| Best Loved Songs Piano, Voix et Guitare Alfred Publishing
51 Sentimental Pop Chart Favorites (Piano/Vocal/Guitar). Composed by vari...(+)
51 Sentimental Pop
Chart Favorites
(Piano/Vocal/Guitar).
Composed by various
composers and arrangers.
This edition:
Piano/Vocal/Guitar. Book;
P/V/C Mixed Folio;
Piano/Vocal/Chords. Best
Songs. Pop. 264 pages.
Published by Alfred Music
(AP.44680).
$22.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Introduction to Fingerpicking Guitar Guitare notes et tablatures [DVD] - Débutant Mel Bay
Guitar - Beginning SKU: MB.GW1073 DVD, Method. Fingerpicking. DVD. 90 pag...(+)
Guitar - Beginning
SKU: MB.GW1073
DVD, Method.
Fingerpicking. DVD. 90
pages. Mel Bay
Publications, Inc
#GW1073. Published by Mel
Bay Publications, Inc
(MB.GW1073). 5.75x4
inches. This lesson
is intended for players
that have already learned
most of their open
position chords but have
not yet tried plucking
strings using multiple
fingers. I will guide you
through exercises that
will introduce the most
fundamental rhythms and
fretboard moves of old
time picking. Then, we?ll
work our way through a
series of tunes of
increasing difficulty,
taken from the repertoire
of the greatest old-time
pickers: Mississippi John
Hurt, Elizabeth Cotten,
Sam Chatmon, Etta Baker
and Sam McGee. Titles
include: You?ve Got to
Walk That Lonesome
Valley, Chatmon Family
Rag, Rock House Joe,
Farther Along, Lonesome
Road Blues, Carolina
Breakdown, New Year?s Eve
and Buck Dancer?s Choice
Detailed tab/music PDF
file on the DVD. 90
minutes. DVD is region 0,
playable worldwide. $29.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Quintet in F Major, K. 497 Carl Fischer
Chamber Music Cello, Flute, Viola 1, Viola 2, Violin SKU: CF.MXE219 Compo...(+)
Chamber Music Cello,
Flute, Viola 1, Viola 2,
Violin SKU:
CF.MXE219 Composed by
Wolfgang Amadeus Mozart.
Arranged by Robert
Stallman. Sws.
56+16+16+16+16+12 pages.
Carl Fischer Music
#MXE219. Published by
Carl Fischer Music
(CF.MXE219). ISBN
9781491157794. UPC:
680160916399. 9 x 12
inches. Preface In
1990, during an intense
rehearsal of a Mozart
Quartet transcription for
flute and strings by
Franz Anton Hoffmeister,
at the Marblehead Summer
Music Festival, a
disgruntled violist
friend complained about
HoffmeisterAs awkward
string writing, suddenly
daring me to create my
own arrangement. I
balked. But the following
winterA3despite scruples
about treading on
hallowed groundA3I grew
curious and began to
experiment. Soon I was
hooked on the challenge
of learning to speak
MozartAs language with
conviction. This
fascination, encouraged
by pianist Richard Goode
and other Mozarteans,
would eventually generate
a total of thirty-nine
recreations of Mozart
piano sonatas as works
for flute and strings.
With zero tolerance for
alteration of melodic or
harmonic
materialA3MozartAs friend
Hoffmeister had
regrettably attempted
such
A!improvementsA(r)A3I
always tried to envision
what Mozart himself would
have desired. Many of the
sonatas can be heard as
if they were MozartAs
A!blueprintsA(r) of
imagined chamber works.
Hence my task was to
A!flesh outA(r) the
keyboard versions as
Mozart might have done,
had a commission or
performance opportunity
arisen. I spent hours
pondering how Mozart
might have set these
sonatas in four- or
five-part form, providing
the needed textural or
contrapuntal
enhancements. With
immersion in the
composerAs dialect,
various apt solutions
presented themselves. The
search for the
A!rightA(r) one then
became a most absorbing
study. On the eve of
releasing my BognerAs
CafA recording of
Mozart-Stallman New
Quintets (2006), I
discovered to my delight
that a prominent scholar
had long before endorsed
such an effort. Eric Blom
(1888A+-1959), author of
Mozart (1935), had taken
note of the four-hand
piano works as A!a kind
of keyboard chamber
music.A(r) Regarding
Sonata, K. 497, Mr. Blom
had observed that Mozart
is often dealing with,
not the expected four
voices (one to a hand),
but five. Blom states:
A!The F major Sonata (K.
497) removes us to
another worldA3the world
of the great chamber
music, especially of the
string quintets. Indeed
an arrangement of some
sort for a combination of
instruments would make a
magnificent concert work
of this almost
uncomfortably great piece
of domestic music.A(r)
That Mozart was in 1786
writing for piano duo
from a quintet
perspective makes sense,
as we find him returning
to the quintet form with
keen interest in his last
years, writing four
String Quintets, the
Clarinet Quintet,
rearranging a wind
serenade for String
Quintet, and leaving
several other quintets
incomplete. My
arrangement presented
here is made for flute
and strings but is also
intended for string
quintet. Quintet in F
Major for Flute and
Strings, K. 497, was
completed in 1999 and
performed with the Martin
Quartet in the Czech
Republic prior to
recording it in 2004.
Mozart had finished the
original Sonata in F
Major for Piano,
Four-Hands, K. 497, on
August 1, 1786. It shows
the unmistakable
influence of Figaro,
completed and premiered
exactly three months
prior. As signaled by the
imposing introductory
Adagio, the conception is
on a grand symphonic
scale, all three
movements being richly
developed with
contrapuntal episodes and
an abundance of
marvelously contrasting
textures and themes
throughout. Called A!the
crowning work of its
kindA(r) by Alfred
Einstein, the Sonata is
laden with examples of
MozartAs mercurial
originality. Here we have
a perfect synthesis of
concertante brilliance,
operatic intensity and
intimate dialogue. The
work opens in unison with
a probing, minor-tinged
Adagio, whose question
comes to a pause on the
dominant, before being
answered with jaunty
certainty by the opening
theme of the Allegro di
moltoA3an F-major tune as
sunny and confident as an
aria from Figaro itself.
This movementAs
declamatory A!opera
chorusA(r) persistently
intones its rhythmic
motto over a swirling
scale figure. The amorous
second theme (initially
presented in the first
viola) also seems to be
plucked from Figaro. The
Andante opens with a
heavenly melody, which
takes as its springboard
the Romanza theme from
the Horn Concerto in E
Major, K. 495, written
only five weeks before.
The A!love duetA(r)
between flute and first
viola seems to anticipate
the impassioned
A!duettingA(r) between
violin and viola in the
Andante of the String
Quintet in C Major, K.
515, written about nine
months later. The
ingenious stretto canon
of the AndanteAs middle
section requires the
precision of a Swiss
clock (which its chiming
thirds recall). Affecting
bucolic codettas close
each of the main sections
of the movement. In the
final Allegro, a rondo in
6/8a time, the puckish,
yet aristocratic
character of the opening
theme contrasts with the
bumptious, popular tune
used for the second theme
(heard first in the
violin and then the
flute, over pizzicato
cello). Lilting hymn-like
episodes in three, four-
and finally five-part
counterpoint are
repeatedly interrupted by
startling scale figures
that rise up in furioso
episodes throughout the
movement. As in the
A!Swiss clockA(r) section
of the Andante, Mozart
uses a stretto imitation
treatment with this
tempest theme, thereby
heightening both
intensity and sense of
instability. I am most
grateful to the
adventuresome Martin
Quartet for their warm
support and collaboration
over the years with
several of my
arrangements, and to my
friend Edwin Swanborn for
the original typesetting
of this score. Gratitude
is also due Weekend
Edition, Performance
Today and innumerable
classical stations across
the United States for
their enthusiastic and
repeated airings of my
A!newA(r) Mozart Quintet
endeavorsA3and most of
all, to violist Katherine
Murdock for that dare in
1990. A3Compiled from the
writings of Robert
Stallman by Hannah Woods
Stallman, February 2,
2020. Preface In 1990,
during an intense
rehearsal of a Mozart
Quartet transcription for
flute and strings by
Franz Anton Hoffmeister,
at the Marblehead Summer
Music Festival, a
disgruntled violist
friend complained about
Hoffmeisteris awkward
string writing, suddenly
daring me to create my
own arrangement. I
balked. But the following
winterodespite scruples
about treading on
hallowed groundoI grew
curious and began to
experiment. Soon I was
hooked on the challenge
of learning to speak
Mozartis language with
conviction. This
fascination, encouraged
by pianist Richard Goode
and other Mozarteans,
would eventually generate
a total of thirty-nine
recreations of Mozart
piano sonatas as works
for flute and strings.
With zero tolerance for
alteration of melodic or
harmonic
materialoMozartis friend
Hoffmeister had
regrettably attempted
such iimprovementsioI
always tried to envision
what Mozart himself would
have desired. Many of the
sonatas can be heard as
if they were Mozartis
iblueprintsi of imagined
chamber works. Hence my
task was to iflesh outi
the keyboard versions as
Mozart might have done,
had a commission or
performance opportunity
arisen. I spent hours
pondering how Mozart
might have set these
sonatas in four- or
five-part form, providing
the needed textural or
contrapuntal
enhancements. With
immersion in the
composeris dialect,
various apt solutions
presented themselves. The
search for the irighti
one then became a most
absorbing study. On the
eve of releasing my
Bogneris CafE recording
of Mozart-Stallman New
Quintets (2006), I
discovered to my delight
that a prominent scholar
had long before endorsed
such an effort. Eric Blom
(1888n1959), author of
Mozart (1935), had taken
note of the four-hand
piano works as ia kind of
keyboard chamber music.i
Regarding Sonata, K. 497,
Mr. Blom had observed
that Mozart is often
dealing with, not the
expected four voices (one
to a hand), but five.
Blom states: iThe F major
Sonata (K. 497) removes
us to another worldothe
world of the great
chamber music, especially
of the string quintets.
Indeed an arrangement of
some sort for a
combination of
instruments would make a
magnificent concert work
of this almost
uncomfortably great piece
of domestic music.i That
Mozart was in 1786
writing for piano duo
from a quintet
perspective makes sense,
as we find him returning
to the quintet form with
keen interest in his last
years, writing four
String Quintets, the
Clarinet Quintet,
rearranging a wind
serenade for String
Quintet, and leaving
several other quintets
incomplete. My
arrangement presented
here is made for flute
and strings but is also
intended for string
quintet. Quintet in F
Major for Flute and
Strings, K. 497, was
completed in 1999 and
performed with the Martin
Quartet in the Czech
Republic prior to
recording it in 2004.
Mozart had finished the
original Sonata in F
Major for Piano,
Four-Hands, K. 497, on
August 1, 1786. It shows
the unmistakable
influence of Figaro,
completed and premiered
exactly three months
prior. As signaled by the
imposing introductory
Adagio, the conception is
on a grand symphonic
scale, all three
movements being richly
developed with
contrapuntal episodes and
an abundance of
marvelously contrasting
textures and themes
throughout. Called ithe
crowning work of its
kindi by Alfred Einstein,
the Sonata is laden with
examples of Mozartis
mercurial originality.
Here we have a perfect
synthesis of concertante
brilliance, operatic
intensity and intimate
dialogue. The work opens
in unison with a probing,
minor-tinged Adagio,
whose question comes to a
pause on the dominant,
before being answered
with jaunty certainty by
the opening theme of the
Allegro di moltooan
F-major tune as sunny and
confident as an aria from
Figaro itself. This
movementis declamatory
iopera chorusi
persistently intones its
rhythmic motto over a
swirling scale figure.
The amorous second theme
(initially presented in
the first viola) also
seems to be plucked from
Figaro. The Andante opens
with a heavenly melody,
which takes as its
springboard the Romanza
theme from the Horn
Concerto in E Major, K.
495, written only five
weeks before. The ilove
dueti between flute and
first viola seems to
anticipate the
impassioned iduettingi
between violin and viola
in the Andante of the
String Quintet in C
Major, K. 515, written
about nine months later.
The ingenious stretto
canon of the Andanteis
middle section requires
the precision of a Swiss
clock (which its chiming
thirds recall). Affecting
bucolic codettas close
each of the main sections
of the movement. In the
final Allegro, a rondo in
6/8+time, the puckish,
yet aristocratic
character of the opening
theme contrasts with the
bumptious, popular tune
used for the second theme
(heard first in the
violin and then the
flute, over pizzicato
cello). Lilting hymn-like
episodes in three, four-
and finally five-part
counterpoint are
repeatedly interrupted by
startling scale figures
that rise up in furioso
episodes throughout the
movement. As in the
iSwiss clocki section of
the Andante, Mozart uses
a stretto imitation
treatment with this
tempest theme, thereby
heightening both
intensity and sense of
instability. I am most
grateful to the
adventuresome Martin
Quartet for their warm
support and collaboration
over the years with
several of my
arrangements, and to my
friend Edwin Swanborn for
the original typesetting
of this score. Gratitude
is also due Weekend
Edition, Performance
Today and innumerable
classical stations across
the United States for
their enthusiastic and
repeated airings of my
inewi Mozart Quintet
endeavorsoand most of
all, to violist Katherine
Murdock for that dare in
1990. oCompiled from the
writings of Robert
Stallman by Hannah Woods
Stallman, February 2,
2020. Preface In 1990,
during an intense
rehearsal of a Mozart
Quartet transcription for
flute and strings by
Franz Anton Hoffmeister,
at the Marblehead Summer
Music Festival, a
disgruntled violist
friend complained about
Hoffmeister's awkward
string writing, suddenly
daring me to create my
own arrangement. I
balked. But the following
winter--despite scruples
about treading on
hallowed ground--I grew
curious and began to
experiment. Soon I was
hooked on the challenge
of learning to speak
Mozart's language with
conviction. This
fascination, encouraged
by pianist Richard Goode
and other Mozarteans,
would eventually generate
a total of thirty-nine
recreations of Mozart
piano sonatas as works
for flute and strings.
With zero tolerance for
alteration of melodic or
harmonic
material--Mozart's friend
Hoffmeister had
regrettably attempted
such improvements--I
always tried to envision
what Mozart himself would
have desired. Many of the
sonatas can be heard as
if they were Mozart's
blueprints of imagined
chamber works. Hence my
task was to flesh out the
keyboard versions as
Mozart might have done,
had a commission or
performance opportunity
arisen. I spent hours
pondering how Mozart
might have set these
sonatas in four- or
five-part form, providing
the needed textural or
contrapuntal
enhancements. With
immersion in the
composer's dialect,
various apt solutions
presented themselves. The
search for the right one
then became a most
absorbing study. On the
eve of releasing my
Bogner's Cafe recording
of Mozart-Stallman New
Quintets (2006), I
discovered to my delight
that a prominent scholar
had long before endorsed
such an effort. Eric Blom
(1888-1959), author of
Mozart (1935), had taken
note of the four-hand
piano works as a kind of
keyboard chamber music.
Regarding Sonata, K. 497,
Mr. Blom had observed
that Mozart is often
dealing with, not the
expected four voices (one
to a hand), but five.
Blom states: The F major
Sonata (K. 497) removes
us to another world--the
world of the great
chamber music, especially
of the string quintets.
Indeed an arrangement of
some sort for a
combination of
instruments would make a
magnificent concert work
of this almost
uncomfortably great piece
of domestic music. That
Mozart was in 1786
writing for piano duo
from a quintet
perspective makes sense,
as we find him returning
to the quintet form with
keen interest in his last
years, writing four
String Quintets, the
Clarinet Quintet,
rearranging a wind
serenade for String
Quintet, and leaving
several other quintets
incomplete. My
arrangement presented
here is made for flute
and strings but is also
intended for string
quintet. Quintet in F
Major for Flute and
Strings, K. 497, was
completed in 1999 and
performed with the
Martinu Quartet in the
Czech Republic prior to
recording it in 2004.
Mozart had finished the
original Sonata in F
Major for Piano,
Four-Hands, K. 497, on
August 1, 1786. It shows
the unmistakable
influence of Figaro,
completed and premiered
exactly three months
prior. As signaled by the
imposing introductory
Adagio, the conception is
on a grand symphonic
scale, all three
movements being richly
developed with
contrapuntal episodes and
an abundance of
marvelously contrasting
textures and themes
throughout. Called the
crowning work of its kind
by Alfred Einstein, the
Sonata is laden with
examples of Mozart's
mercurial originality.
Here we have a perfect
synthesis of concertante
brilliance, operatic
intensity and intimate
dialogue. The work opens
in unison with a probing,
minor-tinged Adagio,
whose question comes to a
pause on the dominant,
before being answered
with jaunty certainty by
the opening theme of the
Allegro di molto--an
F-major tune as sunny and
confident as an aria from
Figaro itself. This
movement's declamatory
opera chorus persistently
intones its rhythmic
motto over a swirling
scale figure. The amorous
second theme (initially
presented in the first
viola) also seems to be
plucked from Figaro. The
Andante opens with a
heavenly melody, which
takes as its springboard
the Romanza theme from
the Horn Concerto in E<=
Major, K. 495, written
only five weeks before.
The love duet between
flute and first viola
seems to anticipate the
impassioned duetting
between violin and viola
in the Andante of the
String Quintet in C
Major, K. 515, written
about nine months later.
The ingenious stretto
canon of the Andante's
middle section requires
the precision of a Swiss
clock (which its chiming
thirds recall). Affecting
bucolic codettas close
each of the main sections
of the movement. In the
final Allegro, a rondo in
6/8 time, the puckish,
yet aristocratic
character of the opening
theme contrasts with the
bumptious, popular tune
used for the second theme
(heard first in the
violin and then the
flute, over pizzicato
cello). Lilting hymn-like
episodes in three, four-
and finally five-part
counterpoint are
repeatedly interrupted by
startling scale figures
that rise up in furioso
episodes throughout the
movement. As in the Swiss
clock section of the
Andante, Mozart uses a
stretto imitation
treatment with this
tempest theme, thereby
heightening both
intensity and sense of
instability. I am most
grateful to the
adventuresome Martinu
Quartet for their warm
support and collaboration
over the years with
several of my
arrangements, and to my
friend Edwin Swanborn for
the original typesetting
of this score. Gratitude
is also due Weekend
Edition, Performance
Today and innumerable
classical stations across
the United States for
their enthusiastic and
repeated airings of my
new Mozart Quintet
endeavors--and most of
all, to violist Katherine
Murdock for that dare in
1990. --Compiled from the
writings of Robert
Stallman by Hannah Woods
Stallman, February 2,
2020. PrefaceIn 1990,
during an intense
rehearsal of a Mozart
Quartet transcription for
flute and strings by
Franz Anton Hoffmeister,
at the Marblehead Summer
Music Festival, a
disgruntled violist
friend complained about
Hoffmeister’s
awkward string writing,
suddenly daring me to
create my own
arrangement. I balked.
But the following
winter—despite
scruples about treading
on hallowed
ground—I grew
curious and began to
experiment. Soon I was
hooked on the challenge
of learning to speak
Mozart’s language
with conviction. This
fascination, encouraged
by pianist Richard Goode
and other Mozarteans,
would eventually generate
a total of thirty-nine
recreations of Mozart
piano sonatas as works
for flute and
strings.With zero
tolerance for alteration
of melodic or harmonic
material—Mozartâ
™s friend Hoffmeister
had regrettably attempted
such
“improvementsâ€
—I always tried
to envision what Mozart
himself would have
desired. Many of the
sonatas can be heard as
if they were
Mozart’s
“blueprintsâ€
of imagined chamber
works. Hence my task was
to “flesh
out†the keyboard
versions as Mozart might
have done, had a
commission or performance
opportunity arisen. I
spent hours pondering how
Mozart might have set
these sonatas in four- or
five-part form, providing
the needed textural or
contrapuntal
enhancements. With
immersion in the
composer’s
dialect, various apt
solutions presented
themselves. The search
for the
“right†one
then became a most
absorbing study.On the
eve of releasing my
Bogner’s Café
recording of
Mozart-Stallman New
Quintets (2006), I
discovered to my delight
that a prominent scholar
had long before endorsed
such an effort. Eric Blom
(1888–1959),
author of Mozart (1935),
had taken note of the
four-hand piano works as
“a kind of keyboard
chamber music.â€
Regarding Sonata, K. 497,
Mr. Blom had observed
that Mozart is often
dealing with, not the
expected four voices (one
to a hand), but five.
Blom states: “The F
major Sonata (K. 497)
removes us to another
world—the world of
the great chamber music,
especially of the string
quintets. Indeed an
arrangement of some sort
for a combination of
instruments would make a
magnificent concert work
of this almost
uncomfortably great piece
of domestic music.â€
That Mozart was in 1786
writing for piano duo
from a quintet
perspective makes sense,
as we find him returning
to the quintet form with
keen interest in his last
years, writing four
String Quintets, the
Clarinet Quintet,
rearranging a wind
serenade for String
Quintet, and leaving
several other quintets
incomplete. My
arrangement presented
here is made for flute
and strings but is also
intended for string
quintet.Quintet in F
Major for Flute and
Strings, K. 497, was
completed in 1999 and
performed with the
Martinů Quartet in the
Czech Republic prior to
recording it in 2004.
Mozart had finished the
original Sonata in F
Major for Piano,
Four-Hands, K. 497, on
August 1, 1786. It shows
the unmistakable
influence of Figaro,
completed and premiered
exactly three months
prior. As signaled by the
imposing introductory
Adagio, the conception is
on a grand symphonic
scale, all three
movements being richly
developed with
contrapuntal episodes and
an abundance of
marvelously contrasting
textures and themes
throughout. Called
“the crowning work
of its kind†by
Alfred Einstein, the
Sonata is laden with
examples of
Mozart’s mercurial
originality. Here we have
a perfect synthesis of
concertante brilliance,
operatic intensity and
intimate dialogue.The
work opens in unison with
a probing, minor-tinged
Adagio, whose question
comes to a pause on the
dominant, before being
answered with jaunty
certainty by the opening
theme of the Allegro di
molto—an F-major
tune as sunny and
confident as an aria from
Figaro itself. This
movement’s
declamatory “opera
chorusâ€
persistently intones its
rhythmic motto over a
swirling scale figure.
The amorous second theme
(initially presented in
the first viola) also
seems to be plucked from
Figaro.The Andante opens
with a heavenly melody,
which takes as its
springboard the Romanza
theme from the Horn
Concerto in E≤
Major, K. 495, written
only five weeks before.
The “love
duet†between flute
and first viola seems to
anticipate the
impassioned
“duettingâ€
between violin and viola
in the Andante of the
String Quintet in C
Major, K. 515, written
about nine months later.
The ingenious stretto
canon of the
Andante’s middle
section requires the
precision of a Swiss
clock (which its chiming
thirds recall). Affecting
bucolic codettas close
each of the main sections
of the movement.In the
final Allegro, a rondo in
6/8Â time, the puckish,
yet aristocratic
character of the opening
theme contrasts with the
bumptious, popular tune
used for the second theme
(heard first in the
violin and then the
flute, over pizzicato
cello). Lilting hymn-like
episodes in three, four-
and finally five-part
counterpoint are
repeatedly interrupted by
startling scale figures
that rise up in furioso
episodes throughout the
movement. As in the
“Swiss clockâ€
section of the Andante,
Mozart uses a stretto
imitation treatment with
this tempest theme,
thereby heightening both
intensity and sense of
instability.I am most
grateful to the
adventuresome Martinů
Quartet for their warm
support and collaboration
over the years with
several of my
arrangements, and to my
friend Edwin Swanborn for
the original typesetting
of this score. Gratitude
is also due Weekend
Edition, Performance
Today and innumerable
classical stations across
the United States for
their enthusiastic and
repeated airings of my
“new†Mozart
Quintet
endeavors—and most
of all, to violist
Katherine Murdock for
that dare in
1990.—Compiled
from the writings of
Robert Stallmanby Hannah
Woods Stallman,February
2, 2020. $42.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| More Easy Classics To Moderns
Piano seul [Partition] - Facile Music Sales
Edited by Denes Agay. For piano. Music For Millions: Volume 27. Format: piano so...(+)
Edited by Denes Agay. For
piano. Music For
Millions: Volume 27.
Format: piano solo book.
With fingerings. Baroque,
Classical Period,
Romantic Period and 20th
Century. 160 pages. 9x12
inches. Published by
Music Sales.
$18.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Charlatan Orchestre d'harmonie [Conducteur] Willow Blossom Music
March. Composed by John Philip Sousa (1854-1932). Arranged by Keith Brion...(+)
March. Composed by
John Philip Sousa
(1854-1932). Arranged by
Keith Brion. Sousa
Legacy. March. Score
only. Duration 0:02:57.
Published by Willow
Blossom Music
(CL.WBM-4588-01).
$11.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Pop City Orchestre d'harmonie [Conducteur] - Facile De Haske Publications
Concert Band/Harmonie - Grade 3 SKU: BT.DHP-1175799-140 Composed by Thier...(+)
Concert Band/Harmonie -
Grade 3 SKU:
BT.DHP-1175799-140
Composed by Thierry
Deleruyelle. Applause
Series. Original Light
Music. Score Only.
Composed 2017. 21 pages.
De Haske Publications
#DHP 1175799-140.
Published by De Haske
Publications
(BT.DHP-1175799-140).
English-German-French-
Dutch. Pop
City combines pop and
funk music, and has been
composed in the style of
a film or television
theme tune. It was
commissioned by the
municipal wind band of
Phalempin (France), and
represents the vitality
and energy of the city,
which proclaims itself
“active by
natureâ€. You will
be swept away by this pop
music theme. All of the
orchestral sections
featured in this festive
music will get your
groove on and get you up
dancing. This is the
perfect opener or
apotheosis for your
performance!
Po
p City combineert
pop- en funkmuziek in de
stijl van een film- of
televisietune. Het is
gecomponeerd in opdracht
van het Orchestre
d’Harmonie
municipale de Phalempin
(Frankrijk) en het
verklankt de vitaliteit
en energie van die
plaats, die zich
presenteert als
‘van nature
actief’. Het
popmuziekthema is zeer
aanstekelijk en alle
secties die in deze
feestelijke muziek aan
bod komen, zullen het
publiek meenemen
‘in de
groove’ iedereen
zal willen opstaan om te
dansen. De perfecte
opening of het
spetterende slot van uw
optreden!
In dem
Stück Pop City,
das im Stil einer Film-
bzw. Fernseh-Titelmelodie
komponiert wurde, werden
Pop- und Funkmusik
miteinander vermischt.
Das Stück wurde vom
Städtischen
Blasorchester Phalempin
(Frankreich) in Auftrag
gegeben und stellt die
Dynamik und Energie der
Stadt dar, die sich
selbst als von Natur aus
aktiv“ bezeichnet.
Alle Instrumentengruppen
werden von dem tollen
Popmusikthema mitgerissen
und kommen bei dieser
festlichen Musik, die
groovt und zum Tanzen
anregt, zur Geltung. Das
Stück eignet sich
bestens als
KonzerteröffnungsstÃ
ck oder als
Höhepunkt!
P
op City est une
œuvre mêlant
musique pop et funk,
écrite la manière
d’un
générique de
télévision ou de
cinéma. Commandée
par l’Orchestre
d’Harmonie
municipal de Phalempin
(France),
l’œuvre
représente le
dynamisme et
l’énergie de la
ville, auto-proclamée
« active par nature
». Emmenés par un
thème digne de la pop
music, tous les pupitres
de l’orchestre
sont mis l’honneur
dans cette musique
festive qui groove et
fait danser. Voici une
parfaite pièce
d’ouverture ou
d’apothéose
!
Pop City
è un brano che unisce
pop e funk, composto in
uno stile da colonna
sonora. È stato
commissionato dalla banda
municipale di fiati di
Phalempin (Francia) e
rispecchia la vitalit e
l’energia di
questa cittadina, che ama
defi nirsi “attiva
per naturaâ€. Sarete
travolti dal suo tema
pop. Tutte le sezioni
d’orchestra
proposte in questo brano
festoso accenderanno il
vostro groove e vi
faranno ballare.
L’apertura o la
conclusione perfetta per
il vostro concerto! $22.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Pop City Orchestre d'harmonie [Conducteur et Parties séparées] - Facile De Haske Publications
Concert Band/Harmonie - Grade 3 SKU: BT.DHP-1175799-010 Composed by Thier...(+)
Concert Band/Harmonie -
Grade 3 SKU:
BT.DHP-1175799-010
Composed by Thierry
Deleruyelle. Applause
Series. Original Light
Music. Set (Score &
Parts). Composed 2017. De
Haske Publications #DHP
1175799-010. Published by
De Haske Publications
(BT.DHP-1175799-010).
English-German-French-
Dutch. Pop
City combines pop and
funk music, and has been
composed in the style of
a film or television
theme tune. It was
commissioned by the
municipal wind band of
Phalempin (France), and
represents the vitality
and energy of the city,
which proclaims itself
“active by
natureâ€. You will
be swept away by this pop
music theme. All of the
orchestral sections
featured in this festive
music will get your
groove on and get you up
dancing. This is the
perfect opener or
apotheosis for your
performance!
Po
p City combineert
pop- en funkmuziek in de
stijl van een film- of
televisietune. Het is
gecomponeerd in opdracht
van het Orchestre
d’Harmonie
municipale de Phalempin
(Frankrijk) en het
verklankt de vitaliteit
en energie van die
plaats, die zich
presenteert als
‘van nature
actief’. Het
popmuziekthema is zeer
aanstekelijk en alle
secties die in deze
feestelijke muziek aan
bod komen, zullen het
publiek meenemen
‘in de
groove’ iedereen
zal willen opstaan om te
dansen. De perfecte
opening of het
spetterende slot van uw
optreden!
In dem
Stück Pop City,
das im Stil einer Film-
bzw. Fernseh-Titelmelodie
komponiert wurde, werden
Pop- und Funkmusik
miteinander vermischt.
Das Stück wurde vom
Städtischen
Blasorchester Phalempin
(Frankreich) in Auftrag
gegeben und stellt die
Dynamik und Energie der
Stadt dar, die sich
selbst als von Natur aus
aktiv“ bezeichnet.
Alle Instrumentengruppen
werden von dem tollen
Popmusikthema mitgerissen
und kommen bei dieser
festlichen Musik, die
groovt und zum Tanzen
anregt, zur Geltung. Das
Stück eignet sich
bestens als
KonzerteröffnungsstÃ
ck oder als
Höhepunkt!
P
op City est une
œuvre mêlant
musique pop et funk,
écrite la manière
d’un
générique de
télévision ou de
cinéma. Commandée
par l’Orchestre
d’Harmonie
municipal de Phalempin
(France),
l’œuvre
représente le
dynamisme et
l’énergie de la
ville, auto-proclamée
« active par nature
». Emmenés par un
thème digne de la pop
music, tous les pupitres
de l’orchestre
sont mis l’honneur
dans cette musique
festive qui groove et
fait danser. Voici une
parfaite pièce
d’ouverture ou
d’apothéose
!
Pop City
è un brano che unisce
pop e funk, composto in
uno stile da colonna
sonora. È stato
commissionato dalla banda
municipale di fiati di
Phalempin (Francia) e
rispecchia la vitalit e
l’energia di
questa cittadina, che ama
defi nirsi “attiva
per naturaâ€. Sarete
travolti dal suo tema
pop. Tutte le sezioni
d’orchestra
proposte in questo brano
festoso accenderanno il
vostro groove e vi
faranno ballare.
L’apertura o la
conclusione perfetta per
il vostro concerto! $110.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Joyeuse Marche Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire G and M Brand Music Publishers
Concert band (Piccolo, Flute 1, Flute 2, Oboe 1/2, Eb Clarinet, Bb Clarinet 1, B...(+)
Concert band (Piccolo,
Flute 1, Flute 2, Oboe
1/2, Eb Clarinet, Bb
Clarinet 1, Bb Clarinet
2, Bb Clarinet 3, Eb Alto
Clarinet, Bb Bass
Clarinet, Bassoon 1/2,
Alto Saxophone 1/2, Tenor
Saxophone, Baritone
Saxophone, Bb Cornet 1,
Bb Cornet 2, Bb Cornet 3,
Bb Trumpet 1/2,) - grade
4.5 SKU: CN.R10240
Composed by Geoffrey
Brand. Arranged by
Geoffrey Brand. Band
Music. Score and parts.
Duration 3:30. Published
by G & M Brand Music
Publishers (CN.R10240).
Joyeuse Marche
(originally called Marche
Francaise) was written in
1888. It exudes
Chabrier's rhythmical
exuberance, spontaneity
and wit, bringing
pleasure and joy to
performers and listeners
alike. Truly a march
which lives up to its
title.
In spite of
displaying remarkable
musical gifts Chabrier
(1841-1894) was sent by
his father to study law
and in due course, having
taken a law degree, went
to work in his native
French Ministry of the
Interior, stay there for
eighteen years. During
the whole of this time he
was developing his real
interests in music and
painting, including
composing operettas and
music for the piano.
Following a holiday in
Spain in 1883, Chabrier
wrote a rhapsody for
orchestra based on
Spanish tunes he had
heard. This became
Espana; it achieved
immediate acclaim and is
still his most performed
work. Joyeuse Marche
(originally called Marche
Francaise) was written in
1888. It exudes
Chabrier's rhythmical
exuberance, spontaneity
and wit, bringing
pleasure and joy to
performers and listeners
alike. Truly a march
which lives up to its
title. $80.00 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Joyeuse Marche Orchestre d'harmonie [Conducteur] - Intermédiaire G and M Brand Music Publishers
Concert band (Piccolo, Flute 1, Flute 2, Oboe 1/2, Eb Clarinet, Bb Clarinet 1, B...(+)
Concert band (Piccolo,
Flute 1, Flute 2, Oboe
1/2, Eb Clarinet, Bb
Clarinet 1, Bb Clarinet
2, Bb Clarinet 3, Eb Alto
Clarinet, Bb Bass
Clarinet, Bassoon 1/2,
Alto Saxophone 1/2, Tenor
Saxophone, Baritone
Saxophone, Bb Cornet 1,
Bb Cornet 2, Bb Cornet 3,
Bb Trumpet 1/2,) - grade
4.5 SKU: CN.S11240
Composed by Geoffrey
Brand. Arranged by
Geoffrey Brand. Band
Music. Score only.
Duration 3:30. Published
by G & M Brand Music
Publishers (CN.S11240).
Joyeuse Marche
(originally called Marche
Francaise) was written in
1888. It exudes
Chabrier's rhythmical
exuberance, spontaneity
and wit, bringing
pleasure and joy to
performers and listeners
alike. Truly a march
which lives up to its
title.
In spite of
displaying remarkable
musical gifts Chabrier
(1841-1894) was sent by
his father to study law
and in due course, having
taken a law degree, went
to work in his native
French Ministry of the
Interior, stay there for
eighteen years. During
the whole of this time he
was developing his real
interests in music and
painting, including
composing operettas and
music for the piano.
Following a holiday in
Spain in 1883, Chabrier
wrote a rhapsody for
orchestra based on
Spanish tunes he had
heard. This became
Espana; it achieved
immediate acclaim and is
still his most performed
work. Joyeuse Marche
(originally called Marche
Francaise) was written in
1888. It exudes
Chabrier's rhythmical
exuberance, spontaneity
and wit, bringing
pleasure and joy to
performers and listeners
alike. Truly a march
which lives up to its
title. $10.00 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Pirates! Orchestre à Cordes [Conducteur et Parties séparées] Alfred Publishing
By Sir Arthur Seymour Sullivan. Arranged by Andrew Dabczynski. Music by Arthur S...(+)
By Sir Arthur Seymour
Sullivan. Arranged by
Andrew Dabczynski. Music
by Arthur Sullivan / arr.
Andrew Dabczynski. For
String Orchestra. String
Orchestra. String
Explorer. Conductor Score
and Parts. Published by
Alfred Publishing.
$45.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| David Liebman -- Anthology Advance Music
C Instruments SKU: AP.1-ADV12031 Original Compositions (for Melody Ins...(+)
C Instruments SKU:
AP.1-ADV12031
Original Compositions
(for Melody Instruments
in C). Composed by
David Liebman. This
edition: Melody
Instruments in C
(Flute/Guitar/Piano). All
Instruments Method or
Collection;
Improvisation;
Method/Instruction.
Advance Music. Jazz.
Book. Advance Music
#01-ADV12031. Published
by Advance Music
(AP.1-ADV12031). ISBN
9783892210771. UPC:
805095120318.
English. This
anthology features 53
original compositions
spanning much of David
Liebman's career
(1974--2005). The
majority have been
recorded (specific
recording information is
given when it applies),
and in the notes for each
tune, the composer shares
his inspiration sources
and/or interpretation
suggestions.
Titles: All the
Things That * And Now,
for a Show Tune * Anubis
* As Always * Ballad 1 *
Beyond the Line * Breath
* Bridge Dance * Brother
Ernesto * Change-Up *
Chant * Child at Play *
Child Refugee * Climbing
* Cosmos * Cycling * Day
& Nite * Fire *
Flashpoint * Fracas *
Gazelle * The Gentle
Warrior * Get Me Back to
the Apple * G.I.G. * Hymn
for Mom * Is Seeing
Believing? * Le Roi du
Monde * Little Peanut *
Look What We Do to
Ourselves * Lost Horizon
* Loudly * The Luck of
the Draw * Main in the
Mist * Mommie's Eyes *
Move on Some * Papoose *
Pastorale * Port Ligat *
Renewal * Riz's Blues *
Satya Dhwani * The
Searcher * Snow Day *
Something She Would Do *
The Spirits Awaken *
Teacher of Our Child *
Tender Mercies *
Translucence * Vamp to
Life * Vendetta * When to
Love. $34.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| My Favorite Classics - Level One Piano seul Santorella Publications
Composed by John Brimhall and Jonathon Robbins. Collection; Classical. Book. S...(+)
Composed by John Brimhall
and
Jonathon Robbins.
Collection;
Classical. Book.
Santorella
Publications #O114.
Published
by Santorella
Publications
$19.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Exceptional Classics for Piano Piano seul Santorella Publications
Exceptional Classics for Piano composed by Various. Arranged by Jonathon Robbins...(+)
Exceptional Classics for
Piano composed by
Various. Arranged by
Jonathon Robbins. For
piano. This edition:
Paperback. Collection.
Classical. Book. Text
Language: English. 64
pages. Published by
Santorella Publications
(1)$12.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| An Introduction to His Piano Works Piano seul [Partition] - Intermédiaire Alfred Publishing
By Edvard Grieg. Edited by Margery Halford. For Piano. Piano Collection. Masterw...(+)
By Edvard Grieg. Edited
by Margery Halford. For
Piano. Piano Collection.
Masterwork. Level:
Intermediate / Early
Advanced (grade 4/5/6/6
). Book. 64 pages.
Published by Alfred
Publishing.
(2)$12.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Real Book - Volume 2 Instruments en Sib [Fake Book] Hal Leonard
B-flat Edition. By Various. Fake Book (Includes melody line and chords). Size 8....(+)
B-flat Edition. By
Various. Fake Book
(Includes melody line and
chords). Size 8.5x11
inches. Published by Hal
Leonard.
(1)$49.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Real Book - Volume 2 Fake Book [Fake Book] Hal Leonard
Eb Instruments. By Various. Fake Book (Includes melody line and chords). Size 9x...(+)
Eb Instruments. By
Various. Fake Book
(Includes melody line and
chords). Size 9x11
inches. Published by Hal
Leonard.
$49.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Real Book - Volume 2 (C Instruments)
Instruments en Do [Fake Book] - Intermédiaire Hal Leonard
By Various Composers. Fake Book (Includes melody line and chords). Size 8.5x11 i...(+)
By Various Composers.
Fake Book (Includes
melody line and chords).
Size 8.5x11 inches. 416
pages. Published by Hal
Leonard.
(5)$49.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Real Book - Volume 2 - Mini Edition Fake Book [Fake Book] Hal Leonard
C Instruments. By Various. Fake Book (Includes melody line and chords). Publishe...(+)
C Instruments. By
Various. Fake Book
(Includes melody line and
chords). Published by Hal
Leonard.
$44.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Real Book - Volume 2: Second Edition Instruments en Do [Partition + Accès audio] Hal Leonard
Book with Play-Along Tracks. Composed by Various. Real Book Play-Along. Softco...(+)
Book with Play-Along
Tracks.
Composed by Various. Real
Book Play-Along.
Softcover
Audio Online. 440 pages.
Published by Hal Leonard
$75.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Real Book - Volume II - Second Edition CD-ROM Fake Book [CD-ROM] Hal Leonard
| | |
| The Real Book - Volume 2 Bass Clef Instruments [Fake Book] Hal Leonard
Bass Clef Edition. By Various. Fake Book (Includes melody line and chords). Size...(+)
Bass Clef Edition. By
Various. Fake Book
(Includes melody line and
chords). Size 9x11
inches. Published by Hal
Leonard.
$49.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Real Bebop Book Instruments en Mib Hal Leonard
Eb Edition. By Various. Fake Book. Bebop, Jazz. Softcover. 248 pages. Publishe...(+)
Eb Edition. By Various.
Fake
Book. Bebop, Jazz.
Softcover.
248 pages. Published by
Hal
Leonard
$34.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Real Bebop Book Instruments en Do [Fake Book] Hal Leonard
C Edition. By Various. Fake Book. Softcover. 248 pages. Published by Hal ...(+)
C Edition. By
Various. Fake Book.
Softcover. 248 pages.
Published by Hal Leonard
(HL.154230).
$34.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Spectrum for Violin (with CD) Violon et Piano [CD] ABRSM Publishing
By Various. Edited by Alexandra Wood. For Violin, Piano (w/CD). Violin and Piano...(+)
By Various. Edited by
Alexandra Wood. For
Violin, Piano (w/CD).
Violin and Piano
(Soundtrack)
$36.99 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Short and Easy Organ Collection Orgue [Partition] - Facile Kevin Mayhew
For Organ. (2-part). General collections. Sacred. Level: Beginning-Intermediate...(+)
For Organ. (2-part).
General collections.
Sacred. Level:
Beginning-Intermediate.
Book. Published by Kevin
Mayhew Publishers (U.K.
Import).
$33.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Das rote Album. Hits for Organ I Orgue [Partition] Carus Verlag
By Various. Edited by Volkl, Helmut. Organ Music. Collection. 80 pages. Publishe...(+)
By Various. Edited by
Volkl, Helmut. Organ
Music. Collection. 80
pages. Published by Carus
Verlag (German import).
$39.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Belwin Master Duets (Trumpet), Easy Volume 1 Trompette [Partition] - Facile Alfred Publishing
By or arr. Keith Snell. For Trumpet. Brass - Cornet (Trumpet) Duet. Level: Easy....(+)
By or arr. Keith Snell.
For Trumpet. Brass -
Cornet (Trumpet) Duet.
Level: Easy. 32 pages.
Published by Alfred
Publishing.
$7.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
1 31 Page suivante 61 91 |