| 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 | | |
| Best Fake Book Ever - 5th Edition Instruments en Do [Fake Book] Hal Leonard
C Edition. Composed by Various. Fake Book. Broadway, Country, Jazz, Pop, Stand...(+)
C Edition. Composed by
Various. Fake Book.
Broadway,
Country, Jazz, Pop,
Standards.
Softcover. 802 pages.
Published by Hal Leonard
$49.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Ultimate Country Fake Book - 4th Edition
Fake Book [Fake Book] Hal Leonard
Fake Book (Includes melody line and chords). Size 9x12 inches. 568 pages. Publis...(+)
Fake Book (Includes
melody line and chords).
Size 9x12 inches. 568
pages. Published by Hal
Leonard.
(8)$55.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Best Fake Book Ever - C Edition - 3rd Edition
Fake Book [Fake Book] Hal Leonard
(C Edition) For voice and C instrument. Format: fakebook. With vocal melody, lyr...(+)
(C Edition) For voice and
C instrument. Format:
fakebook. With vocal
melody, lyrics and chord
names. Series: Hal
Leonard Fake Books. 856
pages. 9x12 inches.
Published by Hal Leonard.
(14)$59.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Buskers Fake Book All Time Hit Piano seul Music Sales
| | |
| The Best Fake Book Ever - 2nd Edition - Eb Edition
Instruments en Mib [Fake Book] Hal Leonard
Fakebook for Eb instrument. With vocal melody, lyrics and chord names. Series: H...(+)
Fakebook for Eb
instrument. With vocal
melody, lyrics and chord
names. Series: Hal
Leonard Fake Books. 864
pages. Published by Hal
Leonard.
(2)$49.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Breathe [Conducteur et Parties séparées] - Avancé
For Concert Band and Prerecorded Soundscape. Composed by Alex Shapiro (1962-)...(+)
For Concert Band and
Prerecorded Soundscape.
Composed by Alex Shapiro
(1962-). Activist Music.
Concert. Softcover.
Duration
600 seconds. Published by
Activist Music
$260.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| On Track: 13 Ensemble Works For Key Stage 4 [Conducteur et Parties séparées] University Of York Music Press
Chamber Ensemble SKU: BT.MUSM570209088 On Track. By Sadie Harrison...(+)
Chamber Ensemble SKU:
BT.MUSM570209088
On Track. By Sadie
Harrison. Set (Score &
Parts). 15 pages.
University of York Music
Press #MUSM570209088.
Published by University
of York Music Press
(BT.MUSM570209088).
English. 13
specially commissioned
pieces which aim to
breathe new life into a
largely neglected
component of the GCSE/Key
Stage 4 Music syllabus,
Ensemble Performance. On
Track comes complete with
a CD-Rom containing all
the parts for all the
pieces and transpositions
for any instrument, and
these parts come with a
licence for printing as
many copies as needed,
directly from the CD-Rom.
A separate 'audio' CD
also contains recordings
of every piece. The book
contains scores for each
piece and extended notes
by the composers to aid
in the preparation of the
music: there are 5 pieces
for fixed ensembles and 8
pieces for flexible
ensembles. The editor of
the compilation, Sadie
Harrison, comments:
Playing in an ensemble
with one's peers is
perhaps the most
rewarding and satisfying
thing to do as a young
performer, and it is
crucial to nurture this
element of GCSE courses
to reflect this. On Track
is a fantastic collection
of many different styles,
approaches and sounds.
There is something in
here for everybody, at
whatever level, and on
whatever instrument. This
is what GCSE Music
teachers are crying out
for, and finally here is
something that really
hits the mark. Harrison's
comments are echoed by
recent examiners' reports
from EdExcel, one of the
largest examiners of GCSE
music. They describe how
the music they heard in
examinations demonstrated
'an extreme range of
standards and revealed
evidence of the very wide
range of instruments in
use'. The AQA (Assessment
and Qualification
Alliance) Examiners'
report in 2004 warns
schools against allowing
their students to present
solo music with a piano
accompaniment played by a
teacher or with a CD
accompaniment for the
ensemble performance
component. It continues,
saying that it is of
utmost importance that
the chosen ensemble
allows the candidate to
show rapport with the
other player(s). This is
a significant requirement
with which many
[examination] centres did
NOT comply. Fixed
Ensembles Sadie Harrison
— On the run!for
clarinet in Bb, violin,
'cello, piano Ed Hughes
— Matthew's Mazurkafor
piano duet Jeremy Dale
Roberts — 'Takes
three...' for trumpet,
'cello, piano Matthew
Roddie — Gone Clubbin'
for violin, 'cello Thomas
Simaku — From Across
the Sea for 2 flutes,
clarinet in Bb Flexible
Ensembles David Blake —
Piece for Luis and Justin
for four instruments
Anthony Gilbert — U-GO
for Arirang for four
instruments Jo Kondo —
A Birthday Toast for any
number of instruments
David Lumsdaine — A
tree dances for Orpheus
for three instruments
Paul Mealor — Swing
Slow for two instruments
Robert Saxton — There
and Back for three
instruments John Stringer
— Duo for two
instruments Lu s Tinoco
— Diversion for four
instruments. $28.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| The Ultimate Ukulele Fake Book Ukulele [Fake Book] Hal Leonard
Over 400 Songs to Strum and Sing. Composed by Various. Ukulele. Folk, Standard...(+)
Over 400 Songs to Strum
and
Sing. Composed by
Various.
Ukulele. Folk, Standards.
Softcover. 632 pages.
Published by Hal Leonard
$45.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Ultimate Ukulele Fake Book - Small Edition Ukulele [Fake Book] Hal Leonard
Over 400 Songs to Strum and Sing. By Various. Ukulele. Pop. Softcover. 632 pag...(+)
Over 400 Songs to Strum
and
Sing. By Various.
Ukulele.
Pop. Softcover. 632
pages.
Published by Hal Leonard
$39.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| 36 Celebrated Studies for the Cornet Carl Fischer
Chamber Music Cornet SKU: CF.O88X Composed by Narcisse Bousquet. Edited b...(+)
Chamber Music Cornet
SKU: CF.O88X
Composed by Narcisse
Bousquet. Edited by Joey
Tartell Edwin Franko
Goldman. SWS. Softcover.
With Standard notation.
44 pages. Carl Fischer
Music #O88X. Published by
Carl Fischer Music
(CF.O88X). ISBN
9781491153406. UPC:
680160910908. 9 X 12
inches. These
studies are a staple of
the advanced trumpet
method repertoire. Each
etude is an exploration
of a wide variety of
registers, articulations
and tonalities. While
going through these 36
etudes the trumpeter will
develop an even sound in
all registers while
tackling the musical and
melodic challenges that
lie
within. IntroductionTi
ps on Musical
PracticeStarting a new
study can be
overwhelming. Using Etude
No. 1, here’s an
example of how to
approach working on these
etudes with both
musicality and technique
in mind.Bousquet’s
first study can be broken
down into three large
musical sections:Section
1: from the beginning to
the downbeat of m.
26.Section 2: from the
upbeat of 2 in m. 26 to
the downbeat of m.
51.Section 3: from the
downbeat of m. 51 to the
end.Each one of those
sections can be broken
down into two smaller
sections:Section 1a: from
the beginning to the
downbeat of m. 16.Section
1b: from the downbeat of
m. 16 to the downbeat of
m. 26.Section 2a: from
the upbeat of 2 in m. 26
to the end of m.
35.Section 2b: from m. 36
to the downbeat of m.
51.Section 3a: from the
downbeat of m. 51 to the
downbeat of m. 59.Section
3b: from the downbeat of
m. 59 to the end.To get
started playing, choose a
slow tempo that allows
you to play Section 1 all
the way through without
stopping. If that is
problematic, just play
through 1a.Remember to
focus on the music.
Section 1a is light,
moving in four-measure
phrases to the ninth
measure, where it
cadences in G. From
there, retain the
lightness through the
arpeggiation that
concludes with the trill
that brings an arrival
point at Section 1b. Here
the style changes
completely, alternating
two measures of fluid,
connected sixteenth notes
with two measures of
scalar staccato
sixteenths before finally
cadencing on the downbeat
of m. 26.Section 2 begins
with a melodic line of
eighth notes, punctuated
by sixteenths in the
third full measure before
returning to the original
line for only a measure
before driving forward
with a flourish to finish
Section 2a. Section 2b
starts back in C with
four-measure phrases in
which the line moves up
for two measures, then
down for two measures,
ending in G. The last
seven measures of Section
2 stay light as they work
their way back to
C.Section 3 is very
exciting, starting with a
fiery cornet solo-like
passage in 3a. 3b brings
the piece to a dramatic
conclusion outlining C
major for the first four
measures before
arpeggiating C major and
G dominant for two
measures, finally
finishing with the
C-major scale.The next
step is to isolate any of
the parts that proved
troublesome. Examples
could include missed
notes or figuring out
where to breathe. Once
you have practiced the
troublesome sections in
isolation, play the
section all the way
through without stopping
again. Even if there are
still problems, you are
now practicing in a way
that is preparing you to
perform musically.The
next day, play through
Section 1 again, at a
tempo that allows you to
do this without stopping.
Now go on to Section 2,
and follow the same three
steps:Play all the way
through, at a tempo that
allows you to do so
without stopping,Isolate
and practice the
troublesome passages,
thenPlay all the way
through, at a tempo that
allows you to do so
without stopping.Now play
from the beginning to the
end of Section 2.The next
day, play Section 1. Now
play Section 2. Then play
Section 3 and apply the
same three steps outlined
above.Now play the whole
study. At this point you
have spent time on each
section, making musical
decisions and correcting
mistakes. Increase the
tempo as you gain
confidence and control of
the material. As you work
towards performing the
entire study as a piece
of music, record yourself
playing the entire study
as a performance each
day. Review the
recordings to reveal what
still needs work. Be
honest with yourself!
When you are happy with
the recording of your
performance, it’s
time to move on to the
next study.About the
Goldman PrefaceThese
studies will be an
excellent practice,
especially for the lower
register of the Cornet,
which is somewhat
neglected in other
instruction books. It is
recommended that the
pupil should practice one
of this series of Studies
now and then to repose
his lips, and acquire
facility in difficult
fingering.— Edwin
Franko GoldmanIn his
original preface, Edwin
Franko Goldman is
absolutely correct that
these studies are
excellent practice and
will help with the
dexterity demanded of
today’s player.
Although the low register
is certainly explored
throughout the book, it
does not appear to be the
focus of these studies.
There are many books
available now that
concentrate on the low
register. The suggested
fingerings have been
removed. Using alternate
fingerings was more
common to cornet players
to aid in the fluidity of
a passage. This practice
is not nearly as common
today, especially with
trumpet players, as the
difference in timbre
caused by the alternate
fingerings is disruptive
to the musical line.
Published for cornet, as
it was the solo
instrument of choice in
the 1920s, these etudes
are just as useful to
today’s trumpet
player. When playing
these studies on trumpet,
the performer should
strive for a fluid line
while maintaining a full
and clear sound. Because
of the musicianship and
technique demanded, this
book remains as useful
today as it has ever
been.— Joey
TartellAbout Narcisse
Bousquet and the 36
EtudesNarcisse Bousquet
(c. 1800–1869) was
French by birth, active
as a composer, editor and
arranger in both France
and England in the early
nineteenth century.
Bousquet was respected as
an accomplished performer
of the French flageolet,
a high-pitched woodwind
instrument much like a
recorder, although later
outfitted with the Boehm
key system like the
modern flute. Although
obsolete in modern times,
the instrument once
enjoyed great popularity
with a variety of
composers and performers,
both amateur and
professional. Purcell and
Handel composed for the
instrument, and Berlioz
was purportedly an
accomplished amateur
performer of the
flageolet. The Scottish
author Robert Louis
Stevenson, likewise, was
a proficient performer of
the instrument and
composed a number of
pieces for it.Little is
known today of
Bousquet’s life.
He composed a large
variety of music,
including works
specifically for the
flageolet, which were
widely appreciated in
their day. The 36 Etudes
for flageolet are
undoubtedly the most well
known of his works.
Published in 1851, the
Etudes explore a variety
of techniques, such as
scales, arpeggios,
ornamentation, breath
control and expressive
playing, and their
technically demanding
writing confirms
Bousquet’s prowess
as a flageolet performer.
However, the date of the
arrangement of the etudes
for cornet and their
arranger remain
speculative. Edwin Franko
Goldman is credited as
the arranger of the 1890
publication by Carl
Fischer, although Goldman
would have been only
twelve years old at the
time; his work on these
pieces surely came at a
later time. Bousquet
himself may have arranged
these pieces for cornet
at the request of an
accomplished cornet
player at some point
after their
publication. $16.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Semper Gratus [Conducteur] - Facile Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Chimes, Clarinet 1, Clarinet 2, C...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bells,
Chimes, Clarinet 1,
Clarinet 2, Clarinet 3,
Crash Cymbals, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Gong, Horn 1,
Horn 2, Mallet Percussion
1, Mallet Percussion 2,
Mallet Percussion 3,
Marimba, Oboe and more. -
Grade 3 SKU:
CF.CPS251F Composed
by Patrick Glenn Harper.
Full score. 25 pages.
Carl Fischer Music
#CPS251F. Published by
Carl Fischer Music
(CF.CPS251F). ISBN
9781491159880. UPC:
680160918478. About
the Music Semper Gratus
is Latin for always
grateful. The piece was
written in honor of James
E. Champion, who taught
band for thirty-eight
years, twenty-five of
which were spent in
Florence, Alabama, where
he was my elementary
school and high school
band director. His bands
consistently achieved
superior ratings
throughout his career. He
holds
multi-decade-spanning
memberships in
professional music
education organizations,
continues to serve in
helping with Alabama
Bandmasters Association
events, and conducts and
performs in various
community bands and
ensembles. As my band
director at Bradshaw High
School, Mr. Champion
encouraged me to perform
one of my first
compositions, a clarinet
quartet, at solo/ensemble
festival. He taught his
students the fundamentals
of music, the technical
aspects of performance,
and exposed them to the
great standards of band
literature. But in doing
so, he also modeled
leadership, work-ethic,
good character, and
fostered the love of the
activity of band that led
me to choose music
education as a career.
And for that, I will
always be grateful.
Performance Notes
Measures 1-12: The
beginning of the piece
should be performed in a
majestic, fanfare-like
style. The woodwind cues
should only be used if
absolutely needed during
this section. Measures
41-58: The concert toms
should establish a
presence, but not
overpower the winds. The
triangle and woodblock
parts should be heard
distinctly over the
concert toms. A higher
pitched woodblock should
be used for this section.
(A set of claves could be
used in place of the
woodblock if desired.)
Measures 59-94: The
entirety of the middle
section should be played
in a rubato style to
maximize musical
expression, exaggerating
dynamics and ritardando
sections. The
quarter-note triplets in
the middle and low winds
should be emphasized at
m. 70. The molto
ritardando that begins at
m. 70 should be allowed
to build as long as
possible in m. 71 before
reaching the musical apex
of the middle section at
m. 72. At mm. 92-94,
depending on the size of
the ensemble, you may
want to limit the number
of players (or put one
per part) to achieve the
most delicate sound
possible. Measures
95-End: In mm. 99-107, be
sure that the eighth-note
running mallet parts are
heard as a background
texture, but do not
overpower the winds. In
mm. 114-115, the accents
on beats 2 and 4 in the
lower winds should be
exaggerated to contrast
the feel of the previous
four measures. In m. 118,
all winds should cut off
and breathe on beat two
for maximum impact on the
next three
measures. About the
MusicSemper Gratus is
Latin for “always
grateful.†The
piece was written in
honor of James E.
Champion, who taught band
for thirty-eight years,
twenty-five of which were
spent in Florence,
Alabama, where he was my
elementary school and
high school band
director. His bands
consistently achieved
superior ratings
throughout his career. He
holds
multi-decade-spanning
memberships in
professional music
education organizations,
continues to serve in
helping with Alabama
Bandmasters Association
events, and conducts and
performs in various
community bands and
ensembles. As my band
director at Bradshaw High
School, Mr. Champion
encouraged me to perform
one of my first
compositions, a clarinet
quartet, at solo/ensemble
festival. He taught his
students the fundamentals
of music, the technical
aspects of performance,
and exposed them to the
great standards of band
literature. But in
doing so, he also modeled
leadership, work-ethic,
good character, and
fostered the love of the
activity of band that led
me to choose music
education as a
career. And for that,
I will always be
grateful.Performance
NotesMeasures
1-12:Â Â The
beginning of the piece
should be performed in a
majestic, fanfare-like
style. The woodwind
cues should only be used
if absolutely needed
during this
section.Measures
41-58:Â Â The
concert toms should
establish a presence, but
not overpower the
winds.  The
triangle and woodblock
parts should be heard
distinctly over the
concert toms. A
higher pitched woodblock
should be used for this
section. (A set of
claves could be used in
place of the woodblock if
desired.)Â Measures
59-94:Â Â The
entirety of the middle
section should be played
in a rubato style to
maximize musical
expression, exaggerating
dynamics and ritardando
sections.  The
quarter-note triplets in
the middle and low winds
should be emphasized at
m. 70.  The molto
ritardando that begins at
m. 70 should be allowed
to build as long as
possible in m. 71 before
reaching the musical apex
of the middle section at
m. 72. At mm.
92–94, depending
on the size of the
ensemble, you may want to
limit the number of
players (or put one per
part) to achieve the most
delicate sound
possible.Measures
95-End:Â Â In mm.
99–107, be sure
that the eighth-note
running mallet parts are
heard as a background
texture, but do not
overpower the winds. In
mm. 114–115, the
accents on beats 2 and 4
in the lower winds should
be exaggerated to
contrast the feel of the
previous four measures.
 In m. 118, all winds
should cut off and
breathe on beat two for
maximum impact on the
next three measures. $14.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Semper Gratus - Facile Carl Fischer
Band Bass Clarinet, Bassoon, Bells, Chimes, Clarinet 1, Clarinet 2, Clarinet 3, ...(+)
Band Bass Clarinet,
Bassoon, Bells, Chimes,
Clarinet 1, Clarinet 2,
Clarinet 3, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Horn 1, Horn 2,
Mallet Percussion 1,
Mallet Percussion 2,
Mallet Percussion 3,
Marimba, Oboe, Percussion
1, Percussion 2 and more.
- Grade 3 SKU:
CF.CPS251 Composed by
Patrick Glenn Harper. Set
of Score and Parts.
28+8+8+4+8+8+8+4+4+4+4+4+
4+8+8+8+4+4+6+6+6+4+8+1+4
+2+2+12+2+8 pages.
Duration 4 minutes, 27
seconds. Carl Fischer
Music #CPS251. Published
by Carl Fischer Music
(CF.CPS251). ISBN
9781491159873. UPC:
680160918461. About
the Music Semper Gratus
is Latin for always
grateful. The piece was
written in honor of James
E. Champion, who taught
band for thirty-eight
years, twenty-five of
which were spent in
Florence, Alabama, where
he was my elementary
school and high school
band director. His bands
consistently achieved
superior ratings
throughout his career. He
holds
multi-decade-spanning
memberships in
professional music
education organizations,
continues to serve in
helping with Alabama
Bandmasters Association
events, and conducts and
performs in various
community bands and
ensembles. As my band
director at Bradshaw High
School, Mr. Champion
encouraged me to perform
one of my first
compositions, a clarinet
quartet, at solo/ensemble
festival. He taught his
students the fundamentals
of music, the technical
aspects of performance,
and exposed them to the
great standards of band
literature. But in doing
so, he also modeled
leadership, work-ethic,
good character, and
fostered the love of the
activity of band that led
me to choose music
education as a career.
And for that, I will
always be grateful.
Performance Notes
Measures 1-12: The
beginning of the piece
should be performed in a
majestic, fanfare-like
style. The woodwind cues
should only be used if
absolutely needed during
this section. Measures
41-58: The concert toms
should establish a
presence, but not
overpower the winds. The
triangle and woodblock
parts should be heard
distinctly over the
concert toms. A higher
pitched woodblock should
be used for this section.
(A set of claves could be
used in place of the
woodblock if desired.)
Measures 59-94: The
entirety of the middle
section should be played
in a rubato style to
maximize musical
expression, exaggerating
dynamics and ritardando
sections. The
quarter-note triplets in
the middle and low winds
should be emphasized at
m. 70. The molto
ritardando that begins at
m. 70 should be allowed
to build as long as
possible in m. 71 before
reaching the musical apex
of the middle section at
m. 72. At mm. 92-94,
depending on the size of
the ensemble, you may
want to limit the number
of players (or put one
per part) to achieve the
most delicate sound
possible. Measures
95-End: In mm. 99-107, be
sure that the eighth-note
running mallet parts are
heard as a background
texture, but do not
overpower the winds. In
mm. 114-115, the accents
on beats 2 and 4 in the
lower winds should be
exaggerated to contrast
the feel of the previous
four measures. In m. 118,
all winds should cut off
and breathe on beat two
for maximum impact on the
next three
measures. About the
MusicSemper Gratus is
Latin for “always
grateful.†The
piece was written in
honor of James E.
Champion, who taught band
for thirty-eight years,
twenty-five of which were
spent in Florence,
Alabama, where he was my
elementary school and
high school band
director. His bands
consistently achieved
superior ratings
throughout his career. He
holds
multi-decade-spanning
memberships in
professional music
education organizations,
continues to serve in
helping with Alabama
Bandmasters Association
events, and conducts and
performs in various
community bands and
ensembles. As my band
director at Bradshaw High
School, Mr. Champion
encouraged me to perform
one of my first
compositions, a clarinet
quartet, at solo/ensemble
festival. He taught his
students the fundamentals
of music, the technical
aspects of performance,
and exposed them to the
great standards of band
literature. But in
doing so, he also modeled
leadership, work-ethic,
good character, and
fostered the love of the
activity of band that led
me to choose music
education as a
career. And for that,
I will always be
grateful.Performance
NotesMeasures
1-12:Â Â The
beginning of the piece
should be performed in a
majestic, fanfare-like
style. The woodwind
cues should only be used
if absolutely needed
during this
section.Measures
41-58:Â Â The
concert toms should
establish a presence, but
not overpower the
winds.  The
triangle and woodblock
parts should be heard
distinctly over the
concert toms. A
higher pitched woodblock
should be used for this
section. (A set of
claves could be used in
place of the woodblock if
desired.)Â Measures
59-94:Â Â The
entirety of the middle
section should be played
in a rubato style to
maximize musical
expression, exaggerating
dynamics and ritardando
sections.  The
quarter-note triplets in
the middle and low winds
should be emphasized at
m. 70.  The molto
ritardando that begins at
m. 70 should be allowed
to build as long as
possible in m. 71 before
reaching the musical apex
of the middle section at
m. 72. At mm.
92–94, depending
on the size of the
ensemble, you may want to
limit the number of
players (or put one per
part) to achieve the most
delicate sound
possible.Measures
95-End:Â Â In mm.
99–107, be sure
that the eighth-note
running mallet parts are
heard as a background
texture, but do not
overpower the winds. In
mm. 114–115, the
accents on beats 2 and 4
in the lower winds should
be exaggerated to
contrast the feel of the
previous four measures.
 In m. 118, all winds
should cut off and
breathe on beat two for
maximum impact on the
next three measures. $90.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Teen Broadway Songs of the 2010s - Young Women's Edition Piano, Voix [Partition + Accès audio] Hal Leonard
Book/Online Audio Female Voice; Piano Accompaniment; Vocal SKU: HL.299347 ...(+)
Book/Online Audio Female
Voice; Piano
Accompaniment; Vocal
SKU: HL.299347
12 Songs from Teen
Musical Theatre
Roles. Composed by
Various. Vocal
Collection. Broadway,
Musicals, Teens.
Softcover Audio Online.
88 pages. Published by
Hal Leonard (HL.299347).
ISBN 9781540060228.
UPC: 888680956158.
9.0x12.0x0.222
inches. 12 songs
from teen musical theatre
roles from shows that
opened in 2010-2019
complete with access to
professionally-recorded
piano accompaniments!
Contents: Alyssa Greene
from The Prom * Home from
Beetlejuice * Home from
Wonderland * I Love Play
Rehearsal from Be More
Chill * In My Dreams from
Anastasia * Journey to
the Past from Anastasia *
Just Breathe from The
Prom * One Perfect Moment
from Bring It On: The
Musical * Sal Tlay Ka
Siti from The Book of
Mormon * Stupid With Love
from Mean Girls * What's
Wrong With Me? from Mean
Girls * World Burn from
Mean Girls. Audio is
accessed online using the
unique code inside the
book and can be streamed
or downloaded. The audio
files include PLAYBACK ,
a multi-functional audio
player that allows you to
slow down audio without
changing pitch, set loop
points, change keys, and
pan left or right. $17.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Easy Piano White Pages Piano Facile [Partition] - Facile Hal Leonard
| | |
| On Music Carl Fischer
Choral SSA Choir, piano, flute SKU: CF.CM9583 Composed by Christopher Gab...(+)
Choral SSA Choir, piano,
flute SKU:
CF.CM9583 Composed by
Christopher Gabel. Sws.
Performance Score. 20
pages. Duration 4
minutes, 9 seconds. Carl
Fischer Music #CM9583.
Published by Carl Fischer
Music (CF.CM9583).
ISBN 9781491154052.
UPC: 680160912551. 6.875
x 10.5 inches. Key: Eb
major. English. Thomas
Moore
(1779-1852). Thomas
Moore (17791852) was an
Irish poet, singer,
songwriter and
entertainer. In his poem,
On Music, Moore
emphasizes the power that
music has in our lives
and the ability it has to
evoke memories and
feelings from the past.
Music transcends that
which can be spoken or
felt. The beauty of
making music together is
to establish meaningful
connections with others
and to share a common
language through song. We
are reminded, however,
that relationships with
each other can be fluid
or unstable, but as the
words of the poem remind
us, music will not
betray. No matter the
experiences that we face,
the relationships that we
foster, or the memories
that we create, music
will always be there for
us in times of need and
in times of celebration.
What does music mean to
you? How does it enrich
your life? On Music
Thomas Moore When through
life unblest we rove,
Losing all that made life
dear, Should some notes
we used to love, In days
of boyhood, meet our ear,
Oh! how welcome breathes
the strain! Wakening
thoughts that long have
slept, Kindling former
smiles again In faded
eyes that long have wept.
Like the gale, that sighs
along Beds of oriental
flowers, Is the grateful
breath of song, That once
was heard in happier
hours. Filld with balm
the gale sighs on, Though
the flowers have sunk in
death; So, when pleasures
dream is gone, Its memory
lives in Musics breath.
Music, oh, how faint, how
weak, Language fades
before thy spell! Why
should Feeling ever
speak, When thou canst
breathe her soul so well?
Friendships balmy words
may feign, Loves are even
more false than they; Oh!
tis only musics strain
Can sweetly soothe, and
not betray. Note to the
performer: Liberty can be
taken with the tempo
markings and rubato
should be used throughout
in order to further
stress the beauty and
significance of the text.
With its vocal-like
descant, the flute should
be treated as an
additional voice rather
than mere accompaniment
to enhance the texture of
the piece. Thomas
Moore (1779a1852) was an
Irish poet, singer,
songwriter and
entertainer. In his poem,
On Music, Moore
emphasizes the power that
music has in our lives
and the ability it has to
evoke memories and
feelings from the past.
Music transcends that
which can be spoken or
felt. The beauty of
making music together is
to establish meaningful
connections with others
and to share a common
language through song. We
are reminded, however,
that relationships with
each other can be fluid
or unstable, but as the
words of the poem remind
us, music will not
betray. No matter the
experiences that we face,
the relationships that we
foster, or the memories
that we create, music
will always be there for
us in times of need and
in times of celebration.
What does music mean to
you? How does it enrich
your life? On Music a
Thomas Moore When through
life unblest we rove,
Losing all that made life
dear, Should some notes
we used to love, In days
of boyhood, meet our ear,
Oh! how welcome breathes
the strain! Wakening
thoughts that long have
slept, Kindling former
smiles again In faded
eyes that long have wept.
Like the gale, that sighs
along Beds of oriental
flowers, Is the grateful
breath of song, That once
was heard in happier
hours. Fillad with balm
the gale sighs on, Though
the flowers have sunk in
death; So, when
pleasureas dream is gone,
Its memory lives in
Musicas breath. Music,
oh, how faint, how weak,
Language fades before thy
spell! Why should Feeling
ever speak, When thou
canst breathe her soul so
well? Friendshipas balmy
words may feign, Loveas
are even more false than
they; Oh! atis only
musicas strain Can
sweetly soothe, and not
betray. Note to the
performer: Liberty can be
taken with the tempo
markings and rubato
should be used throughout
in order to further
stress the beauty and
significance of the text.
With its vocal-like
descant, the flute should
be treated as an
additional voice rather
than mere accompaniment
to enhance the texture of
the piece. Thomas
Moore (1779-1852) was an
Irish poet, singer,
songwriter and
entertainer. In his poem,
On Music, Moore
emphasizes the power that
music has in our lives
and the ability it has to
evoke memories and
feelings from the past.
Music transcends that
which can be spoken or
felt. The beauty of
making music together is
to establish meaningful
connections with others
and to share a common
language through song. We
are reminded, however,
that relationships with
each other can be fluid
or unstable, but as the
words of the poem remind
us, music will not
betray. No matter the
experiences that we face,
the relationships that we
foster, or the memories
that we create, music
will always be there for
us in times of need and
in times of celebration.
What does music mean to
you? How does it enrich
your life? On Music -
Thomas Moore When through
life unblest we rove,
Losing all that made life
dear, Should some notes
we used to love, In days
of boyhood, meet our ear,
Oh! how welcome breathes
the strain! Wakening
thoughts that long have
slept, Kindling former
smiles again In faded
eyes that long have wept.
Like the gale, that sighs
along Beds of oriental
flowers, Is the grateful
breath of song, That once
was heard in happier
hours. Fill'd with balm
the gale sighs on, Though
the flowers have sunk in
death; So, when
pleasure's dream is gone,
Its memory lives in
Music's breath. Music,
oh, how faint, how weak,
Language fades before thy
spell! Why should Feeling
ever speak, When thou
canst breathe her soul so
well? Friendship's balmy
words may feign, Love's
are even more false than
they; Oh! 'tis only
music's strain Can
sweetly soothe, and not
betray. Note to the
performer: Liberty can be
taken with the tempo
markings and rubato
should be used throughout
in order to further
stress the beauty and
significance of the text.
With its vocal-like
descant, the flute should
be treated as an
additional voice rather
than mere accompaniment
to enhance the texture of
the piece. Thomas
Moore (1779-1852) was an
Irish poet, singer,
songwriter and
entertainer. In his poem,
On Music, Moore
emphasizes the power that
music has in our lives
and the ability it has to
evoke memories and
feelings from the past.
Music transcends that
which can be spoken or
felt. The beauty of
making music together is
to establish meaningful
connections with others
and to share a common
language through song. We
are reminded, however,
that relationships with
each other can be fluid
or unstable, but as the
words of the poem remind
us, music will not
betray. No matter the
experiences that we face,
the relationships that we
foster, or the memories
that we create, music
will always be there for
us in times of need and
in times of celebration.
What does music mean to
you? How does it enrich
your life? On Music -
Thomas Moore When through
life unblest we rove,
Losing all that made life
dear, Should some notes
we used to love, In days
of boyhood, meet our ear,
Oh! how welcome breathes
the strain! Wakening
thoughts that long have
slept, Kindling former
smiles again In faded
eyes that long have wept.
Like the gale, that sighs
along Beds of oriental
flowers, Is the grateful
breath of song, That once
was heard in happier
hours. Fill'd with balm
the gale sighs on, Though
the flowers have sunk in
death; So, when
pleasure's dream is gone,
Its memory lives in
Music's breath. Music,
oh, how faint, how weak,
Language fades before thy
spell! Why should Feeling
ever speak, When thou
canst breathe her soul so
well? Friendship's balmy
words may feign, Love's
are even more false than
they; Oh! 'tis only
music's strain Can
sweetly soothe, and not
betray. Note to the
performer: Liberty can be
taken with the tempo
markings and rubato
should be used throughout
in order to further
stress the beauty and
significance of the text.
With its vocal-like
descant, the flute should
be treated as an
additional voice rather
than mere accompaniment
to enhance the texture of
the piece. Thomas
Moore (1779–1852)
was an Irish poet,
singer, songwriter and
entertainer. In his poem,
On Music, Moore
emphasizes the power that
music has in our lives
and the ability it has to
evoke memories and
feelings from the past.
Music transcends that
which can be spoken or
felt. The beauty of
making music together is
to establish meaningful
connections with others
and to share a common
language through song.We
are reminded, however,
that relationships with
each other can be fluid
or unstable, but as the
words of the poem remind
us, music will not
betray. No matter the
experiences that we face,
the relationships that we
foster, or the memories
that we create, music
will always be there for
us in times of need and
in times of celebration.
What does music mean to
you? How does it enrich
your life?On Music
– Thomas MooreWhen
through life unblest we
rove,Losing all that made
life dear,Should some
notes we used to love,In
days of boyhood, meet our
ear,Oh! how welcome
breathes the
strain!Wakening thoughts
that long have
slept,Kindling former
smiles againIn faded eyes
that long have wept.Like
the gale, that sighs
alongBeds of oriental
flowers,Is the grateful
breath of song,That once
was heard in happier
hours.Fill’d with
balm the gale sighs
on,Though the flowers
have sunk in death;So,
when pleasure’s
dream is gone,Its memory
lives in Music’s
breath.Music, oh, how
faint, how weak,Language
fades before thy
spell!Why should Feeling
ever speak,When thou
canst breathe her soul so
well?Friendship’s
balmy words may
feign,Love’s are
even more false than
they;Oh! ’tis only
music’s strainCan
sweetly soothe, and not
betray.Note to the
performer: Liberty can be
taken with the tempo
markings and rubato
should be used throughout
in order to further
stress the beauty and
significance of the text.
With its vocal-like
descant, the flute should
be treated as an
additional voice rather
than mere accompaniment
to enhance the texture of
the piece. $3.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Ultimate Pop/Rock Fake Book - In C
Instruments en Do [Fake Book] Hal Leonard
(4th Edition ) For voice and C instrument. Format: fakebook. With vocal melody, ...(+)
(4th Edition ) For voice
and C instrument. Format:
fakebook. With vocal
melody, lyrics and chord
names. Pop rock, rock and
pop. Series: Hal Leonard
Fake Books. 584 pages.
9x12 inches. Published by
Hal Leonard.
(26)$49.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Elegy for a Firefighter - Intermédiaire Carl Fischer
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clar...(+)
Band Bass Clarinet,
Bassoon 1, Bassoon 2,
Clarinet, Clarinet 1,
Clarinet 2, Clarinet 3,
Euphonium, Euphonium
T.C., Flute 1, Flute 2,
Horn 1, Horn 2, Horn 3,
Horn 4, Oboe 1, Oboe 2,
Piccolo, String Bass,
Trombone 1, Trombone 2,
Trombone 3, Trumpet 1 and
more. - Grade 4 SKU:
CF.SPS87 Composed by
Jeremy Martin. Folio.
Sps. Set of Score and
Parts.
4+4+2+2+2+8+8+4+2+4+4+2+2
+2+2+3+3+3+4+4+4+4+3+3+3+
6+4+4+2+2+1+1+1+1+4+24
pages. Duration 6
minutes, 28 seconds. Carl
Fischer Music #SPS87.
Published by Carl Fischer
Music (CF.SPS87). ISBN
9781491156445. UPC:
680160914982. 9 x 12
inches. About the
Work In the spring of
2008 a large number of
wildfires plagued the
west coast, including the
area where my wife and I
lived in northern
California. Firefighters
all along the West Coast
worked overtime in what
seemed like an endless
battle to protect
residents and their
homes. After hearing of a
number of firefighters
who had lost their lives
in the struggle, I
composed this work as a
dedication to them, in
honor of their sacrifice.
It is not dedicated to
any one person or group,
or even just to the
west-coast firefighters
who battled those
horrible wildfires;
instead, to all
firefighters who have
given their lives in the
line of duty. Although
designed as a standalone
work, I highly recommend
following this
composition with one of
the many fine band
settings of Amazing
Grace, as it is commonly
performed at firefighter
memorials. The one by
Frank Ticheli is superb,
and if you have access to
a good piper there is an
excellent version by Jay
Dawson which features a
solo verse for bagpipe;
both are quite stirring.
Performance Notes The
sustained slower tempo
may prove a challenge for
some groups; as always,
emphasize subdivision.
Cues should be used only
if necessary due to
limited instrumentation.
The clarinet and
cup-muted trumpets at m.
39 should be very
sostenuto (almost
organ-like); be careful
to stagger breathe. The
tempo change at m. 55
should not be much of a
challenge, but many
groups may tend to slow
back down to the original
tempo by m. 59; the
timpani player can
greatly assist in
avoiding this problem.
The coda at m. 82 may be
taken more slowly than
the indicated tempo if
your solo flutist can
manage the lengthy
sustained notes. About
the WorkIn the spring of
2008 a large number of
wildfires plagued the
west coast, including the
area where my wife and I
lived in northern
California. Firefighters
all along the West Coast
worked overtime in what
seemed like an endless
battle to protect
residents and their
homes. After hearing of a
number of firefighters
who had lost their lives
in the struggle, I
composed this work as a
dedication to them, in
honor of their sacrifice.
It is not dedicated to
any one person or group,
or even just to the
west-coast firefighters
who battled those
horrible wildfires;
instead, to all
firefighters who have
given their lives in the
line of duty.Although
designed as a standalone
work, I highly recommend
following this
composition with one of
the many fine band
settings of Amazing
Grace, as it is commonly
performed at firefighter
memorials. The one by
Frank Ticheli is superb,
and if you have access to
a good piper there is an
excellent version by Jay
Dawson which features a
solo verse for bagpipe;
both are quite
stirring.Performance
Notes The sustained
slower tempo may prove a
challenge for some
groups; as always,
emphasize subdivision.
Cues should be used only
if necessary due to
limited instrumentation.
The clarinet and
cup-muted trumpets at m.
39 should be very
sostenuto (almost
“organ-likeâ€)
; be careful to stagger
breathe. The tempo change
at m. 55 should not be
much of a challenge, but
many groups may tend to
slow back down to the
original tempo by m. 59;
the timpani player can
greatly assist in
avoiding this problem.
The coda at m. 82 may be
taken more slowly than
the indicated tempo if
your solo flutist can
manage the lengthy
sustained notes. $100.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Elegy for a Firefighter [Conducteur] - Intermédiaire Carl Fischer
Band Bass Clarinet, Bassoon 1, Bassoon 2, Chimes, Clarinet, Clarinet 1, Clarinet...(+)
Band Bass Clarinet,
Bassoon 1, Bassoon 2,
Chimes, Clarinet,
Clarinet 1, Clarinet 2,
Clarinet 3, Crash
Cymbals, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Glockenspiel,
Horn 1, Horn 2, Horn 3,
Horn 4, Mallet
Percussion, Oboe 1, Oboe
2, Percussion and more. -
Grade 4 SKU:
CF.SPS87F Composed by
Jeremy Martin. Sws. Sps.
Full score. 24 pages.
Duration 6 minutes, 28
seconds. Carl Fischer
Music #SPS87F. Published
by Carl Fischer Music
(CF.SPS87F). ISBN
9781491156452. UPC:
680160914999. 9 x 12
inches. About the
Work In the spring of
2008 a large number of
wildfires plagued the
west coast, including the
area where my wife and I
lived in northern
California. Firefighters
all along the West Coast
worked overtime in what
seemed like an endless
battle to protect
residents and their
homes. After hearing of a
number of firefighters
who had lost their lives
in the struggle, I
composed this work as a
dedication to them, in
honor of their sacrifice.
It is not dedicated to
any one person or group,
or even just to the
west-coast firefighters
who battled those
horrible wildfires;
instead, to all
firefighters who have
given their lives in the
line of duty. Although
designed as a standalone
work, I highly recommend
following this
composition with one of
the many fine band
settings of Amazing
Grace, as it is commonly
performed at firefighter
memorials. The one by
Frank Ticheli is superb,
and if you have access to
a good piper there is an
excellent version by Jay
Dawson which features a
solo verse for bagpipe;
both are quite stirring.
Performance Notes The
sustained slower tempo
may prove a challenge for
some groups; as always,
emphasize subdivision.
Cues should be used only
if necessary due to
limited instrumentation.
The clarinet and
cup-muted trumpets at m.
39 should be very
sostenuto (almost
organ-like); be careful
to stagger breathe. The
tempo change at m. 55
should not be much of a
challenge, but many
groups may tend to slow
back down to the original
tempo by m. 59; the
timpani player can
greatly assist in
avoiding this problem.
The coda at m. 82 may be
taken more slowly than
the indicated tempo if
your solo flutist can
manage the lengthy
sustained notes. About
the WorkIn the spring of
2008 a large number of
wildfires plagued the
west coast, including the
area where my wife and I
lived in northern
California. Firefighters
all along the West Coast
worked overtime in what
seemed like an endless
battle to protect
residents and their
homes. After hearing of a
number of firefighters
who had lost their lives
in the struggle, I
composed this work as a
dedication to them, in
honor of their sacrifice.
It is not dedicated to
any one person or group,
or even just to the
west-coast firefighters
who battled those
horrible wildfires;
instead, to all
firefighters who have
given their lives in the
line of duty.Although
designed as a standalone
work, I highly recommend
following this
composition with one of
the many fine band
settings of Amazing
Grace, as it is commonly
performed at firefighter
memorials. The one by
Frank Ticheli is superb,
and if you have access to
a good piper there is an
excellent version by Jay
Dawson which features a
solo verse for bagpipe;
both are quite
stirring.Performance
Notes The sustained
slower tempo may prove a
challenge for some
groups; as always,
emphasize subdivision.
Cues should be used only
if necessary due to
limited instrumentation.
The clarinet and
cup-muted trumpets at m.
39 should be very
sostenuto (almost
“organ-likeâ€)
; be careful to stagger
breathe. The tempo change
at m. 55 should not be
much of a challenge, but
many groups may tend to
slow back down to the
original tempo by m. 59;
the timpani player can
greatly assist in
avoiding this problem.
The coda at m. 82 may be
taken more slowly than
the indicated tempo if
your solo flutist can
manage the lengthy
sustained notes. $14.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Over 200 Irish Songs and Dances Piano, Voix et Guitare [Partition] - Intermédiaire/avancé Amsco Wise Publications
By Amy Appleby. For Piano and Voice, with Guitar chord symbols. Irish, Folk, Cel...(+)
By Amy Appleby. For Piano
and Voice, with Guitar
chord symbols. Irish,
Folk, Celtic. Level:
Intermediate to Advanced.
Sheet Music. Published by
Wise Publications.
(1)$19.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Sanctuary Soloist #2 - Low Vocal Solos (Low Voice) Voix Fred Bock Music Company
| | |
| Nothing But the Blood of Jesus Chorale SATB SATB, Piano [Octavo] Hope Publishing Company
By David Rasbach. Edited by Robert Lowry. Arranged by Robert Lowry. For SATB cho...(+)
By David Rasbach. Edited
by Robert Lowry. Arranged
by Robert Lowry. For SATB
choir. Sacred. Choral
octavo. 8 pages.
Published by Hope
Publishing Company
$2.95 - Voir plus => AcheterDélais: 4 to 6 business days | | |
| Guitar Chord Songbook White Pages Paroles et Accords [Partition] Hal Leonard
By Various. For Guitar. Guitar Chord Songbook. Softcover. 1024 pages. Published ...(+)
By Various. For Guitar.
Guitar Chord Songbook.
Softcover. 1024 pages.
Published by Hal Leonard
$39.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Canticle of Winter Chorale SATB SATB, Piano [Octavo] Heritage Music Press
Composed by Joseph M. Martin. Secular Christmas. Octavo. Heritage Music Press #1...(+)
Composed by Joseph M.
Martin. Secular
Christmas. Octavo.
Heritage Music Press
#15/3436H. Published by
Heritage Music Press
(LO.15-3436H).
$2.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Russian Operatic Arias for Bass Voix basse, Piano [Partition] Peters
Edited by David Fanning. Collection for bass voice and piano. With introductory ...(+)
Edited by David Fanning.
Collection for bass voice
and piano. With
introductory text,
translations, vocal
melody and pronunciation
guide. 19th and 20th
Century Repertoire. Text
language English, French,
and German. Published by
C.F. Peters.
(1)$47.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
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