Orchestra - Grade 1.5 SKU: AP.45866S Composed by Richard Meyer. MakeMusic...(+)
Orchestra - Grade 1.5
SKU: AP.45866S
Composed by Richard
Meyer. MakeMusic Cloud;
Performance Music
Ensemble; Single Titles;
String Orchestra.
Highland/Etling String
Explorer. Form: Dance;
Etude. Light Concert.
Score. 12 pages. Duration
2:30. Highland/Etling
#00-45866S. Published by
Highland/Etling
(AP.45866S).
UPC:
038081524450.
English.
As the
title suggests, this nod
to the fleet-footed dance
of the 1800s, The Polka
Dot Polka, is all about
dots---dots over, under,
and after notes! Written
as an etude to enhance
your young orchestra's
understanding of dotted
quarter note rhythms and
staccato bow strokes,
this selection---in true
Richard Meyer style---is
sure to challenge all of
your students and get
your audience dancing in
the aisles! For extra
fun, push the tempo a bit
(or even a lot!)---the
faster the better!
(2:30). This title is
available in MakeMusic
Cloud.
By Melody Gardot. Melody Gardot. For Piano/Vocal/Chords. This edition: Piano/Voc...(+)
By Melody Gardot. Melody
Gardot. For
Piano/Vocal/Chords. This
edition:
Piano/Vocal/Chords.
Personality Book. Book.
56 pages. Published by
Alfred Publishing.
Solo piano - Elementary; Late Elementary SKU: FJ.FJH2379 An Artistic E...(+)
Solo piano - Elementary;
Late Elementary
SKU:
FJ.FJH2379
An
Artistic Elementary/Late
Elementary Collection of
Popular Children's
Songs. Composed by
Kevin Costley. Piano
Resources; Piano Solo;
Piano Supplemental.
Composers in Focus. Form:
Theme. Ballet; Children;
Living Composer. Book.
The FJH Music Company Inc
#98-FJH2379. Published by
The FJH Music Company Inc
(FJ.FJH2379).
ISBN
9781619283657. UPC:
241444443538.
English.
A brand
new Composer in Focus
series by composer, Kevin
Costley. Dot-to-Dot
Adventures combines
familiar folk tunes and
melodies with lyrics to
create a musical journey
that includes fun
dot-to-dot activities
after each piece. The
book is pedagogically
structured to introduce
beginning sonatina
concepts, such as Alberti
bass, and other
arpeggiated chordal
techniques.
About FJH
Composers in
Focus
Comp
osers in Focus is a
series of original piano
collections celebrating
the creative artistry of
contemporary composers.
It is through the work of
these composers that the
piano teaching repertoire
is enlarged and
enhanced.
(A Fresh Approach to Sight-Reading). By Alan Bullard / Richard Wright. For guita...(+)
(A Fresh Approach to
Sight-Reading). By Alan
Bullard / Richard Wright.
For guitar. Joining The
Dots offers guitarists
lots of material to help
build confidence and
skill in sight- building.
The series brings
together a range of
activities to help
students
(A Fresh Approach to Sight-Reading). By Alan Bullard / Richard Wright. For guita...(+)
(A Fresh Approach to
Sight-Reading). By Alan
Bullard / Richard Wright.
For guitar. Joining The
Dots offers guitarists
lots of material to help
build confidence and
skill in sight- building.
The series brings
together a range of
activities to help
students
A Fresh Approach to Sight-Singing. Composed by Alan Bullard (1947-). Join...(+)
A Fresh Approach to
Sight-Singing.
Composed by Alan Bullard
(1947-). Joining the dots
(ABRSM). 32 pages.
Published by ABRSM
(Associated Board of the
Royal Schools of Music)
(PE.9781848497399).
(A Fresh Approach to Sight-Reading). Composed by Alan Bullard (1947-). For violi...(+)
(A Fresh Approach to
Sight-Reading). Composed
by Alan Bullard (1947-).
For violin. Joining the
Dots. Instructional.
Method book. Published by
ABRSM (Associated Board
of the Royal Schools of
Music)
(A Fresh Approach to Sight-Reading). Composed by Alan Bullard (1947-). For violi...(+)
(A Fresh Approach to
Sight-Reading). Composed
by Alan Bullard (1947-).
For violin. Joining the
Dots. Instructional.
Method book. Published by
ABRSM (Associated Board
of the Royal Schools of
Music)
Urtext. Composed by Pauline Viardot-Garcia (1821-1910). Edited by Miriam-Alexa...(+)
Urtext. Composed by
Pauline
Viardot-Garcia
(1821-1910).
Edited by
Miriam-Alexandra
Wigners. Breitkopf and
Haertel #EB 8887.
Published
by Breitkopf and Haertel
Choral (Audio Sampler) SKU: HL.1241752 Composed by Daniel Mertzlufft and ...(+)
Choral (Audio Sampler)
SKU: HL.1241752
Composed by Daniel
Mertzlufft and Kate
Leonard. Recorded Promo -
Stockable. Australian,
Children, Musicals.
General Merchandise.
Published by MTI (Music
Theatre International)
(HL.1241752).
UPC:
196288150732.
9.0x12.0x0.368
inches.
Based on
the 1899 novel of the
same name, with Book by
Daniel Stoddart, Music by
Daniel Mertzlufft, and
Lyrics by Kate Leonard,
Dot and the Kangaroo JR.
will lead audiences on a
beautiful journey into
the world and spirit of
Australia. Young,
rambunctious Dot longs
for an adventure
exploring everything the
country has to offer.
When she finds herself
lost and afraid in the
darkening Australian
bush, Dot befriends a
wise mother Kangaroo who
enlists the help of
Australia's favorite bush
creatures to help Dot
find her way back home. A
charming tale full of
quirky Aussie-native
characters, Dot and the
Kangaroo JR. transforms
the endearing story that
transfixed generations
past into a fresh, new
adventure for generations
to come. Click here for
information on licensing
this production.
Composed
by Chris Campbell. Full
score. 21 pages. Carl
Fischer Music #CPS256F.
Published by Carl Fischer
Music (CF.CPS256F).
ISBN 9781491159729.
UPC:
680160918317.
As
the title suggests, there
should be a
tongue-in-cheek aspect to
the performance of this
piece with the idea that
it doesn't take itself
too seriously. Close
attention should be paid
to staccato notes, making
sure not to play them too
short and clipped,
keeping in mind that a
staccato quarter note
should have the length of
an eighth note and not
the length of a sixteenth
note. Although the piece
is a march, it needn't
conform to any strict
interpretation of what a
march should be. Some of
the tongued eighth-note
passages may need to be
double-tongued, depending
on tempo, using the
Dig-A-Duck method. For
instance at m. 34 the
repeated eighth notes
might be tongued
dig-a-da-duck,
dig-a-duck, da dot dot.
Slurred eighth-note
passages should follow
the curve of the line,
getting slightly louder
as notes ascend and
slightly softer as they
descend. Measure 39
through m. 51 will have a
somewhat chaotic feel, so
go with the flow! The
sparsely orchestrated
passage at m. 68 is
understated--perhaps a
little spacey in keeping
with our theme--and not
to be overplayed until
the crescendo at m. 88,
when we return to
business as usual.
Trumpets show off again
(rarely a problem for
trumpet players) on the
D. S. back to m. 6. On
the Coda, another
disjointed-sounding
theme, again departing
from any strict
interpretation of a
march--again, making sure
that the staccatos are
not too clipped--is
followed by a repeat of
the main theme, this time
layered. Care should be
taken to balance the
entrances of the layered
instrument groups as they
enter. An exuberant final
four measures puts the
cherry on top. Percussion
can play out for the most
part, very little
subtlety required.
Overall, this piece is
meant to be FUN, for both
the performers and the
audience!. As the
title suggests, there
should be a
tongue-in-cheek aspect to
the performance of this
piece with the idea that
it doesn't take itself
too seriously. Close
attention should be paid
to staccato notes, making
surenot to play them too
short and clipped,
keeping in mind that a
staccato quarter note
should have the length of
an eighth note and not
the length of a sixteenth
note. Although the piece
is a march, it needn't
conform toany strict
interpretation of what a
march should be. Some of
the tongued eighth-note
passages may need to be
double-tongued, depending
on tempo, using the
Dig-A-Duck method. For
instance at m. 34the
repeated eighth notes
might be tongued
dig-a-da-duck,
dig-a-duck, da dot dot.
Slurred eighth-note
passages should follow
the curve of the line,
getting slightly louder
as notes ascend and
slightly softeras they
descend. Measure 39
through m. 51 will have a
somewhat chaotic feel, so
go with the flow!The
sparsely orchestrated
passage at m. 68 is
understated—perhap
s a little spacey in
keeping with our
theme—and not to
be overplayed until the
crescendo at m. 88, when
we return to business as
usual. Trumpets show off
again (rarely a problem
for trumpet players) on
the D. S. back to m. 6.
On the Coda, another
disjointed-sounding
theme, again departing
from any strict
interpretation of a
march—again,
making sure that the
staccatos are not too
clipped—is
followed by a repeat of
the main theme, this time
layered. Care should be
taken to balance the
entrances of the layered
instrument groups as they
enter.An exuberant final
four measures puts the
cherry on top. Percussion
can play out for the most
part, very little
subtlety required.
Overall, this piece is
meant to be FUN, for both
the performers and the
audience!
Composed by
Chris Campbell. Set of
Score and Parts.
21+8+8+4+8+8+4+4+10+4+4+1
6+8+12+6+4+8+2+4+14
pages. Duration 2
minutes, 36 seconds. Carl
Fischer Music #CPS256.
Published by Carl Fischer
Music (CF.CPS256).
ISBN 9781491159712.
UPC:
680160918300.
As
the title suggests, there
should be a
tongue-in-cheek aspect to
the performance of this
piece with the idea that
it doesn't take itself
too seriously. Close
attention should be paid
to staccato notes, making
sure not to play them too
short and clipped,
keeping in mind that a
staccato quarter note
should have the length of
an eighth note and not
the length of a sixteenth
note. Although the piece
is a march, it needn't
conform to any strict
interpretation of what a
march should be. Some of
the tongued eighth-note
passages may need to be
double-tongued, depending
on tempo, using the
Dig-A-Duck method. For
instance at m. 34 the
repeated eighth notes
might be tongued
dig-a-da-duck,
dig-a-duck, da dot dot.
Slurred eighth-note
passages should follow
the curve of the line,
getting slightly louder
as notes ascend and
slightly softer as they
descend. Measure 39
through m. 51 will have a
somewhat chaotic feel, so
go with the flow! The
sparsely orchestrated
passage at m. 68 is
understated--perhaps a
little spacey in keeping
with our theme--and not
to be overplayed until
the crescendo at m. 88,
when we return to
business as usual.
Trumpets show off again
(rarely a problem for
trumpet players) on the
D. S. back to m. 6. On
the Coda, another
disjointed-sounding
theme, again departing
from any strict
interpretation of a
march--again, making sure
that the staccatos are
not too clipped--is
followed by a repeat of
the main theme, this time
layered. Care should be
taken to balance the
entrances of the layered
instrument groups as they
enter. An exuberant final
four measures puts the
cherry on top. Percussion
can play out for the most
part, very little
subtlety required.
Overall, this piece is
meant to be FUN, for both
the performers and the
audience!. As the
title suggests, there
should be a
tongue-in-cheek aspect to
the performance of this
piece with the idea that
it doesn't take itself
too seriously. Close
attention should be paid
to staccato notes, making
surenot to play them too
short and clipped,
keeping in mind that a
staccato quarter note
should have the length of
an eighth note and not
the length of a sixteenth
note. Although the piece
is a march, it needn't
conform toany strict
interpretation of what a
march should be. Some of
the tongued eighth-note
passages may need to be
double-tongued, depending
on tempo, using the
Dig-A-Duck method. For
instance at m. 34the
repeated eighth notes
might be tongued
dig-a-da-duck,
dig-a-duck, da dot dot.
Slurred eighth-note
passages should follow
the curve of the line,
getting slightly louder
as notes ascend and
slightly softeras they
descend. Measure 39
through m. 51 will have a
somewhat chaotic feel, so
go with the flow!The
sparsely orchestrated
passage at m. 68 is
understated—perhap
s a little spacey in
keeping with our
theme—and not to
be overplayed until the
crescendo at m. 88, when
we return to business as
usual. Trumpets show off
again (rarely a problem
for trumpet players) on
the D. S. back to m. 6.
On the Coda, another
disjointed-sounding
theme, again departing
from any strict
interpretation of a
march—again,
making sure that the
staccatos are not too
clipped—is
followed by a repeat of
the main theme, this time
layered. Care should be
taken to balance the
entrances of the layered
instrument groups as they
enter.An exuberant final
four measures puts the
cherry on top. Percussion
can play out for the most
part, very little
subtlety required.
Overall, this piece is
meant to be FUN, for both
the performers and the
audience!
Concert Band - Grade 1.5 SKU: AP.49549S Composed by Nathan Farrell (ASCAP...(+)
Concert Band - Grade 1.5
SKU: AP.49549S
Composed by Nathan
Farrell (ASCAP). Concert
Band; Performance Music
Ensemble; Single Titles.
Belwin Beginning Band.
Light Concert. Score.
Duration 1:53. Belwin
Music #00-49549S.
Published by Belwin Music
(AP.49549S).
ISBN
9781470649159. UPC:
038081569932.
English.
From the
creative mind of Nathan
Farrell, The Dreaded
Devious Diabolical Dotted
Dragon will light your
band room up with dragon
fire! Knight your
students with the armor
of subdivision and attack
the dreaded dotted
quarter note! Protect the
villagers with intriguing
percussion colors and fun
yet surprisingly simple
melodic lines. Designed
to engage each section of
the band with intuitive
rhythms that take the
bite out of the dot, your
students will love this
epic musical quest.
(1:53).
Concert Band - Grade 1.5 SKU: AP.49549 Composed by Nathan Farrell (ASCAP)...(+)
Concert Band - Grade 1.5
SKU: AP.49549
Composed by Nathan
Farrell (ASCAP). Concert
Band; MakeMusic Cloud;
Performance Music
Ensemble; Single Titles.
Belwin Beginning Band.
Light Concert. Score and
Part(s). Duration 1:53.
Belwin Music #00-49549.
Published by Belwin Music
(AP.49549).
ISBN
9781470649142. UPC:
038081569925.
English.
From the
creative mind of Nathan
Farrell, The Dreaded
Devious Diabolical Dotted
Dragon will light your
band room up with dragon
fire! Knight your
students with the armor
of subdivision and attack
the dreaded dotted
quarter note! Protect the
villagers with intriguing
percussion colors and fun
yet surprisingly simple
melodic lines. Designed
to engage each section of
the band with intuitive
rhythms that take the
bite out of the dot, your
students will love this
epic musical quest.
(1:53) This title is
available in MakeMusic
Cloud.
Polkadots and Moonbeams Ensemble Jazz [Conducteur et Parties séparées] - Intermédiaire Belwin
By Johnny Burke, music by Jimmy Van Heusen. Arranged by Dave Wolpe. Jazz Ensembl...(+)
By Johnny Burke, music by
Jimmy Van Heusen.
Arranged by Dave Wolpe.
Jazz Ensemble. Jazz
Ensemble; Part(s); Score.
Jazz Vocal Series. Jazz.
Grade 3. Published by
Belwin Music
(Woodwind Ensemble Library) Composed by Joseph Olivadoti. Set of performance par...(+)
(Woodwind Ensemble
Library) Composed by
Joseph Olivadoti. Set of
performance parts
(includes separate oboe &
clarinet pull out parts)
for flute, oboe and Bb
clarinet. With solo part,
solo part and full score
notation. Series: Hal
Leonard Solo Ensemble
(Rubank), . 24 pages.
Published by Hal Leonard.
Cathedral Series.
Composed by Wayland
Rogers. BH Brunelle
Cathedral Series.
Concert, Sacred. Octavo.
12 pages. Boosey and
Hawkes #M051483136.
Published by Boosey and
Hawkes (HL.48023433).
UPC: 888680046149.
6.75x10.5
inches.
With both
the Magnificat and Nunc
Dimittis under one cover,
the composer's sensitive
attention to the English
text results in changing
and uneven meters which
perfectly find the agogic
accents and highlight the
wonder and mystery of the
message.
Prelude &
Postlude. Composed by
Elisabeth Lutyens.
Classical. Set of Parts.
University of York Music
Press #MUSM570205820.
Published by University
of York Music Press
(BT.MUSM570205820).
English.
First
performance: Thames
Singers, conducted by
Louis Halsey, BBC
Invitation Concert, 11th
November 1968.