String Quartet (Parts)

SKU: HL.228854

Parts. Composed by A. Adnan Saygun. Peermusic Classical. Classical. Softcover. Peermusic Classical #61902-758. Published by Peermusic Classical (HL.228854).

UPC: 680160431007. 8.5x11 inches.

(Piano Solos). By Koji Kondo, Kozue Ishikawa, Toru Minegishi, Kenta Nagata, Akito Nakatsuka, Asuka Ohta, Manaka Tominaga, and Hajime Wakai. For Keyboard; Piano. This edition: Intermediate / Advanced Piano Solos. Book; Piano Collection; Piano Supplemental. Video Game. Advanced; Early Advanced; Intermediate; Late Intermediate. 84 pages. Published by Alfred Music Publishing

SS choir and organ (Upper Voices - 2-part) - easy

SKU: OU.9780193530997

From Make We Merry. Composed by David Bednall. Christmas. Vocal score. 8 pages. Duration 3'. Oxford University Press #9780193530997. Published by Oxford University Press (OU.9780193530997).

ISBN 9780193530997. 10 x 7 inches.

For SS and organ This movement from Make We Merry sets the words of the seventeenth-century Christmas text 'Sweet was the song' to a straightforward and lyrical solo line in the first soprano part, with an imitative second soprano part joining towards the end.

(Music For Voice)

SKU: HL.14068912

Composed by Hartvig Jespersen. Choral. General Merchandise. Duration 240 seconds. Edition Wilhelm Hansen #MM02417. Published by Edition Wilhelm Hansen (HL.14068912).

Composed by David Bednall. Vocal score. 8 pages. Duration 4'. Published by Oxford University Press (OU.9780193413467).

Composed by Robert Schumann (1810-1856), edited by Max Friedlaender. Collection for high voice solo and piano accompaniment. Text language German. 196 pages. Published by C.F. Peters.

(Volume 7). Composed by Franz Schubert (1797-1828). Edited by Walther Durr. For Low Voice and piano accompaniment. This edition: Urtext edition. Paperback. Tiefe Stimme. SingScore, Anthology. Language: German, Text Language: German/English. Published by Baerenreiter Verlag

Concert band

SKU: M7.OERT-7377

Waltz. Composed by Franz Pollak and Oskar Fetras. This edition: Folding. Sheet music. Set of parts. Op. 60. Oertel Musikverlag #OERT 7377. Published by Oertel Musikverlag (M7.OERT-7377).

ISBN 9790501800728.

1 Flöte Piccolo in Des, 1 Flöte in C/Oboe, 2 Klarinette 1 in B, 1 Klarinette 2/3 in B, 1 Klarinette und Piston in Es, 1 Bariton/Fagott, 3 Tenor-Saxophon in B, 2 Saxophon Bariton in Es, 2 Flügelhorn 1 in B (Sopran-Saxophon), 1 Flügelhorn 2 in B, 1 Tenorhorn 1 in B, 1 Tenorhorn 2/3 in B, 1 Horn 1/2 in Es, 1 Horn 3/4 in Es, 1 Bariton in B, 1 Trompete 1 in B, 1 Trompete 2 in B, 2 Trompete 3/4 in B, 1 Posaune 1/2, 1 Posaue 1/2 in B, 1 Posaune 3, 2 Posaune 3 in B, 2 Bässe, 2 Bass in B, 3 Bass in Es, 1 Schlagzeug.

Clarinet Duet

SKU: BT.PMC1406

Composed by A. Adnan Saygun. Score Only. Peermusic Classical #PMC1406. Published by Peermusic Classical (BT.PMC1406).

Intuitions.

Composed by David Bednall. Vocal score. 12 pages. Duration 4'. Oxford University Press #9780193413443. Published by Oxford University Press (OU.9780193413443).

(Score). By A. Adnan Saygun. For String Quartet (Score). Peermusic Classical. Softcover. Peermusic #61901-757. Published by Peermusic

Composed by David Bednall. High voice vocal score. 20 pages. Duration 14'. Oxford University Press #9780193550346. Published by Oxford University Press

(Voice and Piano)

SKU: HL.50589921

Ricordi Germany. Hal Leonard #UFA11499. Published by Hal Leonard (HL.50589921).

Wind Ensemble

SKU: SU.80603551

For Wind Ensemble. Composed by David Ward-steinman. Concert Band/Wind Ensemble. Set of Parts. Edward B. Marks Music #80603551. Published by Edward B. Marks Music (SU.80603551).

CBDNA commissionWind Ensemble Composed: 1976 Published by: E.B. Marks.

Saddle-stitched, World Music. Baltic. Book. 36 pages. Mel Bay Publications, Inc #30883. Published by Mel Bay Publications, Inc

String Quartet

SKU: BT.PMC1586

2 violins, viola and violoncello. Composed by A. Adnan Saygun. Score Only. Peermusic Classical #PMC1586. Published by Peermusic Classical (BT.PMC1586).

SKU: HL.1142648

Khaki. Gator Cases. Fretted Instrument Accessories. Duration 230 seconds. Gator Cases #G-ICONDREAD-KHK. Published by Gator Cases (HL.1142648).

Multi-layered semi-rigid construction with weather-resistant 1000D khaki nylon exterior fabric and soft interior lined with khaki micro-velvet fabric • Hideaway backpack straps with bottle opener and stowaway D-ring pockets on base of bag for clean appearance • Exterior pop-out luggage tag and interior serialized bag tracker with laser-etched QR code for quick registration/indentificat ion • Removable, adjustable neck and support block with hook-and-loop wrap for stability during transport; interior body blocks for increased protection • Large pocket with keyring clip stores cables, strings, and other accessories; 17.5 x 16″ (445/406mm) • Hidden pocket on back for quick access to passport, wallet, smartphone, and other personal items; small and medium-sized exterior pockets also included • TSA luggage lock-friendly zipper pulls on main guitar compartment for seamless airport travel • Rubber bumpers and reinforced, padded grab handles located on front, back, and side for various carry modes • Stylish rain cover with dedicated storage pocket • Exterior dimensions: 48″/1219mm (L) x 18.5″/470mm (W) x 8.5″/mm (H), net weight; 12.2 lbs./5.5 kg • Interior dimensions: 44.5″/1130mm (overall length) x 13″/330mm (upper bout) x 14.6″/371mm (middle bout) x 16.5″/419mm (lower bout) x 6.5″/165mm (headstock width) x 5.5″/140mm (body height).

By A. Adnan Saygun. Peermusic Classical. Peermusic #61585-122. Published by Peermusic

Squareback saddle stitch. Folk. Mel Bay Publications, Inc #30950M. Published by Mel Bay Publications, Inc

(Violin Solo). By A. Adnan Saygun. Peermusic Classical. Softcover. 18 pages. Peermusic #62349-601. Published by Peermusic

The Vocal Library. By Johannes Brahms. Arranged by Richard Walters, Laura Ward and Elaine Schmidt. (High Voice). Vocal Collection. Size 8.5x11 inches. 280 pages. Published by Hal Leonard Corporation.

Band Bass Clarinet, Bass Drum, Bass Trombone, Bassoon, Bells, Clarinet 1, Clarinet 2, Crash Cymbals, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Snare Drum, Timpani, Trombone, Trumpet 1 and more. - Grade 1

SKU: CF.BPS137

Composed by Michael Boo. Folio. Bps. Set of Score and Parts. 4+4+2+4+4+2+2+3+2+2+2+4+4 +3+2+2+2+3+1+1+2+1+16 pages. Duration 2:20. Carl Fischer Music #BPS137. Published by Carl Fischer Music (CF.BPS137).

ISBN 9781491158487. UPC: 680160917082. 9 x 12 inches.

Fanfare and Jubilation is a Grade 1 work that is playable by any beginning band with any instrumentation due to extensive doubling. The mood is regal and optimistic and is non-programmatic, conveying no picturesque image or storyline. It is appropriate for any occasion. Accents are to be emphasized more than non-accented notes, but are not to be hammered hard. Stress that accented notes are to be played with the same good tone as the other notes and that pitches should not suffer from the additional emphasis. Think of the accents as more of an additional emphasis from the air column and not the tongue. Percussion accents are to played with more emphasis than non-accented notes, but shouldnat be perceived as being much louder. Timpani is only two pitches and is optional. The piece will not suffer at all if you donat have access to Timpani or a timpanist. Bells cover a wide rangea|the lower octave sections should not be played louder just because theyare low pitched, as those notes will still be appropriately heard while supporting the melody. Do not use brass mallets. Balter 10 Phenolic mallets or equivalent (such as clear Balter Lexan or white Medium Hard Poly models) are most appropriate. Think of the m. 10 accented quarter notes tied to the half notes (and similar later examples) as being akin to Horn rips in a Hollywood movie. They are to be emphasized slightly but should not be blaring. Even though they are the only things happening on counts 2 and 3, care must be given that the young players donat get carried away and give them more emphasis than is musically desired. At m. 21, be careful that the bass line isnat plodding or over-emphasized due to the accents. Those players should be aware of the sudden drop in volume and lack of accents at m. 25. Attention to sudden dynamic shifts will add interest to the piece and present a more musical performance. Throughout this entire section, try to get all winds to sustain a single breath through four bars until the breath marks. If they are unable to do so, please explain the concept of staggered breathing between members of their section. There may be a tendency among the players to blast out m. 57 to the end. Notes should have more power than the section from mm. 21-56, but are still to be approached musically. Explaining such concepts during their early musical development will go far in helping them develop good traits that will pay off dividends in the future.
Fanfare and Jubilation is a Grade 1 work that is playable by any beginning band with any instrumentation due to extensive doubling. The mood is regal and optimistic and is non-programmatic, conveying no picturesque image or storyline. It is appropriate for any occasion. Accents are to be emphasized more than non-accented notes, but are not to be hammered hard. Stress that accented notes are to be played with the same good tone as the other notes and that pitches should not suffer from the additional emphasis. Think of the accents as more of an additional emphasis from the air column and not the tongue. Percussion accents are to played with more emphasis than non-accented notes, but shouldn't be perceived as being much louder. Timpani is only two pitches and is optional. The piece will not suffer at all if you don't have access to Timpani or a timpanist. Bells cover a wide range...the lower octave sections should not be played louder just because they're low pitched, as those notes will still be appropriately heard while supporting the melody. Do not use brass mallets. Balter 10 Phenolic mallets or equivalent (such as clear Balter Lexan or white Medium Hard Poly models) are most appropriate. Think of the m. 10 accented quarter notes tied to the half notes (and similar later examples) as being akin to Horn rips in a Hollywood movie. They are to be emphasized slightly but should not be blaring. Even though they are the only things happening on counts 2 and 3, care must be given that the young players don't get carried away and give them more emphasis than is musically desired. At m. 21, be careful that the bass line isn't plodding or over-emphasized due to the accents. Those players should be aware of the sudden drop in volume and lack of accents at m. 25. Attention to sudden dynamic shifts will add interest to the piece and present a more musical performance. Throughout this entire section, try to get all winds to sustain a single breath through four bars until the breath marks. If they are unable to do so, please explain the concept of staggered breathing between members of their section. There may be a tendency among the players to blast out m. 57 to the end. Notes should have more power than the section from mm. 21-56, but are still to be approached musically. Explaining such concepts during their early musical development will go far in helping them develop good traits that will pay off dividends in the future.
Fanfare and Jubilation is a Grade 1 work that is playable by any beginning band with any instrumentation due to extensive doubling. The mood is regal and optimistic and is non-programmatic, conveying no picturesque image or storyline. It is appropriate for any occasion.Accents are to be emphasized more than non-accented notes, but are not to be hammered hard. Stress that accented notes are to be played with the same good tone as the other notes and that pitches should not suffer from the additional emphasis. Think of the accents as more of an additional emphasis from the air column and not the tongue.Percussion accents are to played with more emphasis than non-accented notes, but shouldn’t be perceived as being much louder. Timpani is only two pitches and is optional. The piece will not suffer at all if you don’t have access to Timpani or a timpanist. Bells cover a wide range…the lower octave sections should not be played louder just because they’re low pitched, as those notes will still be appropriately heard while supporting the melody. Do not use brass mallets. Balter 10 Phenolic mallets or equivalent (such as clear Balter Lexan or white Medium Hard Poly models) are most appropriate.Think of the m. 10 accented quarter notes tied to the half notes (and similar later examples) as being akin to Horn rips in a Hollywood movie. They are to be emphasized slightly but should not be blaring. Even though they are the only things happening on counts 2 and 3, care must be given that the young players don’t get carried away and give them more emphasis than is musically desired.At m. 21, be careful that the bass line isn’t plodding or over-emphasized due to the accents. Those players should be aware of the sudden drop in volume and lack of accents at m. 25. Attention to sudden dynamic shifts will add interest to the piece and present a more musical performance. Throughout this entire section, try to get all winds to sustain a single breath through four bars until the breath marks. If they are unable to do so, please explain the concept of staggered breathing between members of their section.There may be a tendency among the players to blast out m. 57 to the end. Notes should have more power than the section from mm. 21-56, but are still to be approached musically. Explaining such concepts during their early musical development will go far in helping them develop good traits that will pay off dividends in the future.

(TB BR)

SKU: HL.49041722

His Life, his Work, his Time. Composed by Meyer. This edition: Paperback/Soft Cover. Paperback. Serie Musik. Der Autor, Freund des Komponisten und intimer Kenner seines Werkes, hat das Verdienst, eine erste umfassende Synthese der widerspruchlichen Informationen zu geben, die uns uberliefert sind. Die andere, entscheidende Leistung dieser Biographie ist, das Leb. 608 pages. Schott Music #SEM8376. Published by Schott Music (HL.49041722).

ISBN 9783254083760. 4.75x7.5x1.19 inches. German.

Mehr als jedes andere kompositorische Lebenswerk der Musikgeschichte wurzelt Schostakowitschs Schaffen im politischen Umfeld seiner Epoche. Fast jedes seiner grosseren Werke antwortet auf Ereignisse in seinem Land. Trotz zahlreicher Kommentare des Komponisten selbst und seiner Freunde war der programmatische Gehalt der Werke jedoch lange nicht vollstandig erhellt. Krysztof Meyer, ein Freund des Komponisten und intimer Kenner seines Werkes, hat mit diesem Standardwerk, das nun als uberarbeitete Neuausgabe vorliegt, eine erste und umfassende Synthese der widerspruchlichen Informationen gegeben. Leben und Schaffen Schostakowitschs werden dabei in einen Zusammenhang nicht nur mit den musikalischen Stromungen, sondern auch mit den politischen Entwicklungen seiner Zeit gestellt.

TTBB choir

SKU: GH.CG-6497

Composed by Otto Olsson. Octavo. With Language: Swedish. 2 pages. Gehrmans Musikforlag #CG 6497. Published by Gehrmans Musikforlag (GH.CG-6497).

ISBN 9790070019682. 185 x 262 mm inches. Text: E N Soderberg.

Voice and piano

SKU: HL.49005160

Of Ricarda Huch. Composed by Hermann Reutter. This edition: Saddle stitching. Sheet music. Edition Schott. Classical. Composed 1957. 20 pages. Duration 11'. Schott Music #ED 4798. Published by Schott Music (HL.49005160).

ISBN 9790001055345. German.

String Quartet

SKU: BT.PMC1587

2 violins, viola and violoncello. Composed by A. Adnan Saygun. Set of Parts. Peermusic Classical #PMC1587. Published by Peermusic Classical (BT.PMC1587).