| Lectionary Psalms and Gospel Acclamations - Seasonal Psalms with Through-Composed Verses Clavier GIA Publications
Keyboard SKU: GI.G-003385 Sacred. GIA Publications #003385. Published by ...(+)
Keyboard SKU:
GI.G-003385 Sacred.
GIA Publications #003385.
Published by GIA
Publications
(GI.G-003385).
This collection
contains through-composed
verses for the
common/seasonal psalms of
the Lectionary for Mass.
Ideal for the more
experienced cantor.
Refrains are compatible
with those found for the
Common/Seasonal Psalm in
WLP Worship Resources and
the other volumes of
Lectionary Psalms and
Gospel Acclamations. 8. x
11. Spiral-bound. $19.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| John Joubert: String Quartet No.2 Op.91 (Parts) Quatuor à cordes: 2 violons, alto, violoncelle Music Sales
String Quartet SKU: HL.14031816 Composed by Jean Joubert. Music Sales Ame...(+)
String Quartet SKU:
HL.14031816 Composed
by Jean Joubert. Music
Sales America. Classical.
Book [Softcover]. Music
Sales #NOV12053901.
Published by Music Sales
(HL.14031816).
8.5x11.75x0.3
inches. Though
conceived as four
separate movements, my
second string quartet has
a single motif which is
common to them all. This
is the three-note Muss es
sein? from Beethoven's
last quartet, Op. 135.
But whereas Beethoven's
theme is notated G E A
flat, thus giving it an F
minor connotation, I have
sued an alternative
spelling - G E G sharp -
which suggests an
ambiguous E minor-major.
This ambiguity, in fact,
becomes the tonal basis
of the whole work, only
to be resolved at the end
of the final movement.
Each movement begins with
a variant of the basic
motif on the cello. The
first has the original
form of the theme, while
the second has a
majorised version which
is also expressed as a
chord. The third
movement, with its
scherzoid middle section,
reverts to the
major-minor ambiguity of
the first, and the finale
begins with the majorised
version as an ostinato
accompaniment on
pizzicato cello. The slow
movement is sub-titled In
memoriam DSCH and
concludes with a
quotation of
Shostakovich's motto - D
E flat C B - which is
basically the same as
Beethoven's with the
addition of one note.
This is not to imply that
the work contains no
other thematic material.
One important theme, a
rising fifth and a
second, is also common to
three of the movements,
and is ultimately derived
from my first quartet,
Op. 1 of 27 years
earlier, to which this
second contribution to
the form is in many ways
like a sequel. Like the
earlier work, too, this
quartet is dedicated to
my wife. $60.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Acadia Theodore Presser Co.
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,
Contrabass Clarinet,
Contrabassoon, Double
Bass, English Horn,
Euphonium, Flute 1, Flute
2, Horn 1, Horn 2, Horn
3, Horn 4, Oboe 1, Oboe
2, Percussion 1 and more.
SKU: PR.16500103F
Mvt. 3 from Symphony
No. 6 (Three Places in
the East). Composed
by Dan Welcher. Full
score. 60 pages. Theodore
Presser Company
#165-00103F. Published by
Theodore Presser Company
(PR.16500103F). ISBN
9781491131763. UPC:
680160680290. Ever
since the success of my
series of wind ensemble
works Places in the West,
I've been wanting to
write a companion piece
for national parks on the
other side of the north
American continent. The
earlier work, consisting
of GLACIER, THE
YELLOWSTONE FIRES,
ARCHES, and ZION, spanned
some twenty years of my
composing life, and since
the pieces called for
differing groups of
instruments, and were in
slightly different styles
from each other, I never
considered them to be
connected except in their
subject matter. In their
depiction of both the
scenery and the human
history within these
wondrous places, they had
a common goal: awaking
the listener to the
fragile beauty that is in
them; and calling
attention to the ever
more crucial need for
preservation and
protection of these wild
places, unique in all the
world. With this new
work, commissioned by a
consortium of college and
conservatory wind
ensembles led by the
University of Georgia, I
decided to build upon
that same model---but to
solidify the process. The
result, consisting of
three movements (each
named for a different
national park in the
eastern US), is a
bona-fide symphony. While
the three pieces could be
performed separately,
they share a musical
theme---and also a common
style and
instrumentation. It is a
true symphony, in that
the first movement is
long and expository, the
second is a rather
tightly structured
scherzo-with-trio, and
the finale is a true
culmination of the whole.
The first movement,
Everglades, was the
original inspiration for
the entire symphony.
Conceived over the course
of two trips to that
astonishing place (which
the native Americans
called River of Grass,
the subtitle of this
movement), this movement
not only conveys a sense
of the humid, lush, and
even frightening scenery
there---but also an
overview of the entire
settling-of- Florida
experience. It contains
not one, but two native
American chants, and also
presents a view of the
staggering influence of
modern man on this
fragile part of the
world. Beginning with a
slow unfolding marked
Heavy, humid, the music
soon presents a gentle,
lyrical theme in the solo
alto saxophone. This
theme, which goes through
three expansive phrases
with breaks in between,
will appear in all three
movements of the
symphony. After the mood
has been established, the
music opens up to a rich,
warm setting of a
Cherokee morning song,
with the simple happiness
that this part of Florida
must have had prior to
the nineteenth century.
This music, enveloping
and comforting, gradually
gives way to a more
frenetic, driven section
representative of the
intrusion of the white
man. Since Florida was
populated and developed
largely due to the
introduction of a train
system, there's a
suggestion of the
mechanized iron horse
driving straight into the
heartland. At that point,
the native Americans
become considerably less
gentle, and a second
chant seems to stand in
the way of the intruder;
a kind of warning song.
The second part of this
movement shows us the
great swampy center of
the peninsula, with its
wildlife both in and out
of the water. A new theme
appears, sad but noble,
suggesting that this land
is precious and must be
protected by all the
people who inhabit it. At
length, the morning song
reappears in all its
splendor, until the
sunset---with one last
iteration of the warning
song in the solo piccolo.
Functioning as a scherzo,
the second movement,
Great Smoky Mountains,
describes not just that
huge park itself, but one
brave soul's attempt to
climb a mountain there.
It begins with three
iterations of the
UR-theme (which began the
first movement as well),
but this time as up-tempo
brass fanfares in
octaves. Each time it
begins again, the theme
is a little slower and
less confident than the
previous time---almost as
though the hiker were
becoming aware of the
daunting mountain before
him. But then, a steady,
quick-pulsed ostinato
appears, in a constantly
shifting meter system of
2/4- 3/4 in alteration,
and the hike has begun.
Over this, a slower new
melody appears, as the
trek up the mountain
progresses. It's a big
mountain, and the ascent
seems to take quite
awhile, with little
breaks in the hiker's
stride, until at length
he simply must stop and
rest. An oboe solo, over
several free cadenza-like
measures, allows us (and
our friend the hiker) to
catch our breath, and
also to view in the
distance the rocky peak
before us. The goal is
somehow even more
daunting than at first,
being closer and thus
more frighteningly steep.
When we do push off
again, it's at a slower
pace, and with more
careful attention to our
footholds as we trek over
broken rocks. Tantalizing
little views of the
valley at every
switchback make our
determination even
stronger. Finally, we
burst through a stand of
pines and----we're at the
summit! The immensity of
the view is overwhelming,
and ultimately humbling.
A brief coda, while we
sit dazed on the rocks,
ends the movement in a
feeling of triumph. The
final movement, Acadia,
is also about a trip. In
the summer of 2014, I
took a sailing trip with
a dear friend from North
Haven, Maine, to the
southern coast of Mt.
Desert Island in Acadia
National Park. The
experience left me both
exuberant and exhausted,
with an appreciation for
the ocean that I hadn't
had previously. The
approach to Acadia
National Park by water,
too, was thrilling: like
the difference between
climbing a mountain on
foot with riding up on a
ski-lift, I felt I'd
earned the right to be
there. The music for this
movement is entirely
based on the opening
UR-theme. There's a sense
of the water and the
mysterious, quiet deep
from the very beginning,
with seagulls and bell
buoys setting the scene.
As we leave the harbor,
the theme (in a canon
between solo euphonium
and tuba) almost seems as
if large subaquatic
animals are observing our
departure. There are
three themes (call them
A, B and C) in this
seafaring journey---but
they are all based on the
UR theme, in its original
form with octaves
displaced, in an
upside-down form, and in
a backwards version as
well. (The ocean, while
appearing to be
unchanging, is always
changing.) We move out
into the main channel
(A), passing several
islands (B), until we
reach the long draw that
parallels the coastline
called Eggemoggin Reach,
and a sudden burst of new
speed (C). Things
suddenly stop, as if the
wind had died, and we
have a vision: is that
really Mt. Desert Island
we can see off the port
bow, vaguely in the
distance? A chorale of
saxophones seems to
suggest that. We push off
anew as the chorale ends,
and go through all three
themes again---but in
different
instrumentations, and
different keys. At the
final tack-turn, there it
is, for real: Mt. Desert
Island, big as life.
We've made it. As we pull
into the harbor, where
we'll secure the boat for
the night, there's a
feeling of achievement.
Our whale and dolphin
friends return, and we
end our journey with
gratitude and
celebration. I am
profoundly grateful to
Jaclyn Hartenberger,
Professor of Conducting
at the University of
Georgia, for leading the
consortium which provided
the commissioning of this
work. $39.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Something Borrowed Something Blue Advance Music
SKU: AP.1-ADV11207 Principles of Jazz Composition. Composed by And...(+)
SKU: AP.1-ADV11207
Principles of Jazz
Composition. Composed
by Andy Jaffe.
Method/Instruction;
Reference Textbooks;
Textbook - Jazz; Theory.
Advance Music. Jazz.
Book. Advance Music
#01-ADV11207. Published
by Advance Music
(AP.1-ADV11207). ISBN
9783892211228. UPC:
805095112078.
English. Something
Borrowed, Something Blue
is a broad survey of the
wider principles of
harmony, form,
adaptation, and
developmental technique
underlying jazz
composition in its
various instrumental
formats. This book
examines compositions
ranging from those for
solo piano to large
ensemble, from common
forms such as blues and
32-bar song forms to
extended through-composed
pieces, to those based on
adaptations of European
classical forms such as
fugue and rondo. Such
topics as individuality
of voice, cultural and
historical influences,
the contrafact, formal
appropriation,
pantonality,
reharmonization, and the
use of counterpoint are
among those covered.
Composers represented
include a wide range of
stylists, similar to
Scott Joplin, Duke
Ellington, Thelonious
Monk, Charles Mingus,
John Coltrane, Gil Evans,
Mary Lou Williams, Herbie
Hancock, Oliver Nelson,
Hermeto Pascoal, and John
Lewis, among many others.
The extensive
bibliography,
discography, and end of
chapter assignments are
designed to provide
students and faculty at
either the undergraduate
or graduate level with a
flexible framework for
analysis of additional
compositions of their
choice, as well as a
basic set of useful
research references and
suggested compositional
projects. Some questions
the book poses are: What
formal elements and
musical characteristics
are common to the diverse
stylistic range of jazz
composition? Which of
these elements exist in
any form of musical
composition or artistic
expression, and which are
unique to composition in
the jazz tradition? How
do composers apply these
techniques in a way that
enables them to create an
individual voice within
the context of the jazz
tradition?
Chapters: Forward
* General Questions and
Principles * Motivic
Identiy and Reieration *
The Blues * Harmony *
Form * Compositional Uses
of Rhythm *
Appropriatiion and
Adaption * Analysis of
Selected Compositions *
Index * Glossary *
Bibliography *
Discography * Copyright
Notices *
Acknowledgements of. $42.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| 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 | | |
| Understanding DADGAD Guitare notes et tablatures [Partition + Accès audio] - Facile Mel Bay
For Fingerstyle Guitar. Composed by Doug Young. Perfect binding, Theory a...(+)
For Fingerstyle
Guitar. Composed by
Doug Young. Perfect
binding, Theory and
Harmony. Book and online
audio. Published by Mel
Bay Publications, Inc
(MB.21166M).
$24.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Brasstown Bald Overture - Facile Carl Fischer
Band Bass Clarinet, Bass Drum, Bells, Chimes, Clarinet 1, Clarinet 2, Crash Cymb...(+)
Band Bass Clarinet, Bass
Drum, Bells, Chimes,
Clarinet 1, Clarinet 2,
Crash Cymbals, Euphonium,
Euphonium T.C., Flute,
Horn, Mallet Percussion
1, Mallet Percussion 2,
Oboe, Percussion 1,
Percussion 2, Snare Drum,
Suspended Cymbal,
Timpani, Triangle and
more. - Grade 2.5 SKU:
CF.YPS244F Composed
by R. Alan Carter. Full
score. 19 pages. Carl
Fischer Music #YPS244F.
Published by Carl Fischer
Music (CF.YPS244F).
ISBN 9781491159866.
UPC:
680160918454. Brass
town Bald is the highest
point in the U. S. state
of Georgia standing at
4,784 ft. It is located
in the northeastern part
of the state and is part
of the southern
Appalachians. The
mountain received its
name from the Cherokee
word Itse'yi (New Green
Place) or (Place of Fresh
Green) referring to its
grassy, instead of
timbered summit. The term
Brasstown came from a
confusion of Itse'yi with
Untsaiyi (brass). The
mountain itself is known
to the native Cherokee
people as Mt. Enotah. The
term Bald is common
terminology describing
mountaintops that have
360-degree unobstructed
views. Brasstown Bald
Overture was written to
depict the beauty and
grandeur of the panoramic
views from the top of
this mountain. The
opening fanfare sets the
mood for the majesty of
the Appalachians. The
addition of the woodwinds
during the second time
through the fanfare
portrays the dancing
sunlight across the
mountain peaks. The
middle section is a
quaint folk tune to
represent the quiet
stillness of the night.
The fanfare return and a
new day breaks
forth. Brasstown Bald
is the highest point in
the U. S. state of
Georgia standing at 4,784
ft. It is located in
the northeastern part of
the state and is part of
the southern
Appalachians. The
mountain received its
name from the Cherokee
word Itse’yi
(“New Green
Placeâ€) or
(“Place of Fresh
Greenâ€) referring
to its grassy, instead of
timbered summit. The term
“Brasstownâ€
came from a confusion of
Itse’yi with
Untsaiyi
(“brassâ€).
The mountain itself is
known to the native
Cherokee people as Mt.
Enotah. The term
“Bald†is
common terminology
describing mountaintops
that have 360-degree
unobstructed
views.  Brasstown
Bald Overture was written
to depict the beauty and
grandeur of the panoramic
views from the top of
this mountain. The
opening fanfare sets the
mood for the majesty of
the Appalachians. The
addition of the woodwinds
during the second time
through the fanfare
portrays the dancing
sunlight across the
mountain peaks. The
middle section is a
quaint folk tune to
represent the quiet
stillness of the night.
The fanfare return and a
new day breaks forth. $11.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Music Publishing -- The Complete Guide Livre - Pas de partitions [Livre] Alfred Publishing
By Steve Winogradsky. Book; Reference Textbooks; Textbook - General. 408 pages. ...(+)
By Steve Winogradsky.
Book; Reference
Textbooks; Textbook -
General. 408 pages.
Published by Alfred Music
$79.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Bar Chords Guitare [Poster] Santorella Publications
Bar Chords composed by Phil Black. For guitar. This edition: Paperback. Referenc...(+)
Bar Chords composed by
Phil Black. For guitar.
This edition: Paperback.
Reference. Educational.
Color poster. Text
Language: English. 1
pages. Published by
Santorella Publications
$6.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Lead Sheet Bible Guitare notes et tablatures [Partition + CD] Musicians Institute
A Step-by-Step Guide to Writing Lead Sheets and Chord Charts. By Robin Randall a...(+)
A Step-by-Step Guide to
Writing Lead Sheets and
Chord Charts. By Robin
Randall and Janice
Peterson. Musicians
Institute Press
(Instruction taken from
the curriculum of MI).
Book and CD package. With
notes and tablature. Size
9x12 inches. 120 pages.
Published by Musicians
Institute Press.
$24.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Start Your Engines - Débutant Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet, Euphonium, Euphonium T....(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bells,
Clarinet, Euphonium,
Euphonium T.C., Flute,
Flute 2, Hi-hat Cymbal,
Horn, Mallet Percussion,
Oboe, Percussion 1,
Percussion 2, Snare Drum,
Timpani, Tom-tom,
Trombone, Trumpet, Tuba,
alto Saxophone and more.
- Grade 1 SKU:
CF.BPS128 Composed by
Peter Sciaino. Folio.
Bps. Set of Score and
Parts.
8+2+8+2+5+2+2+8+3+6+2+3+1
+1+2+2+16 pages. Duration
2 minutes, 25 seconds.
Carl Fischer Music
#BPS128. Published by
Carl Fischer Music
(CF.BPS128). ISBN
9781491156223. UPC:
680160914760. 9 x 12
inches. Program
Notes Start Your Engines
is an exciting concert
selection for young band
that features the
percussion section (with
opportunities for
doubling parts if
needed). The band revs up
right from the beginning
as the opposing eighth
notes in the drums evoke
a race car engine at the
starting line. As the
piece continues, the
winds have opportunities
to shine in comfortable
ranges with reasonable
technical demands. The
use of the phrase
Gentlemen, Start Your
Engines became a
tradition of the
Indianapolis Motor
Speedway in the early
1950s. The Greatest Race
Course in the world has
celebrated over 100 years
of competition in
motorsports. Note to the
Conductor Measures 37-40
require staggered and
independent entrances.
This is especially the
case for the flute,
clarinet and trumpet
sections. Students should
be challenged to enter
confidently while
performing at a softer
dynamic so as to allow
for an effective
crescendo leading into m.
45. For some younger
students, the use of
repeat signs and phrases
like 2nd time only may
not be familiar. This
piece presents an
excellent opportunity to
become familiar with this
common device. Program
NotesStart Your Engines
is an exciting concert
selection for young band
that features the
percussion section (with
opportunities for
doubling parts if
needed). The band
“revs upâ€
right from the beginning
as the opposing eighth
notes in the drums evoke
a race car engine at the
starting line. As the
piece continues, the
winds have opportunities
to shine in comfortable
ranges with reasonable
technical demands. The
use of the phrase
“Gentlemen, Start
Your Enginesâ€
became a tradition of the
Indianapolis Motor
Speedway in the early
1950s. The
“Greatest Race
Course in the
world†has
celebrated over 100 years
of competition in
motorsports.Note to the
Conductor Measures
37–40 require
staggered and independent
entrances. This is
especially the case for
the flute, clarinet and
trumpet sections.
Students should be
challenged to enter
confidently while
performing at a softer
dynamic so as to allow
for an effective
crescendo leading into m.
45.For some younger
students, the use of
repeat signs and phrases
like “2nd time
only†may not be
familiar. This piece
presents an excellent
opportunity to become
familiar with this common
device. $53.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Studio and Big Band Drumming Batterie [Livre + CD] C.L. Barnhouse
| | |
| Cadets' Cavalcade Orchestre d'harmonie - Débutant Carl Fischer
Band concert band - Grade 1 SKU: CF.BPS124F Composed by Joseph Compello. ...(+)
Band concert band - Grade
1 SKU: CF.BPS124F
Composed by Joseph
Compello. Sws. Bps. Full
score. 12 pages. Duration
1:30. Carl Fischer Music
#BPS124F. Published by
Carl Fischer Music
(CF.BPS124F). ISBN
9781491156155. UPC:
680160914692. 9 x 12
inches. Personal
Note My high school band
director, Clarence F.
Wroblewski, died on
November 24, 2018. In the
1950s, he was a pioneer
in the field of public
school instrumental music
in the Baltimore City. He
was my mentor and my dear
friend. It was his
guidance and
encouragement that set my
young life's course on
the path of music.
Performance Notes The
idea for this easy march
is a parade with horses,
hence the title Cadets'
Cavalcade. It may be
taught and performed in
common time, but the feel
is in 2 at the indicated
tempo. Directors who wish
to perform it a little
faster or slower than 80
should feel free to do
so. All cues are for
endurance considerations.
Bands that are capable of
playing from beginning to
end without rests may
ignore the cues. When
cymbals are just
following the bass drum
line, be certain that the
player observes the
proper
balance. Personal
NoteMy high school band
director, Clarence F.
Wroblewski, died on
November 24, 2018. In the
1950s, he was a pioneer
in the field of public
school instrumental music
in the Baltimore City. He
was my mentor and my dear
friend. It was his
guidance and
encouragement that set my
young life's course on
the path of
music.Performance
NotesThe idea for this
easy march is a parade
with horses, hence the
title Cadets' Cavalcade.
It may be taught and
performed in common time,
but the feel is in 2 at
the indicated tempo.
Directors who wish to
perform it a little
faster or slower than 80
should feel free to do
so. All cues are for
endurance considerations.
Bands that are capable of
playing from beginning to
end without rests may
ignore the cues. When
cymbals are just
following the bass drum
line, be certain that the
player observes the
proper balance. $7.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Rhythmic Reading for Drummers Advance Music
Drumset SKU: AP.1-ADV13018 Composed by Conor Guilfoyle. Method/Instructio...(+)
Drumset SKU:
AP.1-ADV13018
Composed by Conor
Guilfoyle.
Method/Instruction;
Percussion -
Miscellaneous Educational
Books and Manuals;
Technique Musicianship.
Advance Music. Jazz. Book
and CD. Advance Music
#01-ADV13018. Published
by Advance Music
(AP.1-ADV13018). ISBN
9783892211112. UPC:
805095130188.
English. Rhythmic
Reading for Drummers is
the essential guide to
understanding rhythmic
notation. Starting with
the basics and working
step by step, until all
the common rhythmic
patterns have been fully
explained. The notation
is clearly laid out,
complete with counting
methods and exercises for
each example. For the
beginner, it's the ideal
method to understand,
learn and play any
rhythmic figure. For the
intermediate student, it
contains a wealth of
exercises and
explanations, taking the
mystery out of those
common, yet rarely
explained rhythmic
figures. For the advanced
student, there are a
series of challenging
rhythmic solos, as well
as new sets of
syncopation exercises
notated with and without
the quarter note. For the
teacher, it's the ideal
reference book which can
also be used as a
supplementary study for
snare or drum kit. With
over 70 explanations and
exercises, Rhythmic
Reading for Drummers is
the ideal addition to
every drummer and drum
teacher's library. $25.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Inner Landscapes Piano seul Breitkopf & Härtel
Piano SKU: BR.EB-9333 I The sun, the sea - II The earth: her dance - I...(+)
Piano SKU:
BR.EB-9333 I The
sun, the sea - II The
earth: her dance - III
Clouds, winds, skies.
Composed by Christian
Mason. Solo instruments;
stapled. Edition
Breitkopf. World
premiere of the piano
version: Orleans (8th
Int. Piano Competition of
Orleans ,,Brin d'herbe),
April 14, 2019 New
music (post-2000); Music
post-1945. Score.
Composed 2018/19. 28
pages. Duration 17'.
Breitkopf and Haertel #EB
9333. Published by
Breitkopf and Haertel
(BR.EB-9333). ISBN
9790004187975. 9 x 12
inches. Inspiring
Nature These three piano
pieces, composed for the
,,Concours, Brin d'Herbe
2019, may be performed
separately or as a
collection, in which case
they should be played in
the given order. Though
each piece is aimed at a
different technical level
(I. Elementary, II.
Advanced, III.
Intermediate), they have
a common artistic aim: to
connect musical
expression with poetic
inspiration. In
particular, these pieces
meditate on the emotional
connection between our
interior life and the
vast and varied
landscapes of the natural
world all around us.
While composing I found
myself re-reading
Kathleen Raine (one of my
favourite poets) and was
struck by her statement
(in the foreword to her
,,Selected Poems):
,,'Nature-poetry' is not
what we write about
nature, but rather the
language of images in
which nature daily speaks
to us of the timeless,
age-old mystery in which
we participate. Nature
communicates today what
it told the earliest of
humankind, and what it
will tell future
generations when our
modern high-rise cities
are no more. Meanings,
moods, the whole scale of
our inner experience,
finds in nature the
'correspondences' through
which we may know our
boundless selves. Nature
is the common, universal
language, understood by
all. What she says about
nature resonates with my
understanding of music,
which also sometimes
affords us an opportunity
to know 'our boundless
selves'. And I am
especially interested in
the way that sounds -
which, as vibrations in
the air, are another
aspect of nature - can
reveal and heighten our
sense of connectedness to
ourselves and our
surroundings. Each
movement is inspired by a
single stanza from the
poem ,,Amo Ergo Sum by
Kathleen Raine, and I
would encourage anyone
playing these pieces to
devote time to
internalising the words
as well as the music, for
they may contain the key
to an accurate
expression. As such, the
relevant words are quoted
at the start of each
score. ,,Inner Landscapes
is dedicated to Joe
Browning, Lexy Oliver and
Omar Shahryar. (Christian
Mason, 2018)
World
premiere of the piano
version: Orleans (8th
Int. Piano Competition of
Orleans ,,Brin d'herbe),
April 14, 2019. $51.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Cadets' Cavalcade Orchestre d'harmonie - Débutant Carl Fischer
Band concert band - Grade 1 SKU: CF.BPS124 Composed by Joseph Compello. F...(+)
Band concert band - Grade
1 SKU: CF.BPS124
Composed by Joseph
Compello. Folio. Bps. Set
of Score and Parts.
8+2+4+4+2+5+2+2+4+4+3+6+2
+3+1+1+2+1+12 pages.
Duration 1:30. Carl
Fischer Music #BPS124.
Published by Carl Fischer
Music (CF.BPS124).
ISBN 9781491156148.
UPC: 680160914685. 9 x 12
inches. Personal
Note My high school band
director, Clarence F.
Wroblewski, died on
November 24, 2018. In the
1950s, he was a pioneer
in the field of public
school instrumental music
in the Baltimore City. He
was my mentor and my dear
friend. It was his
guidance and
encouragement that set my
young life's course on
the path of music.
Performance Notes The
idea for this easy march
is a parade with horses,
hence the title Cadets'
Cavalcade. It may be
taught and performed in
common time, but the feel
is in 2 at the indicated
tempo. Directors who wish
to perform it a little
faster or slower than 80
should feel free to do
so. All cues are for
endurance considerations.
Bands that are capable of
playing from beginning to
end without rests may
ignore the cues. When
cymbals are just
following the bass drum
line, be certain that the
player observes the
proper
balance. Personal
NoteMy high school band
director, Clarence F.
Wroblewski, died on
November 24, 2018. In the
1950s, he was a pioneer
in the field of public
school instrumental music
in the Baltimore City. He
was my mentor and my dear
friend. It was his
guidance and
encouragement that set my
young life's course on
the path of
music.Performance
NotesThe idea for this
easy march is a parade
with horses, hence the
title Cadets' Cavalcade.
It may be taught and
performed in common time,
but the feel is in 2 at
the indicated tempo.
Directors who wish to
perform it a little
faster or slower than 80
should feel free to do
so. All cues are for
endurance considerations.
Bands that are capable of
playing from beginning to
end without rests may
ignore the cues. When
cymbals are just
following the bass drum
line, be certain that the
player observes the
proper balance. $55.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Rock Guitar for Adults Guitare notes et tablatures [Partition + CD] Alfred Publishing
(The Grown-Up Approach to Playing Rock Guitar). By Tobias Hurwitz. For Guitar. B...(+)
(The Grown-Up Approach to
Playing Rock Guitar). By
Tobias Hurwitz. For
Guitar. Book; CD; Guitar
Method or Supplement;
Method/Instruction. Rock.
96 pages. Published by
Alfred Music Publishing
$19.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Rhythmic Reading for all Instruments Piano Facile Mel Bay
Piano and keyboard - Beginning; Intermediate; Advanced SKU: MB.610451 ...(+)
Piano and keyboard -
Beginning; Intermediate;
Advanced SKU:
MB.610451
Rhythmisches Lesen for
alle Instrumente.
Composed by Dirk
Rosenbaum. Percussion:
Drum Set, Classical,
Perfect binding, Theory
and Reference - Other,
Technique, Theory and
Reference, Theory and
Reference, Percussion:
Snare Drum, Artist
Specific. Style. Book/CD
set. 192 pages. Mel Bay
Publications, Inc
#610451. Published by Mel
Bay Publications, Inc
(MB.610451). ISBN
9783899221725. 8.25 x
11.75
inches. Dieses Buch
richtet sich an alle, die
Musik spielen oder lernen
m?chten. Rhythmus spielt
eine gro?e Rolle, egal ob
Sie Instrumentalist,
S?nger, T?nzer, Student,
Lehrer, Amateur oder
Profi sind. Unabh?ngig
davon, ob Sie Anf?nger
oder Fortgeschrittener
sind, k?nnen Sie dieses
Buch als
Unterrichtsmaterial f?r
Ihre Sch?ler oder f?r den
eigenen Unterricht
verwenden, unabh?ngig vom
Stil. Der Anfang dieses
Buches erkl?rt
grundlegende Konzepte des
Rhythmus, die f?r die
?bungen notwendig sind.
Einige der schwierigeren
Passagen wurden mit
Z?hlen versehen, um diese
und andere ?bungen zu
meistern. Rhythmic
Reading ist somit eine
umfangreiche Sammlung von
rhythmischen
Konfigurationen in den
g?ngigsten Z?hlern. Zu
den Themen geh?ren: Die
Pyramide der Noten,
bin?re und tern?re
Rhythmen, gepunktete
Noten, Krawatten und
Synkopen. Im praktischen
Teil werden diese Themen
anhand gemeinsamer
Zeitsignaturen in einer
umfangreichen Sammlung
zusammengestellt. Die
?bungen sind nicht nur
f?r Schlagzeuger geeignet
- die Autoren geben auch
Interpretationsideen f?r
die rhythmische Notation
f?r Gitarristen,
Keyboarder und Bassisten.
Auf diese Weise ist
dieses Buch f?r alle
Instrumentalisten
geeignet, die Musik
machen m?chten. Fakt:
Dieses Buch vermittelt
Ihnen auf kompakte Weise
Wissen ?ber Rhythmus. Der
Leser erh?lt au?erdem
eine zus?tzliche Funktion
in Form einer CD, auf der
er die ?bungen anh?ren
kann. This book is for
everybody who plays music
or decides to learn it.
Rhythm plays a major role
no matter whether you are
an instrumentalist,
singer, dancer, student,
teacher, amateur, or
professional. No matter
if you are a beginner or
are advanced you can use
this book as instruction
material for your
students or for own
education, regardless of
style. The beginning of
this book explains basic
concepts of rhythm that
are necessary for the
exercises. Some of the
more difficult passages
have been provided with
counting which will help
in mastering these and
other exercises. Rhythmic
Reading is thus an
extensive collection of
rhythmic configurations
in the most common
meters.Topics include:
the pyramid of notes,
binary and ternary
rhythms, dotted notes,
ties and syncopation. In
the practical part, these
topics will be arranged
using common time
signatures in a
comprehensive collection.
The exercises are not
just suitable for
drummers - the authors
also give interpretation
ideas for rhythmical
notation for guitarists,
keyboard players and
bassists. In this way,
this book is suitable for
all instrumentalists who
want to make music.Fact:
this book presents you
with knowledge about
rhythm in a compact way.
The reader also gets an
additional feature in the
form of a CD where they
can listen to the
exercises. $26.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Santa's Majesty - Débutant Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Crash Cym...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bells,
Clarinet 1, Clarinet 2,
Crash Cymbals, Euphonium,
Euphonium T.C., Flute,
Horn, Mallet Percussion,
Oboe, Percussion 1,
Percussion 2, Percussion
3, Sleigh Bells, Snare
Drum, Suspended Cymbal,
Timpani and more. - Grade
1.5 SKU:
CF.FPS161F Composed
by Joseph Benjamin Earp.
Fps. Full score. 16
pages. Duration 2
minutes, 4 seconds. Carl
Fischer Music #FPS161F.
Published by Carl Fischer
Music (CF.FPS161F).
ISBN 9781491161784.
UPC:
680160920471. PROGR
AM NOTES Santa's Majesty
is inspired by the
promise and grandeur
presented by Santa Claus.
Many of us place our
faith in legendary
figures hoping for good
to be shared with those
around us in our lives.
The intention of this
work is to capture the
majesty surrounding our
beloved Saint Nicholas.
NOTES TO CONDUCTOR The
duration of the
composition is two
minutes at the marked
tempo. Careful attention
should be given to
articulations, dynamic
changes and phrasing
throughout the work. The
entire work should be
felt in two even though
it is marked in common
time. Be sure not to
breathe after any
crescendo throughout the
work. Measure 73 through
measure 75 should give
focus to the tenor
voices. The last three
quarter notes of the
piece should be
emphasized a little
heavier with some
space. PROGRAM
NOTESSanta’s
Majesty is inspired by
the promise and grandeur
presented by Santa Claus.
Many of us place our
faith in legendary
figures hoping for good
to be shared with those
around us in our lives.
The intention of this
work is to capture the
majesty surrounding our
beloved Saint
Nicholas.NOTES TO
CONDUCTORThe duration of
the composition is two
minutes at the marked
tempo. Careful attention
should be given to
articulations, dynamic
changes and phrasing
throughout the work.The
entire work should be
felt in two even though
it is marked in common
time.Be sure not to
breathe after any
crescendo throughout the
work.Measure 73 through
measure 75 should give
focus to the tenor
voices.The last three
quarter notes of the
piece should be
emphasized a little
heavier with some
space. $7.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Three Songs of Praise and Prayer Chorale 2 parties - Débutant GIA Publications
2-part equal voices, organ accompaniment - Beginning SKU: GI.G-8927 I ...(+)
2-part equal voices,
organ accompaniment -
Beginning SKU:
GI.G-8927 I Will
Give Thanks / I Will Lift
Up My Eyes / Praise the
Lord, O My Soul.
Composed by Colin Mawby.
Choral. Sacred. Octavo.
20 pages. GIA
Publications #8927.
Published by GIA
Publications (GI.G-8927).
UPC: 785147892700.
English. Text Source:
The Book of Common
Prayer, 1928: 1.
Psalm 9:1–2, 10,
alt., 2. Psalm
121:1–2,
7–8, alt., 3.
Psalm 104:1, 31, alt.
Scripture: Psalm
9:1–2, 10, Psalm
121:1–2,
7–8, Psalm 104:1,
31. With texts
extracted from the
psalmody of The Book of
Common Prayer, this small
trio offers a distinct
mood for each song:
majestic, calm, and
joyful. They could be
used individually during
religious services or as
an ideal concert
grouping. $2.60 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Time for the Future Guitare - Intermédiaire Mel Bay
Guitar (all) - Intermediate SKU: MB.97884 Polyrhythm in Harmony. C...(+)
Guitar (all) -
Intermediate SKU:
MB.97884
Polyrhythm in
Harmony. Composed by
Bret Willmott. Theory and
Reference - Other, Theory
and Reference, Technique,
Theory, Reference and
Rhythm, Technique, Theory
and Reference, Perfect
binding. Jazz. Book. 240
pages. Mel Bay
Publications, Inc #97884.
Published by Mel Bay
Publications, Inc
(MB.97884). ISBN
9780786652808. UPC:
796279075428. 8.75 x
11.75 inches. By Bret
Willmott. Many
polyrhythms and
polymeters simultaneous
combinations of more than
one rhythmic pattern
exist in todays music,
with some being so common
they could be referred to
as rhythm licks. This
book presents a unique
and comprehensive
approach to polymetric
applications of various
rhythms over common chord
progressions and song
forms in 3/4 and 4/4,
written primarily for
instruments with chordal
capabilities. Non-chordal
instrumentalists
interested in rhythmic
development and
contemporary phrasing may
also benefit. Polymetric
rhythms will force a
variety of harmonic
anticipations and delays
which can have a profound
and beneficial effect on
harmonic, melodic, and
improvisational phrasing.
In addition, the focused
attention and expanded
awareness needed to
master these exercises
can also help in your
sensitivity and response
to the surrounding
environment and your
interactions with other
musicians and
audience. $29.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Dictionary Of Music Terms And Chords Livre - Pas de partitions Schirmer
By Albert De Vito. Misc. Size 6x9 inches. 112 pages. Published by G. Schirmer, I...(+)
By Albert De Vito. Misc.
Size 6x9 inches. 112
pages. Published by G.
Schirmer, Inc.
$12.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Divergence Orchestre d'harmonie - Facile C.L. Barnhouse
Grade 2 SKU: CL.024-4685-00 Composed by Robert W. Smith. Young Concert Ba...(+)
Grade 2 SKU:
CL.024-4685-00
Composed by Robert W.
Smith. Young Concert
Band. Rising Band Series
for Developing Bands!
Audio recording available
separately (item
CL.WFR396). Score and set
of parts. Composed 2018.
Duration 2 minutes, 6
seconds. C.L. Barnhouse
#024-4685-00. Published
by C.L. Barnhouse
(CL.024-4685-00).
Divergence can
be defined as drawing
apart as lines from a
common center. Divergence
for the young band is
based on that concept
with melodic lines that
draw apart from a common
musical center. Melodic
lines pull apart and
interact within choirs.
Woodwinds diverge from
brass providing
contrasting and
interacting harmonic
effects. Divergent lines
continue to develop
throughout the piece
leading to a powerful and
exciting conclusion. An
excellent selection for
concert and festival
performance. $49.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Alfred's Kid's Ukulele Course Complete Ukulele [Partition + CD] - Débutant Alfred Publishing
(The Easiest Ukulele Method Ever!). By Ron Manus and L. C. Harnsberger. For Ukul...(+)
(The Easiest Ukulele
Method Ever!). By Ron
Manus and L. C.
Harnsberger. For Ukulele.
Book; CD;
Method/Instruction;
Ukulele Method or
Supplement. Alfred's Kids
Course. Children.
Beginner. 120 pages.
Published by Alfred Music
Publishing
$25.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Jazz Guitar Improvisation Guitare notes et tablatures [Partition + Accès audio] Musicians Institute
Master Class. Musicians Institute Press. Softcover Media Online. With guitar ...(+)
Master Class. Musicians
Institute Press.
Softcover
Media Online. With guitar
tablature. 64 pages.
Published by Musicians
Institute Press
$19.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Complete Idiot's Guide to Easy Piano Movie Hits Piano seul [Partition + CD] - Débutant Alfred Publishing
(25 Great Easy Piano Movie Hits). Arranged by Dan Coates. For Piano. Book; CD; M...(+)
(25 Great Easy Piano
Movie Hits). Arranged by
Dan Coates. For Piano.
Book; CD;
Method/Instruction; Piano
Collection; Piano
Supplemental. Complete
Idiot's Guide. Movie.
Easy Piano. 208 pages.
Published by Alfred Music
Publishing
$24.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| In Praise of Easter Chorale SATB Subito Music
SATB Chorus, soloists, Organ & Brass (SATB chorus, soprano & baritone solos, org...(+)
SATB Chorus, soloists,
Organ & Brass (SATB
chorus, soprano &
baritone solos, organ,
brass [2 trumpets, 2
trombones]) SKU:
SU.91480041 For
SATB Chorus, soloists,
Organ & Brass.
Composed by Dan Locklair.
Vocal/Choral, Sacred
Choral, Keyboard, Organ,
Brass, Brass Ensemble.
Choral, sacred. Choral
Octavo. Composed 1975.
Duration 15'. Subito
Music Corporation
#91480041. Published by
Subito Music Corporation
(SU.91480041). Text:
The Standard Book of
Common Prayer. SATB
chorus, soprano &
baritone solos, organ,
brass [2tpt, 2tbn]
Duration: 15' Text: The
Standard Book of Common
Prayer Composed: 1975
Published by: Subito
Music Publishing Minimum
order quantity: 8 copies.
To order quantities fewer
than 8. $7.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
1 41 71 Page suivante 101 131 ... 2311 |