| Divergence Orchestre d'harmonie [Conducteur et Parties séparées] - 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 | | |
| Ne reminiscaris Domine Chorale 3 parties SAB A Cappella CanticaNOVA Publications
Composed by Tim Attride. The antiphon for use with the Seven Penitential Psalms ...(+)
Composed by Tim Attride.
The antiphon for use with
the Seven Penitential
Psalms and the Lenten
chant Parce Domine are
presented here in chant
with Latin text, followed
by SAB polyphony with
English text. This is an
accessible and
wonderfully appropriate
anthem for your choir
this. Lent, General.
Published by CanticaNOVA
Publications (C5.5042).
$1.85 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Learn Blues Accordion Accordéon [Partition + Accès audio] Mel Bay
A Comprehensive Guide to Mastering the Blues. Composed by David DiGiuseppe. S...(+)
A Comprehensive Guide to
Mastering the Blues.
Composed by David
DiGiuseppe. Squareback
saddle-stitched. Book and
online audio. 96 pages.
Published by Mel Bay
Publications, Inc
$19.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Balai for guitar Guitare [Conducteur] Fennica Gehrman
Guitar SKU: FG.55011-890-4 Composed by Lotta Wennäkoski. Classical, co...(+)
Guitar SKU:
FG.55011-890-4
Composed by Lotta
Wennäkoski. Classical,
contemporary. Score.
Fennica Gehrman
#55011-890-4. Published
by Fennica Gehrman
(FG.55011-890-4). ISBN
9790550118904. Lott
a Wennäkoski's Balai
for solo guitar (2009)
was inspired by the most
common technique on the
worldâs most common
instrument â
strumming. The Ballet
interlude momentarily
interrupts the rhythmic
continuum with its
decadent dance steps.
Balai is French for a
lute, a broom, or a dust
mop.
Duration:
9'. $18.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Te Deum Laudamus (You Are God) anthem Chorale SATB Subito Music
SATB Chorus, soloists & Organ SKU: SU.91480095 For SATB Chorus, solois...(+)
SATB Chorus, soloists &
Organ SKU:
SU.91480095 For
SATB Chorus, soloists &
Organ. Composed by
Dan Locklair.
Vocal/Choral, Sacred
Choral. Choral, sacred.
Choral Octavo. Composed
1997. Duration 8'. Subito
Music Corporation
#91480095. Published by
Subito Music Corporation
(SU.91480095). Text:
The Book of Common
Prayer; Rite II: Daily
Morning
Prayer. SATB
chorus, SATB soloists,
organ Duration: 8' Text:
The Book of Common
Prayer; Rite II: Daily
Morning Prayer Composed:
1997 Published by: Subito
Music Publishing Minimum
order quantity: 8 copies.
Perusal copies are
available by contacting
perusalrequest@subitomusi
c.com (include the
organization name with
your request). To order
quantities fewer than
8. $2.50 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Great Smoky Mountains [Conducteur] 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.16500102F
Mvt. 2 from Symphony
No. 6 (Three Places in
the East). Composed
by Dan Welcher. Full
score. 52 pages. Theodore
Presser Company
#165-00102F. Published by
Theodore Presser Company
(PR.16500102F). ISBN
9781491131749. UPC:
680160680276. 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. $36.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Master Scale and Chord Guide For Piano Clavier - Intermédiaire Hal Leonard
| | |
| Texas Blues Guitar Guitare notes et tablatures [Partition + CD] Musicians Institute
Private Lessons. By Robert Calva. Musicians Institute Press (Instruction taken f...(+)
Private Lessons. By
Robert Calva. Musicians
Institute Press
(Instruction taken from
the curriculum of MI).
Book and CD package. With
notes and tablature. Size
9x12 inches. 48 pages.
Published by Musicians
Institute.
(2)$19.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Exploring 2nd Position, Level 2 Harmonica [Partition + Accès audio] - Intermédiaire/avancé Mel Bay
(Complete Blues Harmonica Lesson Series). Composed by David Barrett. For harmoni...(+)
(Complete Blues Harmonica
Lesson Series). Composed
by David Barrett. For
harmonica. Harmonica
Masterclass Lesson.
Intermediate-Advanced.
Book and online audio.
Published by Mel Bay
Publications, Inc
$14.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Berko's Journey [Conducteur] Theodore Presser Co.
Orchestra Bass Clarinet, Bass Trombone, Bassoon 1, Bassoon 2, Cello, Clarinet in...(+)
Orchestra Bass Clarinet,
Bass Trombone, Bassoon 1,
Bassoon 2, Cello,
Clarinet in Bb 1,
Clarinet in Bb 2,
Clarinet in Bb 3,
Contrabassoon, Double
Bass, English Horn, Flute
1, Flute 2, Flute 3,
Harp, Horn 1, Horn 3,
Horn 4, Oboe 1, Oboe 2,
Percussion 1 and more.
SKU: PR.11642143S
Composed by Stacy Garrop.
Sws. Score. 68 pages.
Duration 20 minutes.
Theodore Presser Company
#116-42143S. Published by
Theodore Presser Company
(PR.11642143S). UPC:
680160693313. 11 x 17
inches. For most of
my life, I never knew
where my father’s
family came from, beyond
a few broad strokes: they
had emigrated in the
early 1900s from Eastern
Europe and altered the
family name along the
way. This radically
changed in the summer of
2021 when my mother and
sister came across a
folder in our family
filing cabinet and made
an astounding discovery
of documents that
revealed when, where, and
how my great-grandfather
came to America. The
information I had been
seeking was at home all
along, waiting over forty
years to be
discovered.Berko
Gorobzoff, my
great-grandfather, left
Ekaterinoslav in 1904. At
that time, this city was
in the southern Russian
area of modern-day
Ukraine; as his family
was Jewish, he and his
siblings were attempting
to escape the ongoing
religious persecution and
pogroms instigated by
Tzar Nicholas II to root
out Jewish people from
Russia. Berko’s older
brother Jakob had already
emigrated to Illinois,
and Berko was traveling
with Chaje, Jakob’s
wife, to join him. Their
timing was fortuitous, as
the following year saw a
series of massive, brutal
pogroms in the region.
After arriving in
Illinois, Berko went on
to Omaha, Nebraska, where
he married my
great-grandmother Anna
about eighteen months
later. They remained in
Omaha for the rest of
their lives.There is one
more intriguing part to
this historical account:
I have a great-aunt in
Texas who, as it turns
out, is the youngest
daughter of Berko and
Anna. Through a series of
phone calls, my
great-aunt and I
discussed what she could
remember: her parents
spoke Yiddish at home,
her mother didn’t learn
to read or write in
English so my great-aunt
was tasked with writing
letters to family
members, Berko ran a
grocery store followed by
a small hotel, and her
parents enjoyed playing
poker with friends. Above
all else, neither of her
parents ever spoke a word
about their past or how
they got to America. This
was a common trait among
Eastern European Jewish
immigrants whose goal was
to “blend in” within
their new communities and
country.To
craft Berko’s
Journey, I melded the
facts I uncovered about
Berko with my own
research into methods of
transportation in the
early 1900s. Also, to
represent his heritage, I
wove two Yiddish songs
and one Klezmer tune into
the work. In movement
1, Leaving
Ekaterinoslav, we hear
Berko packing his
belongings, saying his
goodbyes to family and
friends, and walking to
the train station.
Included in this movement
is a snippet of the
Yiddish song “The
Miller’s Tears” which
references how the Jews
were driven out of their
villages by the Russian
army. In movement 2, In
Transit, we follow Berko
as he boards a train and
then a steamship, sails
across the Atlantic
Ocean, arrives at Ellis
Island and anxiously
waits in line for
immigration, jubilantly
steps foot into New York
City, and finally boards
a train that will take
him to Chicago. While
he’s on the steamship,
we hear a group of fellow
steerage musicians play a
klezmer tune
(“Freylachs in d
minor”). In movement
3, At Home in Omaha, we
hear Berko court and
marry Anna. Their
courtship is represented
by “Tumbalalaika,” a
Yiddish puzzle folksong
in which a man asks a
woman a series of riddles
in order to get better
acquainted with each
other and to test her
intellect.On a final
note, I crafted a musical
motive to represent Berko
throughout the piece.
This motive is heard at
the beginning of the
first movement; its first
pitches are B and E,
which represent the first
two letters of Berko’s
name. I scatter this
theme throughout the
piece as Berko travels
towards a new world and
life. As the piece
concludes, we hear
Berko’s theme
repeatedly and in close
succession, representing
the descendants of the
Garrop line that came
from Berko and
Anna. For most of my
life, I never knew where
my father’s family came
from, beyond a few broad
strokes: they had
emigrated in the early
1900s from Eastern Europe
and altered the family
name along the way. This
radically changed in the
summer of 2021 when my
mother and sister came
across a folder in our
family filing cabinet and
made an astounding
discovery of documents
that revealed when,
where, and how my
great-grandfather came to
America. The information
I had been seeking was at
home all along, waiting
over forty years to be
discovered.Berko
Gorobzoff, my
great-grandfather, left
Ekaterinoslav in 1904. At
that time, this city was
in the southern Russian
area of modern-day
Ukraine; as his family
was Jewish, he and his
siblings were attempting
to escape the ongoing
religious persecution and
pogroms instigated by
Tzar Nicholas II to root
out Jewish people from
Russia. Berko’s older
brother Jakob had already
emigrated to Illinois,
and Berko was traveling
with Chaje, Jakob’s
wife, to join him. Their
timing was fortuitous, as
the following year saw a
series of massive, brutal
pogroms in the region.
After arriving in
Illinois, Berko went on
to Omaha, Nebraska, where
he married my
great-grandmother Anna
about eighteen months
later. They remained in
Omaha for the rest of
their lives.There is one
more intriguing part to
this historical account:
I have a great-aunt in
Texas who, as it turns
out, is the youngest
daughter of Berko and
Anna. Through a series of
phone calls, my
great-aunt and I
discussed what she could
remember: her parents
spoke Yiddish at home,
her mother didn’t learn
to read or write in
English so my great-aunt
was tasked with writing
letters to family
members, Berko ran a
grocery store followed by
a small hotel, and her
parents enjoyed playing
poker with friends. Above
all else, neither of her
parents ever spoke a word
about their past or how
they got to America. This
was a common trait among
Eastern European Jewish
immigrants whose goal was
to “blend in” within
their new communities and
country.To
craftxa0Berko’s
Journey,xa0I melded the
facts I uncovered about
Berko with my own
research into methods of
transportation in the
early 1900s. Also, to
represent his heritage, I
wove two Yiddish songs
and one Klezmer tune into
the work. In movement
1,xa0Leaving
Ekaterinoslav,xa0we hear
Berko packing his
belongings, saying his
goodbyes to family and
friends, and walking to
the train station.
Included in this movement
is a snippet of the
Yiddish song “The
Miller’s Tears” which
references how the Jews
were driven out of their
villages by the Russian
army. In movement 2,xa0In
Transit,xa0we follow
Berko as he boards a
train and then a
steamship, sails across
the Atlantic Ocean,
arrives at Ellis Island
and anxiously waits in
line for immigration,
jubilantly steps foot
into New York City, and
finally boards a train
that will take him to
Chicago. While he’s on
the steamship, we hear a
group of fellow steerage
musicians play a klezmer
tune (“Freylachs in d
minor”). In movement
3,xa0At Home in
Omaha,xa0we hear Berko
court and marry Anna.
Their courtship is
represented by
“Tumbalalaika,” a
Yiddish puzzle folksong
in which a man asks a
woman a series of riddles
in order to get better
acquainted with each
other and to test her
intellect.On a final
note, I crafted a musical
motive to represent Berko
throughout the piece.
This motive is heard at
the beginning of the
first movement; its first
pitches are B and E,
which represent the first
two letters of Berko’s
name. I scatter this
theme throughout the
piece as Berko travels
towards a new world and
life. As the piece
concludes, we hear
Berko’s theme
repeatedly and in close
succession, representing
the descendants of the
Garrop line that came
from Berko and Anna. $40.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Sonata XXIV (Dresden nr.4) for Solo Guitar Guitare Metropolis Music Publishers
Guitar Solo SKU: IS.G6765EM Composed by Silvio Leopold Weiss. Arranged by...(+)
Guitar Solo SKU:
IS.G6765EM Composed
by Silvio Leopold Weiss.
Arranged by Ben Beuming.
Plucked - Guitar.
Metropolis Music
Publishers #G6765EM.
Published by Metropolis
Music Publishers
(IS.G6765EM). ISBN
9790365067657. This
sonata (WeissSW No. 4,
Dresden) is one of a new
series of eight sonatas
by Silvius Leopold Weiss
arranged for the first
time for guitar and
published by Metropolis
Music. Sonata XXIV comes
from a set of tablature
manuscript volumes in the
Sächsisches
Landesbibliothek in
Dresden (Ms. Mus.
2841-â?V-â?1).
There are five volumes
with a total of 34
sonatas of Weiss for solo
lute. The sonatas are
ordered by key and
further sorted by size or
complexity. Sonata XXIV
comes from Weissâ??s
late â??productiveâ??
period, after 1730. The
Sonata has six movements:
Prelude, Ouverture
(including allegro and
largo), Courante,
Bourée, Menuet and
Gavotte. There is another
copy of this Sonata,
known as Parte (or
Partita) no. 11, in a
London Manuscript
(British Library Ms. Add.
30387). The London
Manuscript seems to be
incomplete. It does not
include a Menuet and a
Gavotte. The Sonata in
this Edition is based on
the Dresden Manuscript.
However, both the Prelude
and the Bourée are
coming from the London
copy. The Dresden Prelude
is regarded as spurious,
and the London Bourée
is more lively and in
balance with the other
movements. In a few
passages of the Ouverture
and the Courante I have
made some adaptions on
the basis of the London
manuscript, to create the
best of the two versions.
In the Ouverture I have
omitted the repeat
indications. There are
two Menuets in the
Dresden Sonata. One has
been crossed in the
original manuscript with
the accompanying note:
ist nicht von Mr Weis.
The other one has been
added later, probably by
the compiler of the
volumes. The original
London Prelude of this
particular Sonata is
composed in a
â??simplifiedâ?? style;
a common practice for
adding preludes to lute
sonatas in the 18th
century. I have added the
original example to my
transcribed version.
Perhaps it invites others
to make their own
arrangement. Originally,
the Sonata is written in
B flat major, a key often
used by Weiss as it is
appropriate for playing
the lute. With the
guitar, however, the key
is rather awkward. For
ease and effectiveness of
playing, I have
transposed the Sonata a
minor third lower to G
major. To create more
concordance with the
baroque tuning of the
lute, the G string is
lowered by a semitone to
F sharp. I suggest using
a capodastro to achieve
the original pitch. Based
on the present standard
of A at 440 Hertz, the
capo should be placed at
the 3rd fret. However,
during Weissâ??s
lifetime, it was more
common in many parts of
Germany to use a standard
of A at 415 Hertz -â?
a semitone lower. So, to
hear the pitch heard by
Weiss and his
contemporaries, the capo
should then be positioned
at the 2nd fret. $22.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Go Forth Into the World In Peace Chorale SATB SATB, Orgue Paraclete Press
SATB choir, Organ - Easy SKU: PL.0914 Composed by Antony Baldwin. Parish....(+)
SATB choir, Organ - Easy
SKU: PL.0914
Composed by Antony
Baldwin. Parish. Choral,
General. Octavo.
Paraclete Press #0914.
Published by Paraclete
Press (PL.0914).
* Well-known
prayer from 1928 Book of
Common Prayer set in a
forthright, modal and
major tune * Hymn-anthem
form with organ
accompaniment that adds
strength and color to the
work An all-pupose
anthem with text from the
1928 Book of Common
Prayer, it alternates
unison phrases with
four-part writing and
brief organ interludes.
Traditional-and welcome.
- The American Organist
September 2009. $1.60 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Divergence Orchestre d'harmonie [Conducteur] - Facile C.L. Barnhouse
Grade 2 SKU: CL.024-4685-01 Composed by Robert W. Smith. Young Concert Ba...(+)
Grade 2 SKU:
CL.024-4685-01
Composed by Robert W.
Smith. Young Concert
Band. Rising Band Series
for Developing Bands!
Audio recording available
separately (item
CL.WFR396). Extra full
score. Composed 2018.
Duration 2 minutes, 6
seconds. C.L. Barnhouse
#024-4685-01. Published
by C.L. Barnhouse
(CL.024-4685-01).
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. $7.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Creation Canticles song cycle of praise Subito Music
Soprano & Organ SKU: SU.91480070 For Soprano & Organ. Composed by ...(+)
Soprano & Organ SKU:
SU.91480070 For
Soprano & Organ.
Composed by Dan Locklair.
Vocal/Choral, Solo Voice,
Keyboard, Organ. Study
Score. Composed 1986.
Duration 16'. Subito
Music Corporation
#91480070. Published by
Subito Music Corporation
(SU.91480070). Text:
The Book of Common
Prayer. Soprano,
Organ Duration: 16' Text:
The Book of Common Prayer
Composed: 1986 Published
by: Subito Music
Publishing. $20.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Prayer of Supplication and Thanksgiving anthem Chorale SATB SATB, Orgue Subito Music
SATB Chorus & Organ SKU: SU.91480031 For SATB Chorus & Organ. Comp...(+)
SATB Chorus & Organ
SKU: SU.91480031
For SATB Chorus &
Organ. Composed by
Dan Locklair.
Vocal/Choral, Sacred
Choral. Choral, sacred.
Choral Octavo. Composed
1972. Duration 5'. Subito
Music Corporation
#91480031. Published by
Subito Music Corporation
(SU.91480031). Text: A
Short Book of Common
Prayer. SATB and
organ Duration: 5' Text:
A Short Book of Common
Prayer Composed: 1972
Published by: Subito
Music Publishing Minimum
order quantity: 8 copies.
Perusal copies are
available by contacting
perusalrequest@subitomusi
c.com (include the
organization name with
your request). To order
quantities fewer than 8,
please call customer
service at (973)
857-3440. $2.25 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Sonatina del Sur Op. 98 for Guitar Guitare [Conducteur] Ut Orpheus
Guitar SKU: UT.CH-385 Composed by John W. Duarte. Edited by Isabel Siewer...(+)
Guitar SKU:
UT.CH-385 Composed by
John W. Duarte. Edited by
Isabel Siewers.
Classical. Score. Ut
Orpheus #CH 385.
Published by Ut Orpheus
(UT.CH-385). ISBN
9790215328174. 9 x 12
inches. The
Sonatina del Sur
(Sonatina of the
South) was
commissioned by Isabel
Siewersâ?? mother as a
34th birthday present for
her daughter. Its music
pays token, rather than
imitative, homage to
South American music.
Thus the sonata form
first movement, whose
brief development section
accounts for the
workâ??s
â??diminutiveâ?? title,
merely hints at
syncopations that are as
common in South America
as they are in Europe.
The Canción de
cuna (Cradle Song) is
unusual in the fact that
it is played entirely in
natural harmonics â?? no
string touches a fret
from start to finish, a
compositional challenge I
had long planned to face.
The third movement was
originally titled
Milonga, but when
the dedicatee said that,
although it has a South
American air over it, and
the rhythm is right, it
was not really like a
milonga, it was renamed!
Perhaps, though, it
captures a little of the
happy and
lightness-of-touch
character of its eponym.
The Danza negra,
another common South
American genre, is
energetic, with a variety
of percussive gestures
that demand extreme
agility on the part of
the performer. $16.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Everglades (River of Grass) [Conducteur] 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.16500101F
Mvt. 1 from Symphony
No. 6 (Three Places in
the East). Composed
by Dan Welcher. Full
score. 52 pages. Theodore
Presser Company
#165-00101F. Published by
Theodore Presser Company
(PR.16500101F). ISBN
9781491131725. UPC:
680160680252. 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. $36.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Start Your Engines [Conducteur] - 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.BPS128F Composed
by Peter Sciaino. Sws.
Bps. Full score. 16
pages. Duration 2
minutes, 25 seconds. Carl
Fischer Music #BPS128F.
Published by Carl Fischer
Music (CF.BPS128F).
ISBN 9781491156230.
UPC: 680160914777. 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. $7.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Real Easy Ear Training Book Formation musicale - Solfège [Partition + CD] Sher Music Company
A beginning/intermediate guide to hearing the chord changes. By Roberta Radley. ...(+)
A beginning/intermediate
guide to hearing the
chord changes. By Roberta
Radley. Instructional.
Level:
beginning/intermediate.
Book and 2 CDs. 168
pages. Published by Sher
Music Company.
$34.00 - 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.FPS161
Composed by Joseph
Benjamin Earp. Fps. Set
of Score and Parts.
16+2+8+8+4+4+10+4+4+4+4+6
+6+6+4+6+1+2+1+2+2+1+16
pages. Duration 2
minutes, 4 seconds. Carl
Fischer Music #FPS161.
Published by Carl Fischer
Music (CF.FPS161).
ISBN 9781491161425.
UPC:
680160920013. 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. $58.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Math Rocks Hal Leonard
Performance/Accompaniment CD Choral (PERF/ACCOMCD) SKU: HL.126015 Cros...(+)
Performance/Accompaniment
CD Choral (PERF/ACCOMCD)
SKU: HL.126015
Cross-Curricular Music
Fun for the
Classroom. Composed
by John Jacobson and
Roger Emerson.
ExpressiveArts. Classroom
Resources, Collection,
Cross-Curricular,
Elementary. CD. Published
by Hal Leonard
(HL.126015). ISBN
9781480385108. UPC:
884088993948.
5.0x5.0x0.138 inches.
John Jacobson/Roger
Emerson. Rockin'
with arithmetic is what
it's all about! Reinforce
basic math concepts that
support Common Core State
Standards and promote
higher level learning,
while rockinÕ to the
beat. From Hal Leonard's
popular Rock 'n' Learn
series, this study for
Grades 3-5 explores the 4
basic operations (add,
subtract, multiply,
divide), computing the
area of basic shapes, the
metric system, fractions
and decimal equivalents,
estimating, and much more
- all put to music for
learning that lasts!
Perfect for Music class
or Math class, the
Teacher Book includes
reproducible melody
sheets with chord symbols
and simple choreography,
and worksheet activities
that incorporate Common
Core State Standards in
Math! For performance
options, a script is also
included that introduces
each of the eight
original songs. Groove
along with the singer
recordings on the
enclosed Listening CD!
Also available is an
Enhanced P/A CD with
performance and
accompaniment-only song
tracks, and PDFs of the
piano/vocal arrangements
with choreography, lyrics
and worksheets for lots
of performance and
projection options! For
additional value, receive
all components in the
Classroom Kit. Suggested
for Grades 3-5. $49.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Alfred's Kid's Ukulele Course Complete Ukulele [Partition + CD + DVD] - 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; DVD;
Method/Instruction;
Ukulele Method or
Supplement. Alfred's Kids
Course. Children.
Beginner. 120 pages.
Published by Alfred Music
Publishing
$34.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Oboe Fingering & Scale Chart Hautbois [Diagrammes] - Débutant Mel Bay
By Eric Nelson. For Oboe. Fingering Chart. All. Level: Beginning. Chart. Size 8....(+)
By Eric Nelson. For Oboe.
Fingering Chart. All.
Level: Beginning. Chart.
Size 8.75x11.75. 4 pages.
Published by Mel Bay
Publications, Inc.
$6.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Bassoon Fingering and Scale Chart Basson [Diagrammes] - Débutant Mel Bay
By Eric Nelson. For Bassoon. Fingering Chart. All. Level: Beginning. Chart. Size...(+)
By Eric Nelson. For
Bassoon. Fingering Chart.
All. Level: Beginning.
Chart. Size 8.75x11.75. 4
pages. Published by Mel
Bay Publications, Inc.
$6.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
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