published by Mel Bay
Publications, Inc
(MB.20791). ISBN
9780786670543. UPC:
796279094009. 8.5 X 11
inches. Written by
rock guitar virtuoso
Stephen Delach, here is a
straightforward approach
to adding diminished and
whole-tone colors to your
improvisations. Geared
toward the rock guitarist
who has a firm
understanding of
pentatonic and blues
applications, this book
provides an excellent
introduction into the
world of applying altered
tones that will
undoubtedly take your
playing to a new harmonic
level. Many etudes,
patterns and licks are
demonstrated showing how
you can get these tones
under your fingers and
into your playing today.
Free audio downloads are
available for use with
this title. $14.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Electric Violin Blues Orchestre à Cordes [Conducteur et Parties séparées] - Intermédiaire Grand Mesa Music
By Susan Day. For String Orchestra. Grade 3. Score and set of parts. Published b...(+)
By Susan Day. For String
Orchestra. Grade 3. Score
and set of parts.
Published by Grand Mesa
Music
$50.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Blues Guitar Songs for Dummies Guitare notes et tablatures [Partition] - Débutant Hal Leonard
By Various. Composed by Greg Herriges. Guitar Collection. Softcover. Guitar tabl...(+)
By Various. Composed by
Greg Herriges. Guitar
Collection. Softcover.
Guitar tablature. 272
pages. Published by Hal
Leonard.
$29.99 - Voir plus => AcheterDélais: 3 to 5 business days | | |
| Blues Rock Guitare notes et tablatures [Partition + CD] Hal Leonard
(Boss eBand Guitar Play-Along Volume 4). By Various. ROLAND EBAND GUITAR PLAY-AL...(+)
(Boss eBand Guitar
Play-Along Volume 4). By
Various. ROLAND EBAND
GUITAR PLAY-ALONG. 96
pages. Published by Hal
Leonard
(1)$29.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Blues Rock (Guitar Play-Along DVD Volume 28). Guitare notes et tablatures [DVD] Hal Leonard
(Guitar Play-Along DVD Volume 28). By Various. For Guitar. Guitar Play-Along DVD...(+)
(Guitar Play-Along DVD
Volume 28). By Various.
For Guitar. Guitar
Play-Along DVD. DVD.
Guitar tablature.
Published by Hal Leonard
$14.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Allman Brothers Band: The Definitive Collection For Guitar - Volume 3 Guitare notes et tablatures [Partition] Hal Leonard
Performed by The Allman Brothers Band. For guitar and voice. Format: guitar tabl...(+)
Performed by The Allman
Brothers Band. For guitar
and voice. Format: guitar
tablature songbook. With
guitar tablature,
standard notation, vocal
melody, lyrics, chord
names and guitar chord
diagrams. Blues rock and
classic rock. Series: Hal
Leonard Guitar Recorded
Versions. 199 pages. 9x12
inches. Published by Hal
Leonard.
$34.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Bass Tab White Pages
Basse electrique [Partition] - Intermédiaire Hal Leonard
For bass guitar and voice. Format: bass tablature songbook. With bass tablature,...(+)
For bass guitar and
voice. Format: bass
tablature songbook. With
bass tablature, standard
notation, vocal melody,
lyrics, chord names and
bass notation legend.
Rock and pop rock.
Series: Hal Leonard Bass
Recorded Versions. 1023
pages. 8.5x11 inches.
Published by Hal Leonard.
(26)$44.99 - 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 | | |
| Life Chorale SSAATTBB SSAATTBB, Piano Carl Fischer
Choral SSAATTBB choir, Piano (for rehearsal) SKU: CF.CM9738 Composed by J...(+)
Choral SSAATTBB choir,
Piano (for rehearsal)
SKU: CF.CM9738
Composed by Jacob
Narverud. 16 pages.
Duration 3 minutes. Carl
Fischer Music #CM9738.
Published by Carl Fischer
Music (CF.CM9738).
ISBN 9781491161180.
UPC: 680160919765. Key:
Eb major. English. Barter
by Sara
Teasdale. Life has
loveliness to sell, All
beautiful and splendid
things, Blue waves
whitened on a cliff,
Soaring fire that sways
and sings, And children's
faces looking up Holding
wonder in a cup.
Life has loveliness to
sell, Music like a curve
of gold, Scent of pine
trees in the rain, Eyes
that love you, arms that
hold, And for your
spirit's still delight,
Holy thoughts that star
the night. Spend
all you have for
loveliness, Buy it and
never count the cost; For
one white singing hour of
peace Count many a year
of strife well lost, And
for a breath of ecstacy
Give all you have been,
or could be. --Barter
from Love Songs (1918) by
Sara Teasdale Sara
Teasdale (1884-1933) was
an American poet whose
short, personal lyrics
are noted for their
classical simplicity and
quiet intensity. Teasdale
was born in St. Louis,
Missouri and traveled to
Chicago as a young woman,
where she grew acquainted
with Harriet Monroe and
the literary circle
around Poetry. Teasdale
wrote seven books of
poetry in her lifetime
and received public
admiration for her
well-crafted lyrical
poetry which centered on
a woman's changing
perspectives of beauty,
love, life, and death.
Jacob Narverud (b. 1986)
is an American composer,
arranger, and conductor.
A native Kansan, Jacob is
the Founder/Artistic
Director of the Tallgrass
Chamber Choir, a
professional ensemble of
musicians from across the
Great Plains. Dr.
Narverud is a frequent
guest lecturer at
universities and
conferences as well as an
active guest
conductor/clinician for
choral festivals and
all-state choirs across
the United States. Many
of his compositions are
publisher best sellers
and are performed
worldwide by choirs of
all levels. Website:
jnarverud.com YouTube
& Spotify:
jacobnarverud. Life
has loveliness to sell,
All beautiful and
splendid things, Blue
waves whitened on a
cliff, Soaring fire that
sways and sings, And
children's faces looking
up Holding wonder like a
cup. Life has
loveliness to sell, Music
like a curve of gold,
Scent of pine trees in
the rain, Eyes that love
you, arms that hold, And
for your spirit's still
delight, Holy thoughts
that star the night.
Spend all you have
for loveliness, Buy it
and never count the cost;
For one white singing
hour of peace Count many
a year of strife well
lost, And for a breath of
ecstacy Give all you have
been, or could be.
--Barter from Love Songs
(1918) by Sara Teasdale
Sara Teasdale (1884-1933)
was an American poet
whose short, personal
lyrics are noted for
their classical
simplicity and quiet
intensity. Teasdale was
born in St. Louis,
Missouri and traveled to
Chicago as a young woman,
where she grew acquainted
with Harriet Monroe and
the literary circle
around Poetry. Teasdale
wrote seven books of
poetry in her lifetime
and received public
admiration for her
well-crafted lyrical
poetry which centered on
a woman's changing
perspectives of beauty,
love, life, and death.
Jacob Narverud (b. 1986)
is an American composer,
arranger, and conductor.
A native Kansan, Jacob is
the Founder/Artistic
Director of the Tallgrass
Chamber Choir, a
professional ensemble of
musicians from across the
Great Plains. Dr.
Narverud is a frequent
guest lecturer at
universities and
conferences as well as an
active guest
conductor/clinician for
choral festivals and
all-state choirs across
the United States. Many
of his compositions are
publisher best sellers
and are performed
worldwide by choirs of
all levels. Website:
jnarverud.com YouTube
& Spotify:
jacobnarverud. Life
has loveliness to
sell,All beautiful and
splendid things,Blue
waves whitened on a
cliff,Soaring fire that
sways and sings,And
children's faces looking
upHolding wonder like a
cup. Life has
loveliness to sell,Music
like a curve of
gold,Scent of pine trees
in the rain,Eyes that
love you, arms that
hold,And for your
spirit's still
delight,Holy thoughts
that star the
night. Spend all you
have for loveliness,Buy
it and never count the
cost;For one white
singing hour of
peaceCount many a year of
strife well lost,And for
a breath of ecstacyGive
all you have been, or
could
be.     Â
     Â
    Â
 —“Barter
†from Love Songs
(1918) by Sara
Teasdale Sara Teasdale
(1884-1933) was an
American poet whose
short, personal lyrics
are noted for their
classical simplicity and
quiet intensity. Teasdale
was born in St. Louis,
Missouri and traveled to
Chicago as a young woman,
where she grew acquainted
with Harriet Monroe and
the literary circle
around Poetry. Teasdale
wrote seven books of
poetry in her lifetime
and received public
admiration for her
well-crafted lyrical
poetry which centered on
a woman’s changing
perspectives of beauty,
love, life, and
death.Jacob Narverud (b.
1986) is an American
composer, arranger, and
conductor. A native
Kansan, Jacob is the
Founder/Artistic Director
of the Tallgrass Chamber
Choir, a professional
ensemble of musicians
from across the Great
Plains. Dr. Narverud is a
frequent guest lecturer
at universities and
conferences as well as an
active guest
conductor/clinician for
choral festivals and
all-state choirs across
the United States. Many
of his compositions are
publisher best sellers
and are performed
worldwide by choirs of
all levels.Website:
jnarverud.com  Â
    Â
YouTube & Spotify:
jacobnarverud. $2.75 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Doors Potenza Music
Tuba and string quartet SKU: P2.90107 Composed by Lon W. Chaffin. Chamber...(+)
Tuba and string quartet
SKU: P2.90107
Composed by Lon W.
Chaffin. Chamber music.
Published by Potenza
Music (P2.90107).
Doors is a set
of four pieces, for
string quartet and tuba,
is based on photographs
by Albuquerque
photographer Jim
Gale.
The first
movement, Stone-Layered
Maze, creates an
atmosphere of mystery.
The music moves as if
through openings in a
maze of layered stone
walls. It incorporates
the use of rocks as an
additional sound
source.
Old
Leaning Lumber paints an
aural picture of old,
dilapidated wooden
structures with open
doors and windows. The
music creaks, sways, and
falls. The string players
occasionally tap on their
instruments to add a
percussive wooden
timbre.
The
third movement is based
on an eclectic collection
of door photos from all
types of structures, from
all parts of town. Out
About Town has the
performers tapping the
heels and toes of their
shoes on the floor in
this contrapuntal stroll
with an asymmetrical
meter.
Blue Door
Blues is an actual blues
tune inspired by the
multitude of blue doors
seen throughout the
southwest United States.
Even the blue church
doors have their moment
in the middle of the
piece as the audience
hears both an old-world
chant and a gospel riff.
The performers add to the
mix with a few cool
finger snaps. - Lon
W. Chaffin. $39.35 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| 50 Greatest Guitar Tones Songbook Guitare notes et tablatures Hal Leonard
By Various. For Guitar. Guitar Recorded Version. Softcover. Guitar tablature. 51...(+)
By Various. For Guitar.
Guitar Recorded Version.
Softcover. Guitar
tablature. 512 pages.
Published by Hal Leonard
$27.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
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