| In December Chorale 3 parties SAB - Intermédiaire Alfred Publishing
By Jay Althouse. For Opt. 2 Clarinets. (SAB). Choral Octavo. Jewish. Level: Lev...(+)
By Jay Althouse. For Opt.
2 Clarinets. (SAB).
Choral Octavo. Jewish.
Level: Level 3 (grade
L3). Choral Octavo. 8
pages. Published by
Alfred Publishing.
(1)$2.25 $2.1375 (- 5%) Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Boundless Hope - Facile 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, Snare Drum,
Suspended Cymbal,
Timpani, Triangle,
Trombone 1, Trombone 2
and more. - Grade 2
SKU: CF.YPS245
Composed by Mark Lortz.
Set of Score and Parts.
16+8+2+4+4+2+2+5+2+2+4+4+
4+3+3+3+2+3+1+1+1+4+2
pages. Duration 3
minutes, 10 seconds. Carl
Fischer Music #YPS245.
Published by Carl Fischer
Music (CF.YPS245).
ISBN 9781491159910.
UPC:
680160918508. In
December of 2020, after
almost a year of living
socially distanced,
isolated, and not knowing
when we would return to
life as we knew it, I
began to think about what
life used to look like. I
realized that I sometimes
might have taken all the
beautiful things in my
life for granted.
Personally, the year 2020
was a time of loss where
someone close to me left,
and at the same time, I
was also able to have
other successes. This
dichotomy inspired me to
realize that there is
hope in all that we do;
it is how we perceive
life. Boundless Hope
represents my thoughts,
feelings, and emotions
during this time. The
piece is roughly based on
the Lydian mode,
introducing the raised
fourth degree in m. 2 of
the mallet percussion and
then at m. 15 in the main
melody. The Lydian mode
naturally gives a sense
of positivity,
hopefulness, inspiration,
and heavenly colors. That
was my exact intention
with this piece: using
the mode to define the
mood showing gratitude
for all that we have, and
yearning to return to
normalcy with a new and
fresh perspective.
Measure 30 should be
slightly faster, followed
by a rit. into the
grandiose recapitulation
of the theme in m. 38. At
m. 45, the wind chimes
should start before the
clarinet entrance, with
the subsequent measures
representing dark and
warm colors. This piece
is very personal to me,
and I appreciate you
playing the
composition. In
December of 2020, after
almost a year of living
socially distanced,
isolated, and not knowing
when we would return to
life as we knew it, I
began to think about what
life used to look like. I
realized that I sometimes
might have taken all the
beautiful things in my
life for granted.
Personally, the year 2020
was a time of loss where
someone close to me left,
and at the same time, I
was also able to have
other successes. This
dichotomy inspired me to
realize that there is
hope in all that we do;
it is how we perceive
life. Boundless Hope
represents my thoughts,
feelings, and emotions
during this time. The
piece is roughly based on
the Lydian mode,
introducing the raised
fourth degree in m. 2
of the mallet percussion
and then at m. 15 in the
main melody. The Lydian
mode naturally gives a
sense of positivity,
hopefulness, inspiration,
and heavenly colors. That
was my exact intention
with this piece: using
the mode to define the
mood showing gratitude
for all that we have, and
yearning to return to
normalcy with a new and
fresh perspective.
Measure 30 should be
slightly faster, followed
by a rit. into the
grandiose recapitulation
of the theme in m. 38. At
m. 45, the wind chimes
should start before the
clarinet entrance, with
the subsequent measures
representing dark and
warm colors.This piece is
very personal to me, and
I appreciate you playing
the composition. $65.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Boundless Hope [Conducteur] - Facile 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, Snare Drum,
Suspended Cymbal,
Timpani, Triangle,
Trombone 1, Trombone 2
and more. - Grade 2
SKU: CF.YPS245F
Composed by Mark Lortz.
Full score. 11 pages.
Carl Fischer Music
#YPS245F. Published by
Carl Fischer Music
(CF.YPS245F). ISBN
9781491159927. UPC:
680160918515. In
December of 2020, after
almost a year of living
socially distanced,
isolated, and not knowing
when we would return to
life as we knew it, I
began to think about what
life used to look like. I
realized that I sometimes
might have taken all the
beautiful things in my
life for granted.
Personally, the year 2020
was a time of loss where
someone close to me left,
and at the same time, I
was also able to have
other successes. This
dichotomy inspired me to
realize that there is
hope in all that we do;
it is how we perceive
life. Boundless Hope
represents my thoughts,
feelings, and emotions
during this time. The
piece is roughly based on
the Lydian mode,
introducing the raised
fourth degree in m. 2 of
the mallet percussion and
then at m. 15 in the main
melody. The Lydian mode
naturally gives a sense
of positivity,
hopefulness, inspiration,
and heavenly colors. That
was my exact intention
with this piece: using
the mode to define the
mood showing gratitude
for all that we have, and
yearning to return to
normalcy with a new and
fresh perspective.
Measure 30 should be
slightly faster, followed
by a rit. into the
grandiose recapitulation
of the theme in m. 38. At
m. 45, the wind chimes
should start before the
clarinet entrance, with
the subsequent measures
representing dark and
warm colors. This piece
is very personal to me,
and I appreciate you
playing the
composition. In
December of 2020, after
almost a year of living
socially distanced,
isolated, and not knowing
when we would return to
life as we knew it, I
began to think about what
life used to look like. I
realized that I sometimes
might have taken all the
beautiful things in my
life for granted.
Personally, the year 2020
was a time of loss where
someone close to me left,
and at the same time, I
was also able to have
other successes. This
dichotomy inspired me to
realize that there is
hope in all that we do;
it is how we perceive
life. Boundless Hope
represents my thoughts,
feelings, and emotions
during this time. The
piece is roughly based on
the Lydian mode,
introducing the raised
fourth degree in m. 2
of the mallet percussion
and then at m. 15 in the
main melody. The Lydian
mode naturally gives a
sense of positivity,
hopefulness, inspiration,
and heavenly colors. That
was my exact intention
with this piece: using
the mode to define the
mood showing gratitude
for all that we have, and
yearning to return to
normalcy with a new and
fresh perspective.
Measure 30 should be
slightly faster, followed
by a rit. into the
grandiose recapitulation
of the theme in m. 38. At
m. 45, the wind chimes
should start before the
clarinet entrance, with
the subsequent measures
representing dark and
warm colors.This piece is
very personal to me, and
I appreciate you playing
the composition. $11.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Hank Jones - The Jazz Master Class Series from NYU Video - Pas de partitions DVD concert [DVD] Artists House
2-DVD Set. By Hank Jones. This edition: 827867001526. DVD. DVD . Published by Ar...(+)
2-DVD Set. By Hank Jones.
This edition:
827867001526. DVD. DVD .
Published by Artists
House.
$19.95 - Voir plus => AcheterDélais: 3 to 5 business days | | |
| Praise Songs For Two Voices [Livre + CD] Hope Publishing Company
By Various. Arranged by Lloyd Larson. Vocal Duets - Lloyd Larson. Contemporary, ...(+)
By Various. Arranged by
Lloyd Larson. Vocal Duets
- Lloyd Larson.
Contemporary, Sacred.
Book & Accompaniment CD.
76 pages
$14.95 - Voir plus => AcheterDélais: 4 to 6 business days | | |
| 3 Pieces for Violin and Piano Op. 116 Violon et Piano Breitkopf & Härtel
Urtext based on the Complete Edition Jean Sibelius Works (JSW). Composed by Je...(+)
Urtext based on the
Complete
Edition Jean Sibelius
Works
(JSW). Composed by Jean
Sibelius (1865-1957).
Edited
by Anna Pulkkis.
The violin was Sibelius's
instrument, and the
virtuoso
aspect is eminent in Drei
Stucke Op. 116 as well as
in
his entire oeuvre for
violin
and piano. Apart from
that,
Op. 116 provides a
glimpse
into the last active
phase of
Sibelius's care.
Breitkopf
and Haertel #EB-9341.
Published by Breitkopf
and
Haertel
$31.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Requiem Orquesta Editorial de Musica Boileau
Orequesta sinfonica, Orquesta camara, voces y coro (Symphony Orchestra, Chamber ...(+)
Orequesta sinfonica,
Orquesta camara, voces y
coro (Symphony Orchestra,
Chamber Orchestra, Solo
Voices and Choir) SKU:
BO.B.3472 A la
memoria de Salvador
Espriu. Composed by
Xavier Benguerel. Vocal
Music. Choir. Duration
85:00. Published by
Editorial de Musica
Boileau (BO.B.3472).
ISBN
9788480208130. Engl
ish comments: The Requiem
in memory of Salvador
Espriu by Xavier
Benguerel was
commissioned by the
Torroella de Montgri
International Music
Festival for a double
commemoration: on the one
hand, to celebrate the
tenth anniversary of the
Festival, and on the
other, in remembrance of
Catalan poet Salvador
Espriu in the fifth year
after his death. This
concert, which was held
on 5 October, was a
brilliant closing gala
performance and it was
repeated twice on 6 and 7
October at the Palau de
la Musica Catalana in
Barcelona. It was
performed by the
Orchestra and Choir of
the Gran Teatro del
Liceo, with soloists
Enriqueta Tarres,
soprano; Nelibel
Martinez, mezzo soprano;
Eduard Gimenez, tenor;
and Carlos Chausson,
baritone, with the
additional collaboration
of baritone Lluis Llach,
conducted by Romano
Gandolfi. In my
opinion, this work by
Benguerel is a piece that
was written with passion
and sincerity, with great
strength and depth, and
it contains some very
beautiful passages. It is
written in a language
through which, without
abandoning his current
musical thoughts,
Benguerel manages to
communicate with the
audience in a dense work
that lasts for an hour
and a half. It is
interspersed with seven
poems by Espriu on the
subject of death, some
sung and others recited,
which gives the Requiem
great contrasts from a
musical and linguistic
point of view -in
comparison with the Latin
texts normally used in a
requiem mass-, but within
a successful and coherent
unity. The performers
certainly proved their
worth, but much of the
hard work that went into
preparing the piece can
be attributed not only to
the performers, the
composer and the poet in
tribute to whom the work
was written, but also to
the conductor Romano
Gandolfi, who is largely
responsible for the
success of the three
performances of this
Requiem. Benguerel
himself says of the work:
This Requiem is linked to
my previous work, the
Llibre Vermell, and it
has been written without
making any concessions,
but with a true wish to
communicate with the
audience. I've got past
the stage of musical
experiments and I'm now
working on bridging the
gap between composer and
audience, which I'm sure
will be good for
both. --Comments
written by Jordi Codina
in the December 1990
issue of Nexus
magazine Comentario
s del Espanol: El Requiem
a la memoria de Salvador
Espriu de Xavier
Benguerel ha sido
compuesto por encargo del
Festival Internacional de
Musica de Torroella de
Montgri para una doble
conmemoracion: por una
parte, el decimo
aniversario del Festival;
por otra, el recuerdo de
la figura del poeta
catalan Salvador Espriu
en el quinto ano de su
fallecimiento. Este
concierto, celebrado el
dia 5 de octubre,
constituyo una sesion de
gala y de clausura
brillante y tuvo una
doble repeticion los dias
6 y 7en el Palau de la
Musica Catalana de
Barcelona. Fueron sus
interpretes la Orquesta y
el Coro del Gran Teatro
del Liceo, con los
solistas vocales
Enriqueta Tarres,
soprano; Nelibel
Martinez, mezzo; Eduard
Gimenez, tenor; y Carlos
Chausson, baritono, con
la colaboracion del
tambien baritono Lluis
Llach. Todos bajo la
direccion de Romano
Gandolfi. A mi
entender, la obra de
Benguerel es una
partitura escrita con
pasion y sinceridad,
posee una gran solidez,
es profunda y contiene
pasajes de una gran
belleza. Esta escrita en
un lenguaje con el que
Benguerel, sin renunciar
a su actual pensamiento
musical, alcanza la
comunicacion con el
publico en una obra densa
que dura una hora y
media. La intercalacion
de siete poemas de Espriu
relacionados con el tema
de la muerte, en una
interpretacion cantada o
recitada, segun los
casos, otorga al Requiem
grandes contrastes desde
un punto de vista musical
y lingŸistico à en
contraposicion con los
textos latinos propios de
una misa de requiem Ã,
pero dentro de una unidad
conseguida y coherente.
La labor de los
interpretes demostro su
categoria y el trabajo
exhaustivo en la
preparacion de la obra,
que, ademas de los
interpretes, el
compositor y el poeta
homenajeado, tuvo otro
gran protagonista en la
persona del director
Romano Gandolfi, a quien
se debe una gran parte
del exito obtenido en las
tres audiciones de este
Requiem. El propio
Benguerel ha dicho de la
obra: Este Requiem
entronca con mi obra
anterior, el Llibre
Vermell, y ha sido
escrito sin concesiones,
pero con una voluntad
real de comunicacion con
el publico. La epoca de
los experimentos
musicales ya se me paso y
he entrado en una nueva
etapa de acercamiento
entre el compositor y el
publico que, estoy
convencido, beneficiara a
ambos. --Comentario
escrito por Jordi Codina
en la revista Nexus en
diciembre de 1990 $41.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Requiem Voces, Coro y Piano (Reduccion) Editorial de Musica Boileau
Coro, Voces y Piano (Choir, Solo Voices, and Piano) SKU: BO.B.3473 A l...(+)
Coro, Voces y Piano
(Choir, Solo Voices, and
Piano) SKU:
BO.B.3473 A la
memoria de Salvador
Espriu. Composed by
Xavier Benguerel. Vocal
Music. Piano reduction.
Choir. Duration 85:00.
Published by Editorial de
Musica Boileau
(BO.B.3473). ISBN
9788480208147. Engl
ish comments: The Requiem
in memory of Salvador
Espriu by Xavier
Benguerel was
commissioned by the
Torroella de Montgri
International Music
Festival for a double
commemoration: on the one
hand, to celebrate the
tenth anniversary of the
Festival, and on the
other, in remembrance of
Catalan poet Salvador
Espriu in the fifth year
after his death. This
concert, which was held
on 5 October, was a
brilliant closing gala
performance and it was
repeated twice on 6 and 7
October at the Palau de
la Musica Catalana in
Barcelona. It was
performed by the
Orchestra and Choir of
the Gran Teatro del
Liceo, with soloists
Enriqueta Tarres,
soprano; Nelibel
Martinez, mezzo soprano;
Eduard Gimenez, tenor;
and Carlos Chausson,
baritone, with the
additional collaboration
of baritone Lluis Llach,
conducted by Romano
Gandolfi. In my
opinion, this work by
Benguerel is a piece that
was written with passion
and sincerity, with great
strength and depth, and
it contains some very
beautiful passages. It is
written in a language
through which, without
abandoning his current
musical thoughts,
Benguerel manages to
communicate with the
audience in a dense work
that lasts for an hour
and a half. It is
interspersed with seven
poems by Espriu on the
subject of death, some
sung and others recited,
which gives the Requiem
great contrasts from a
musical and linguistic
point of view -in
comparison with the Latin
texts normally used in a
requiem mass-, but within
a successful and coherent
unity. The performers
certainly proved their
worth, but much of the
hard work that went into
preparing the piece can
be attributed not only to
the performers, the
composer and the poet in
tribute to whom the work
was written, but also to
the conductor Romano
Gandolfi, who is largely
responsible for the
success of the three
performances of this
Requiem. Benguerel
himself says of the work:
This Requiem is linked to
my previous work, the
Llibre Vermell, and it
has been written without
making any concessions,
but with a true wish to
communicate with the
audience. I've got past
the stage of musical
experiments and I'm now
working on bridging the
gap between composer and
audience, which I'm sure
will be good for
both. --Comments
written by Jordi Codina
in the December 1990
issue of Nexus
magazine Comentario
s del Espanol: El Requiem
a la memoria de Salvador
Espriu de Xavier
Benguerel ha sido
compuesto por encargo del
Festival Internacional de
Musica de Torroella de
Montgri para una doble
conmemoracion: por una
parte, el decimo
aniversario del Festival;
por otra, el recuerdo de
la figura del poeta
catalan Salvador Espriu
en el quinto ano de su
fallecimiento. Este
concierto, celebrado el
dia 5 de octubre,
constituyo una sesion de
gala y de clausura
brillante y tuvo una
doble repeticion los dias
6 y 7en el Palau de la
Musica Catalana de
Barcelona. Fueron sus
interpretes la Orquesta y
el Coro del Gran Teatro
del Liceo, con los
solistas vocales
Enriqueta Tarres,
soprano; Nelibel
Martinez, mezzo; Eduard
Gimenez, tenor; y Carlos
Chausson, baritono, con
la colaboracion del
tambien baritono Lluis
Llach. Todos bajo la
direccion de Romano
Gandolfi. A mi
entender, la obra de
Benguerel es una
partitura escrita con
pasion y sinceridad,
posee una gran solidez,
es profunda y contiene
pasajes de una gran
belleza. Esta escrita en
un lenguaje con el que
Benguerel, sin renunciar
a su actual pensamiento
musical, alcanza la
comunicacion con el
publico en una obra densa
que dura una hora y
media. La intercalacion
de siete poemas de Espriu
relacionados con el tema
de la muerte, en una
interpretacion cantada o
recitada, segun los
casos, otorga al Requiem
grandes contrastes desde
un punto de vista musical
y lingŸistico à en
contraposicion con los
textos latinos propios de
una misa de requiem Ã,
pero dentro de una unidad
conseguida y coherente.
La labor de los
interpretes demostro su
categoria y el trabajo
exhaustivo en la
preparacion de la obra,
que, ademas de los
interpretes, el
compositor y el poeta
homenajeado, tuvo otro
gran protagonista en la
persona del director
Romano Gandolfi, a quien
se debe una gran parte
del exito obtenido en las
tres audiciones de este
Requiem. El propio
Benguerel ha dicho de la
obra: Este Requiem
entronca con mi obra
anterior, el Llibre
Vermell, y ha sido
escrito sin concesiones,
pero con una voluntad
real de comunicacion con
el publico. La epoca de
los experimentos
musicales ya se me paso y
he entrado en una nueva
etapa de acercamiento
entre el compositor y el
publico que, estoy
convencido, beneficiara a
ambos. --Comentario
escrito por Jordi Codina
en la revista Nexus en
diciembre de 1990 $41.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Episodes Piano seul [Conducteur] Theodore Presser Co.
Chamber Music Piano SKU: PR.140401030 Five Thoughts for Piano. Com...(+)
Chamber Music Piano
SKU: PR.140401030
Five Thoughts for
Piano. Composed by
Sydney F. Hodkinson.
Saddle. Score. With
Standard notation.
Composed December 3 2007.
21 pages. Duration 18
minutes. Theodore Presser
Company #140-40103.
Published by Theodore
Presser Company
(PR.140401030). UPC:
680160572182. 9.5 x 13
inches. Episodes
was commissioned by and
dedicated to Dr. Michael
Rickman, professor of
piano at Stetson
University, Deland,
Florida. The work
challenges the alacrity
and dexterity of the
performer, says Ho
dkinson. Duration:
Approximately 18'. $37.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| String quartets Nos. 1-3 Op. 41 Quatuor à cordes: 2 violons, alto, violoncelle Breitkopf & Härtel
String Quartet (2vl,va,vc) SKU: BR.EB-32032 Urtext. Composed by Ro...(+)
String Quartet
(2vl,va,vc) SKU:
BR.EB-32032
Urtext. Composed
by Robert Schumann.
Edited by Nick
Pfefferkorn. Chamber
music; Folder. Edition
Breitkopf. Romantic
period. Set of parts. 140
pages. Breitkopf and
Haertel #EB 32032.
Published by Breitkopf
and Haertel
(BR.EB-32032). ISBN
9790004186343. 9 x 12
inches. Invaluable
Glimpses Schumann's close
collaboration with the
David quartet, together
with the valuable advice
of his friend Mendelssohn
Bartholdy, led the
composer to make
extensive changes to the
Streichquartette op. 41
before publication in
December 1842. The
present edition is hence
to be thought of as a
critical Urtext edition;
it offers in fact to
those interested, an
invaluable glimpse into
Schumann's creative
process and his striving
for the final form of his
string quartets. All the
deletions, changes, and
the original phrasing
were carefully worked out
in detail, restored, and
editorially identified in
the music text. A
detailed preface giving
the geneses of the works,
as well as pages of the
autograph score in
facsimile, complement the
edition. The parts are of
course so configured in
the reliable Breitkopf
quality that the quartets
can also be performed
today in the traditional
form. The present edition
was also used for the
Leipzig String Quartet's
2010 CD recording. $61.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| The Diary of One Who Disappeared Barenreiter
Level 5 SKU: BA.BA06869-01 Composed by Leos Janacek. Edited by Jirà Za...(+)
Level 5 SKU:
BA.BA06869-01
Composed by Leos Janacek.
Edited by JirÃ
Zahrádka. This
edition: complete
edition, urtext edition.
Linen. Complete edition,
Score. Baerenreiter
Verlag #BA06869_01.
Published by Baerenreiter
Verlag (BA.BA06869-01).
ISBN 9790260109599. 34
x 27 cm inches. Text
Language: Czech, German,
English. Preface:
Zahrádka,
JirÃ. Even
though Janacek’s
song drama „The
Diary of One Who
Disappeared†is
scored for chamber
ensemble, the
composer’s
operatic experience is
clearly detectable. This
work appears in the
series “Complete
Critical Works of Leos
Janacek†(vol.
B/6), edited by JirÃ
Zahrádka. The volume
includes an expanded
preface (compared with
the performing edition,
BA09575) and a separate
edition of the song
texts. The beautiful
engraving matches that of
the performing edition.
During recent years the
author of the poems has
been identified as Josef
Kalda, and we know that
the muse of all of
Janacek’s late
works was Kamila
Stösslová.
“That’s why
there is so much ardent
feeling in this
work†(letter of 24
July 1924) .
“… With this
work I constantly thought
of you! You were this
Žofka to me!“
(letter of 24 December
1927). The renowned
editor’s research
uncovered several new
findings.
About
Barenreiter
Urtext
What can I
expect from a Barenreiter
Urtext
edition?<
/p> MUSICOLOGICA
LLY SOUND - A
reliable musical text
based on all available
sources - A
description of the
sources -
Information on the
genesis and history of
the work - Valuable
notes on performance
practice - Includes
an introduction with
critical commentary
explaining source
discrepancies and
editorial decisions
... AND
PRACTICAL -
Page-turns, fold-out
pages, and cues where you
need them - A
well-presented layout and
a user-friendly
format - Excellent
print quality -
Superior paper and
binding
$204.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Sleep, My Child [Conducteur] - Facile Carl Fischer
Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade ...(+)
Orchestra Cello,
Contrabass, Piano, Viola,
Violin 1, Violin 2,
Violin 3 - Grade 2.5
SKU: CF.YAS186F
Shlof, Mayn Kind.
Composed by Larry Clark.
Young String Orchestra
(YAS). Full score. With
Standard notation. 12
pages. Carl Fischer Music
#YAS186F. Published by
Carl Fischer Music
(CF.YAS186F). ISBN
9781491151884. UPC:
680160909384. 9 x 12
inches. A stunning
and heart-wrenching
composition based on the
Jewish folk son Shlof,
Mayn Kind. You can
hear the emotional
content pour out of this
piece written in memory
of an outstanding
orchestra director. The
piece beginnings with
original material to set
the tone, followed by a
violin solo on the song.
It them develops through
a variety of different
harmonic presentation
before building to a nice
key change and climatic
moment. The piece ends as
it began, but with a more
hopeful tone. An amazing
piece. Sleep, My Child
was commissioned by the
Madison Middle School
Band and Orchestra in
Tampa, Florida, and is
dedicated to the memory
of their Director of
Orchestras Kevin Frye.
Director of Bands Chris
Shultz championed the
commissioning of this
piece to honor Kevin
after he passed away in
December 2016. Mr. Frye
was a beloved member of
the staff at Madison
Middle as well as the
music community of Tampa
and the state of
Florida. I was a
personal friend of
Kevin’s. We were
in several musical groups
together when we were
young that were formative
to both of our musical
careers. I also
guest-conducted his
Madison Middle School
Orchestra several times
over the past four years.
His musicianship,
teaching skills and love
for his students were
exemplary.When taking on
the challenge of writing
a piece to honor
Kevin’s legacy,
Mr. Shultz and I decided
to try and include
several important aspects
of Kevin’s life
into the piece. Kevin was
proudly Jewish, a
fantastic trumpet player
and loved Jazz. With that
in mind, and after a lot
of research, a Jewish
folk song Shlof, Mayn
Kind was selected as the
basis for the piece, not
to be religious, but to
honor his faith and
heritage. Plus it is a
beautiful song and I felt
the title reflected the
sentiment I was looking
to express, which is of
someone taking rest after
a long battle with
illness, so a lullaby
seemed appropriate.I also
wanted to incorporate
Jazz into the piece, but
in a concert setting, so
you will hear as the
piece develops, the
harmonies of the folk
song expand into ones
found more commonly in
Jazz compositions.Â
Not in a far out way, but
in a subtle way to again
honor this part of his
life. For example the
climactic moment of the
piece at the fermata in
m. 57 is a Dbmaj9#11
chord. It appropriately
give the piece the angst
that I was looking for at
this moment in the piece,
while honoring the
importance of Jazz in
Kevin’s musical
life.The piece was also
conceived to include both
the Madison band and
orchestra in the
performance at the
premiere. I wanted the
pieces to work separately
by the band and
separately by the
orchestra, but I also
wanted them to be able to
play the piece together
to honor Kevin.The piece
begins with original
material designed to set
the mood of the piece
with a tempo/style
marking of pensive, but
also as material that I
used as connective
musical tissue between
statements of the folk
song. After this
introduction, the folk
song is presented by a
solo violin (or clarinet)
with orchestral
accompaniment in a simple
straight forward
presentation of the song.
This is followed by a
woodwind section
statement of the folk
song accompanied by muted
trumpets. During this
presentation the harmony
starts to expand with
more color notes in the
chords. The low brass are
added half way through
this statement to add
depth and lushness.The
introductory material
returns, but with some
angry hits in the lower
voices. This leads to a
full ensemble state of
new material that is used
to transition to the
climax of the piece, and
to build tension. After
the build, the piece
modulates to a shortened
statement of the folk
song with more advanced
harmonies and an active
counter line in the
violas, horns, saxes and
first clarinets to
further build the
tension. This tension
is released at the
fermata in m. 57 as
mentioned above. After a
thoughtful pause, the
piece concludes with a
completion of the folk
song again with a solo
violin (or clarinet)
followed by a return of
the introductory material
to tie the piece
together. The piece ends
hopeful, with a solo
trumpet (Kevin’s
instrument) that is
dissonant at first, but
then resolves as if to
say, Everything will be
OK! It has been my
distinct honor to have
been asked to write this
piece in Kevin’s
memory! I hope that in
some small way the piece
helps to bring comfort to
his family, students,
colleagues and to all
those that knew
him!–Larry
ClarkLakeland, FLÂ
2017.
About Carl
Fischer Young String
Orchestra
Series Thi
s series of Grade 2/Grade
2.5 pieces is designed
for second and third year
ensembles. The pieces in
this series are
characterized
by: --Occasionally
extending to third
position --Keys
carefully considered for
appropriate
difficulty --Addition
of separate 2nd violin
and viola
parts --Viola T.C.
part
included --Increase
in independence of parts
over beginning levels $8.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Christmas Praise Piano, Voix [Partition] Hal Leonard
| | |
| String quartets Nos. 1-3 Op. 41 Quatuor à cordes: 2 violons, alto, violoncelle Breitkopf & Härtel
String Quartet SKU: BR.PB-32032 Urtext. Composed by Robert Schuman...(+)
String Quartet SKU:
BR.PB-32032
Urtext. Composed
by Robert Schumann.
Edited by Nick
Pfefferkorn. Chamber
music; Softbound.
Partitur-Bibliothek
(Score Library). Romantic
period. Study Score.
Breitkopf and Haertel #PB
32032. Published by
Breitkopf and Haertel
(BR.PB-32032). ISBN
9790004215661. 6.5 x 9
inches. Invaluable
Glimpses Schumann's close
collaboration with the
David quartet, together
with the valuable advice
of his friend Mendelssohn
Bartholdy, led the
composer to make
extensive changes to the
Streichquartette op. 41
before publication in
December 1842. The
present edition is hence
to be thought of as a
critical Urtext edition;
it offers in fact to
those interested, an
invaluable glimpse into
Schumann's creative
process and his striving
for the final form of his
string quartets. All the
deletions, changes, and
the original phrasing
were carefully worked out
in detail, restored, and
editorially identified in
the music text. A
detailed preface giving
the geneses of the works,
as well as pages of the
autograph score in
facsimile, complement the
edition. The parts are of
course so configured in
the reliable Breitkopf
quality that the quartets
can also be performed
today in the traditional
form. The present edition
was also used for the
Leipzig String Quartet's
2010 CD recording. $32.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| String quartets Nos. 1-3 Op. 41 Quatuor à cordes: 2 violons, alto, violoncelle Breitkopf & Härtel
String Quartet (2vl,va,vc) SKU: BR.PB-32032-07 Urtext. Composed by...(+)
String Quartet
(2vl,va,vc) SKU:
BR.PB-32032-07
Urtext. Composed
by Robert Schumann.
Edited by Nick
Pfefferkorn. Chamber
music; Softbound.
Partitur-Bibliothek
(Score Library). Romantic
period. Study Score. 124
pages. Breitkopf and
Haertel #PB 32032-07.
Published by Breitkopf
and Haertel
(BR.PB-32032-07). ISBN
9790004215661. 6.5 x 9
inches. Invaluable
Glimpses Schumann's close
collaboration with the
David quartet, together
with the valuable advice
of his friend Mendelssohn
Bartholdy, led the
composer to make
extensive changes to the
Streichquartette op. 41
before publication in
December 1842. The
present edition is hence
to be thought of as a
critical Urtext edition;
it offers in fact to
those interested, an
invaluable glimpse into
Schumann's creative
process and his striving
for the final form of his
string quartets. All the
deletions, changes, and
the original phrasing
were carefully worked out
in detail, restored, and
editorially identified in
the music text. A
detailed preface giving
the geneses of the works,
as well as pages of the
autograph score in
facsimile, complement the
edition. The parts are of
course so configured in
the reliable Breitkopf
quality that the quartets
can also be performed
today in the traditional
form. The present edition
was also used for the
Leipzig String Quartet's
2010 CD recording. $32.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Prelude a l'apres-midi d'un faune Orchestre EMB (Editio Musica Budapest)
Orchestra SKU: BT.EMBZ40015 By Gabor Darvas. By Claude Debussy. EMB Study...(+)
Orchestra SKU:
BT.EMBZ40015 By Gabor
Darvas. By Claude
Debussy. EMB Study
Scores. Book Only.
Composed 1982. 40 pages.
Editio Musica Budapest
#EMBZ40015. Published by
Editio Musica Budapest
(BT.EMBZ40015).
Debussy decided
in 1892, at the age of
thirty, to compose a work
for orchestra after
Mallarmé's poem,
L'aprés-midi d'un
faune. Originally he had
thought of writing three
movements (Prélude -
Interlude - Paraphrase)
but when the first
movement was completed in
September 1894 he came to
the conclusion that the
continuation would be
superfluous.The
Prélude was first
performed in Paris with
Gustave Doret as
conductor on 22 December
of the same year yet, as
it achieved immediate
succes it had to be
repeated. Source for the
present edition was the
first printed score
(1895) which had been
revised by the composer.
Debussy's original,
French expressions and
markings have been
retained. $10.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Sleep, My Child Orchestre d'harmonie [Conducteur] - Facile Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bell Tree, Bells, Clarinet 1, Clarinet 2...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bell Tree,
Bells, Clarinet 1,
Clarinet 2, Crash
Cymbals, Euphonium,
Euphonium T.C., Flute,
Flute 2, Horn, Mallet
Percussion, Oboe,
Percussion 1, Percussion
2, Snare Drum, Suspended
Cymbal, Tam-tam, Timpani
and more. - Grade 2
SKU: CF.YPS208F
Shlof, Mayn Kind.
Composed by Larry Clark.
Young Band (YPS). Full
score. With Standard
notation. 12 pages. Carl
Fischer Music #YPS208F.
Published by Carl Fischer
Music (CF.YPS208F).
ISBN 9781491152966.
UPC:
680160910465. A
stunning and
heart-wrenching
composition based on the
Jewish folk son Shlof,
Mayn Kind. You can
hear the emotional
content pour out of this
piece written in memory
of an outstanding
orchestra director. The
piece beginnings with
original material to set
the tone, followed by
a clarinet solo on the
song. It then develops
through a variety of
different harmonic
presentation before
building to a nice key
change and climatic
moment. The piece ends as
it began, but with a more
hopeful tone. An amazing
piece. Sleep, My Child
was commissioned by the
Madison Middle School
Band and Orchestra in
Tampa, Florida, and is
dedicated to the memory
of their Director of
Orchestras Kevin Frye.
Director of Bands Chris
Shultz championed the
commissioning of this
piece to honor Kevin
after he passed away in
December 2016. Mr. Frye
was a beloved member of
the staff at Madison
Middle as well as the
music community of Tampa
and the state of
Florida. I was a
personal friend of
Kevin’s. We were
in several musical groups
together when we were
young that were formative
to both of our musical
careers. I also guest
conducted his Madison
Middle School Orchestra
several times over the
past four years. His
musicianship, teaching
skills and love for his
students were
exemplary.When taking on
the challenge of writing
a piece to honor
Kevin’s legacy,
Mr. Shultz and I decided
to try and include
several important aspects
of Kevin’s life
into the piece. Kevin was
proudly Jewish, a
fantastic trumpet player
and loved Jazz. With that
in mind, and after a lot
of research, a Jewish
folk song Shlof, Mayn
Kind was selected as the
basis for the piece, not
to be religious, but to
honor his faith and
heritage. Plus it is a
beautiful song, and I
felt the title reflected
the sentiment I was
looking to express, which
is of someone taking rest
after a long battle with
illness. Thus, a lullaby
seemed appropriate.I also
wanted to incorporate
Jazz into the piece, but
in a concert setting, so
you will hear as the
piece develops, the
harmonies of the folk
song expand into ones
found more commonly in
Jazz compositions. Not
in a far out way, but in
a subtle way to again
honor this part of his
life. For example the
climactic moment of the
piece at the fermata in
m. 57 is a Dbmaj9#11
chord. It appropriately
give the piece the angst
that I was looking for at
this moment in the piece,
while honoring the
importance of Jazz in
Kevin’s musical
life.The piece was also
conceived to include both
the Madison band and
orchestra in the
performance at the
premiere. I wanted the
pieces to work separately
by the band and
separately by the
orchestra, but I also
wanted them to be able to
play the piece together
to honor Kevin.The piece
begins with original
material designed to set
the mood of the piece
with a tempo/style
marking of pensive, but
also as material that I
used as connective
musical tissue between
statements of the folk
song. After this
introduction, the folk
song is presented by a
solo violin (or clarinet)
with orchestral
accompaniment in a simple
straight forward
presentation of the song.
This is followed by a
woodwind section
statement of the folk
song accompanied by muted
trumpets. During this
presentation the harmony
starts to expand with
more color notes in the
chords. The low brass are
added half way through
this statement to add
depth and lushness.The
introductory material
returns, but with some
angry hits in the lower
voices. This leads to a
full ensemble state of
new material that is used
to transition to the
climax of the piece, and
to build tension. After
the build, the piece
modulates to a shortened
statement of the folk
song with more advanced
harmonies and an active
counter line in the
violas, horns, saxes and
first clarinets to
further build the
tension. This tension
is released at the
fermata in m. 57, as
mentioned above. After a
thoughtful pause, the
piece concludes with a
completion of the folk
song again with a solo
violin (or clarinet)
followed by a return of
the introductory material
to tie the piece
together. The piece ends
hopeful, with a solo
trumpet (Kevin’s
instrument) that is
dissonant at first, but
then resolves as if to
say - everything will be
OK! It has been my
distinct honor to have
been asked to write this
piece in Kevin’s
memory! I hope that in
some small way the piece
helps to bring comfort to
his family, students,
colleagues and to all
those that knew
him!–Larry
ClarkLakeland, FLÂ
2017. $11.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Best Fake Book Ever - 5th Edition Instruments en Do [Fake Book] Hal Leonard
C Edition. Composed by Various. Fake Book. Broadway, Country, Jazz, Pop, Stand...(+)
C Edition. Composed by
Various. Fake Book.
Broadway,
Country, Jazz, Pop,
Standards.
Softcover. 802 pages.
Published by Hal Leonard
$49.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Sleep, My Child Orchestre d'harmonie - Facile Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Euphonium...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bells,
Clarinet 1, Clarinet 2,
Euphonium, Euphonium
T.C., Flute, Flute 2,
Horn, Mallet Percussion,
Oboe, Percussion 1,
Percussion 2, Snare Drum,
Timpani, Trombone,
Trumpet 1, Trumpet 2,
Tuba, alto Saxophone and
more. - Grade 2 SKU:
CF.YPS208 Shlof,
Mayn Kind. Composed
by Larry Clark. Young
Band (YPS). Set of Score
and Parts. With Standard
notation.
8+2+4+4+2+2+5+2+2+4+4+4+6
+3+2+3+1+1+2+6+12 pages.
Duration 4 minutes, 31
seconds. Carl Fischer
Music #YPS208. Published
by Carl Fischer Music
(CF.YPS208). ISBN
9781491152287. UPC:
680160909780. Key: D
minor. A stunning
and heart-wrenching
composition based on the
Jewish folk son Shlof,
Mayn Kind. You can
hear the emotional
content pour out of this
piece written in memory
of an outstanding
orchestra director. The
piece beginnings with
original material to set
the tone, followed by
a clarinet solo on the
song. It then develops
through a variety of
different harmonic
presentation before
building to a nice key
change and climatic
moment. The piece ends as
it began, but with a more
hopeful tone. An amazing
piece. Sleep, My Child
was commissioned by the
Madison Middle School
Band and Orchestra in
Tampa, Florida, and is
dedicated to the memory
of their Director of
Orchestras Kevin Frye.
Director of Bands Chris
Shultz championed the
commissioning of this
piece to honor Kevin
after he passed away in
December 2016. Mr. Frye
was a beloved member of
the staff at Madison
Middle as well as the
music community of Tampa
and the state of
Florida. I was a
personal friend of
Kevin’s. We were
in several musical groups
together when we were
young that were formative
to both of our musical
careers. I also guest
conducted his Madison
Middle School Orchestra
several times over the
past four years. His
musicianship, teaching
skills and love for his
students were
exemplary.When taking on
the challenge of writing
a piece to honor
Kevin’s legacy,
Mr. Shultz and I decided
to try and include
several important aspects
of Kevin’s life
into the piece. Kevin was
proudly Jewish, a
fantastic trumpet player
and loved Jazz. With that
in mind, and after a lot
of research, a Jewish
folk song Shlof, Mayn
Kind was selected as the
basis for the piece, not
to be religious, but to
honor his faith and
heritage. Plus it is a
beautiful song, and I
felt the title reflected
the sentiment I was
looking to express, which
is of someone taking rest
after a long battle with
illness. Thus, a lullaby
seemed appropriate.I also
wanted to incorporate
Jazz into the piece, but
in a concert setting, so
you will hear as the
piece develops, the
harmonies of the folk
song expand into ones
found more commonly in
Jazz compositions. Not
in a far out way, but in
a subtle way to again
honor this part of his
life. For example the
climactic moment of the
piece at the fermata in
m. 57 is a Dbmaj9#11
chord. It appropriately
give the piece the angst
that I was looking for at
this moment in the piece,
while honoring the
importance of Jazz in
Kevin’s musical
life.The piece was also
conceived to include both
the Madison band and
orchestra in the
performance at the
premiere. I wanted the
pieces to work separately
by the band and
separately by the
orchestra, but I also
wanted them to be able to
play the piece together
to honor Kevin.The piece
begins with original
material designed to set
the mood of the piece
with a tempo/style
marking of pensive, but
also as material that I
used as connective
musical tissue between
statements of the folk
song. After this
introduction, the folk
song is presented by a
solo violin (or clarinet)
with orchestral
accompaniment in a simple
straight forward
presentation of the song.
This is followed by a
woodwind section
statement of the folk
song accompanied by muted
trumpets. During this
presentation the harmony
starts to expand with
more color notes in the
chords. The low brass are
added half way through
this statement to add
depth and lushness.The
introductory material
returns, but with some
angry hits in the lower
voices. This leads to a
full ensemble state of
new material that is used
to transition to the
climax of the piece, and
to build tension. After
the build, the piece
modulates to a shortened
statement of the folk
song with more advanced
harmonies and an active
counter line in the
violas, horns, saxes and
first clarinets to
further build the
tension. This tension
is released at the
fermata in m. 57, as
mentioned above. After a
thoughtful pause, the
piece concludes with a
completion of the folk
song again with a solo
violin (or clarinet)
followed by a return of
the introductory material
to tie the piece
together. The piece ends
hopeful, with a solo
trumpet (Kevin’s
instrument) that is
dissonant at first, but
then resolves as if to
say - everything will be
OK! It has been my
distinct honor to have
been asked to write this
piece in Kevin’s
memory! I hope that in
some small way the piece
helps to bring comfort to
his family, students,
colleagues and to all
those that knew
him!–Larry
ClarkLakeland, FLÂ
2017. $70.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Best Fake Book Ever - C Edition - 3rd Edition
Fake Book [Fake Book] Hal Leonard
(C Edition) For voice and C instrument. Format: fakebook. With vocal melody, lyr...(+)
(C Edition) For voice and
C instrument. Format:
fakebook. With vocal
melody, lyrics and chord
names. Series: Hal
Leonard Fake Books. 856
pages. 9x12 inches.
Published by Hal Leonard.
(14)$59.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Sleep, My Child - Facile Carl Fischer
Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade ...(+)
Orchestra Cello,
Contrabass, Piano, Viola,
Violin 1, Violin 2,
Violin 3 - Grade 2.5
SKU: CF.YAS186
Shlof, Mayn Kind.
Composed by Larry Clark.
Young String Orchestra
(YAS). Set of Score and
Parts. With Standard
notation.
8+5+2+8+5+5+3+12 pages.
Duration 2018. Carl
Fischer Music #YAS186.
Published by Carl Fischer
Music (CF.YAS186).
ISBN 9781491151518.
UPC: 680160909018. 9 x 12
inches. Key: D
minor. A stunning
and heart-wrenching
composition based on the
Jewish folk son Shlof,
Mayn Kind. You can
hear the emotional
content pour out of this
piece written in memory
of an outstanding
orchestra director. The
piece beginnings with
original material to set
the tone, followed by a
violin solo on the song.
It them develops through
a variety of different
harmonic presentation
before building to a nice
key change and climatic
moment. The piece ends as
it began, but with a more
hopeful tone. An amazing
piece. Sleep, My Child
was commissioned by the
Madison Middle School
Band and Orchestra in
Tampa, Florida, and is
dedicated to the memory
of their Director of
Orchestras Kevin Frye.
Director of Bands Chris
Shultz championed the
commissioning of this
piece to honor Kevin
after he passed away in
December 2016. Mr. Frye
was a beloved member of
the staff at Madison
Middle as well as the
music community of Tampa
and the state of
Florida. I was a
personal friend of
Kevin’s. We were
in several musical groups
together when we were
young that were formative
to both of our musical
careers. I also
guest-conducted his
Madison Middle School
Orchestra several times
over the past four years.
His musicianship,
teaching skills and love
for his students were
exemplary.When taking on
the challenge of writing
a piece to honor
Kevin’s legacy,
Mr. Shultz and I decided
to try and include
several important aspects
of Kevin’s life
into the piece. Kevin was
proudly Jewish, a
fantastic trumpet player
and loved Jazz. With that
in mind, and after a lot
of research, a Jewish
folk song Shlof, Mayn
Kind was selected as the
basis for the piece, not
to be religious, but to
honor his faith and
heritage. Plus it is a
beautiful song and I felt
the title reflected the
sentiment I was looking
to express, which is of
someone taking rest after
a long battle with
illness, so a lullaby
seemed appropriate.I also
wanted to incorporate
Jazz into the piece, but
in a concert setting, so
you will hear as the
piece develops, the
harmonies of the folk
song expand into ones
found more commonly in
Jazz compositions.Â
Not in a far out way, but
in a subtle way to again
honor this part of his
life. For example the
climactic moment of the
piece at the fermata in
m. 57 is a Dbmaj9#11
chord. It appropriately
give the piece the angst
that I was looking for at
this moment in the piece,
while honoring the
importance of Jazz in
Kevin’s musical
life.The piece was also
conceived to include both
the Madison band and
orchestra in the
performance at the
premiere. I wanted the
pieces to work separately
by the band and
separately by the
orchestra, but I also
wanted them to be able to
play the piece together
to honor Kevin.The piece
begins with original
material designed to set
the mood of the piece
with a tempo/style
marking of pensive, but
also as material that I
used as connective
musical tissue between
statements of the folk
song. After this
introduction, the folk
song is presented by a
solo violin (or clarinet)
with orchestral
accompaniment in a simple
straight forward
presentation of the song.
This is followed by a
woodwind section
statement of the folk
song accompanied by muted
trumpets. During this
presentation the harmony
starts to expand with
more color notes in the
chords. The low brass are
added half way through
this statement to add
depth and lushness.The
introductory material
returns, but with some
angry hits in the lower
voices. This leads to a
full ensemble state of
new material that is used
to transition to the
climax of the piece, and
to build tension. After
the build, the piece
modulates to a shortened
statement of the folk
song with more advanced
harmonies and an active
counter line in the
violas, horns, saxes and
first clarinets to
further build the
tension. This tension
is released at the
fermata in m. 57 as
mentioned above. After a
thoughtful pause, the
piece concludes with a
completion of the folk
song again with a solo
violin (or clarinet)
followed by a return of
the introductory material
to tie the piece
together. The piece ends
hopeful, with a solo
trumpet (Kevin’s
instrument) that is
dissonant at first, but
then resolves as if to
say, Everything will be
OK! It has been my
distinct honor to have
been asked to write this
piece in Kevin’s
memory! I hope that in
some small way the piece
helps to bring comfort to
his family, students,
colleagues and to all
those that knew
him!–Larry
ClarkLakeland, FLÂ
2017.
About Carl
Fischer Young String
Orchestra
Series Thi
s series of Grade 2/Grade
2.5 pieces is designed
for second and third year
ensembles. The pieces in
this series are
characterized
by: --Occasionally
extending to third
position --Keys
carefully considered for
appropriate
difficulty --Addition
of separate 2nd violin
and viola
parts --Viola T.C.
part
included --Increase
in independence of parts
over beginning levels $55.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Canticle of Winter Chorale SATB SATB, Piano [Octavo] Heritage Music Press
Composed by Joseph M. Martin. Secular Christmas. Octavo. Heritage Music Press #1...(+)
Composed by Joseph M.
Martin. Secular
Christmas. Octavo.
Heritage Music Press
#15/3436H. Published by
Heritage Music Press
(LO.15-3436H).
$2.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Best Fake Book Ever - 2nd Edition - Eb Edition
Instruments en Mib [Fake Book] Hal Leonard
Fakebook for Eb instrument. With vocal melody, lyrics and chord names. Series: H...(+)
Fakebook for Eb
instrument. With vocal
melody, lyrics and chord
names. Series: Hal
Leonard Fake Books. 864
pages. Published by Hal
Leonard.
(2)$49.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
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