Jing Jingle Bells Chorale 2 parties 2 parties, Piano [Octavo] Heritage Music Press
Composed by Douglas E. Wagner. For 2-part voices and piano accompaniment (with o...(+)
Composed by Douglas E.
Wagner. For 2-part voices
and piano accompaniment
(with optional sleigh
bells, wood block).
Secular Christmas.
Octavo. Heritage Music
Press #15/3151H.
Published by Heritage
Music Press
Saint Benedict
Cantata. Composed by
Jacob De Haan. Musica
Sacra. Concert Piece. Set
(Score & Parts). Composed
2008. De Haske
Publications #DHP
1074334-010. Published by
De Haske Publications
(BT.DHP-1074334-010).
9x12 inches.
English-German-French-Dut
ch.
Cantica de
Sancto Benedicto is a
three-movement work for
mixed choir, soprano
solo, concert band and
organ ad libitum - on
Latin lyrics that relate
to the life of Saint
Benedict. It was
commissioned by the city
of Norcia in Italy,
whereBenedict was born.
The holy Benedict
(480-547) is considered
the founder of monastic
life within the Roman
Catholic Church. His
enormous influence is
especially owing to his
monastic rule, the Regula
Benedicti.Jacob de Haan
has named the movements
ofCantica de Sancto
Benedicto after the
Holy Trinity: the Father
(Gloria Patri),
the Son (Gloria
Filio) and the Holy
Spirit (Gloria
Spiritui Sancto). The
lyrics of thehymn
Gemma Caelestis,
(which, like the
othertexts, were
originally used in
Gregorian chant) are
voiced by the choir. To
this purpose, Jacob de
Haan composed new,
choral-like, homophone
music. The sequence
Laeta Quies is
rendered by the soprano;
the verses (divided over
the threemovements) are
alternated with those of
Gemma Caelestis.
The work closes with an
impressive grand finale,
in which texts are used
from the proprium of the
mass in honor of the
saint’s day of the
holy Benedict (11 July).
Notes to the
conductor:For this
cantata, there are
various possibilities for
the performance. The
first involves a
performance in which the
choir and soprano parts
are only accompanied by
organ. Such a performance
has several advantages:
since the band never
soundstogether with the
choir and the soprano, no
balance problems occur,
and even a performance
with a large concert band
and a small cantata choir
is conceivable. A special
layout is also possible -
with which you can set up
a
three-dimensionalperforma
nce in a church. For
example, the choir can
sing in the chancel,
accompanied by the choir
organ; the soprano can
stand on the gallery,
accompanied by the main
organ; and the band can
be seated in another part
of the church. The choir
couldalso sing from a
gallery. With layouts
like this, working with
two conductors is
advisable. Choral parts
available
separately.
Koor
partijen apart
verkrijgbaar.
Cantica de Sancto
Benedicto ist ein
dreisätziges Werk
für gemischten Chor,
Sopran-Solist,
sinfonisches
Blasorchester und Orgel
ad lib. - zu lateinischen
Texten über das Leben
des Heiligen Benedikt. Es
entstand im Auftrag der
italienschen StadtNursia,
dem Geburtsort von
Benedikt. Jacob de Haan
benannte die Sätze von
Cantica de Sancto
Benedicto nach der
Heiligen Dreifaltigkeit:
der Vater (Gloria
Patri), der Sohn
(Gloria Filio) und
der Heilige Geist
(Gloria
SpirituiSancto). Der
Text zur Hymne Gemma
Caelestis (der wie
die übrigen Texte
ursprünglich aus dem
Gregorianischen Choral
stammt) wird vom Chor
gesungen. Zu diesem Zweck
komponierte Jacob de Haan
neue choralartige,
homophone Musik. Der
AbschnittLaeta
Quies wird vom Sopran
vorgetragen; die Strophen
(die sich über alle
drei Sätze verteilen)
wechseln sich mit denen
von Gemma
Caelestis ab. Das
Werk endet mit einem
eindrucksvollen
großartigen Finale, in
dem Texte aus dem
Propriumaus der Messe zu
Ehren des Feiertags des
Heiligen Benedikt (11.
Juli) verwendet
werden.Chorstimmen sind
unter folgendem Link
separat erhältlich:DHP
1074334-050Anmerkungen
für den
Dirigenten:Für
dieseKantate gibt es
mehrere
Aufführungsmöglichk
eiten. Die erste ist eine
Version, in der die Chor-
und Sopranstimmen nur von
der Orgel begleitet
werden. Solch eine
Aufführung bietet
mehrere Vorteile: Da das
Blasorchester nie
zusammen mit Chor und
Sopranerklingt, gibt es
keine Probleme mit der
klanglichen
Ausgewogenheit und sogar
eine Aufführung mit
einem großen
Blasorchester und einem
kleinen Kantatenchor ist
denkbar. Eine besondere
Aufstellung für eine
dreidimensionale
Aufführung in einer
Kircheist ebenso
möglich. Der Chor
singt zum Beispiel von
der Kanzel aus, begleitet
von der Chororgel; der
Sopran steht auf der
Galerie, begleitet von
der Hauptorgel,
während das
Blasorchester in einem
anderen Teil der Kirche
aufgestellt ist. Der Chor
kannauch von Galerie aus
singen. Bei solchen
Aufstellungen ist es
ratsam, mit zwei
Dirigenten zu arbeiten.
Die Begleitung der
Singstimmen ist in
Stichnoten für das
Blasorchester notiert.
Wenn das Werk ohne Orgel
aufgeführt wird,
beispielsweise in
einemKonzertsaal, spielt
das Blasorchester die
Begleitung. Die
Begleitstimmen sind
transparent orchestriert,
zugunsten der klanglichen
Ausgewogenheit von
Blasorchester, Chor und
Sopran. Im dritten Satz
(Takte 144-151) gibt es
eine optionale Passage
fürden Chor. Diese ist
nur für eine
Aufführung mit einem
sehr großen Chor
gedacht. Eine weitere
Variante beinhaltet, den
musikalischen
Höhepunkt im dritten
Satz zu überspringen
und direkt von Takt 156
zu Takt 213
weiterzugehen. Gründe
hierfür könnensein:
der etwas höhere
Schwierigkeitsgrad, eine
begrenzte
Aufführungsdauer
und/oder der Wunsch, den
Kantatentext auf Gemma
Caelestis und
Laeta Quies zu
beschränken.
Während einer Messe
oder eines Gottesdienstes
können auch
verschiedeneStrophen
verwendet werden.
Wahlweise kann das
Sopransolo auch vom
Chorsopran gesungen
werden. Alternativ hierzu
können Sie die
Sopranstimmen (komplett
oder teilweise) von einem
Tenor singen lassen.
Für Chöre, die
Cantica de Sancto
Benedictoaufführen
wollen, bietet der
Komponist einen
Extra-Service auf seiner
Website
https://www.jacobdehaan.c
om, wo Audiodateien der
einzelnen Chorstimmen
für das Einstudieren
zu Hause zugänglich
sind. Informationen zu
anderen Werken für
Chor undBlasorchester
(Missa Brevis und
Missa Katharina)
sind ebenfalls dort zu
finden.Chorstimmen
separat
erhältlich.
Performed by Kurt Weill. Edited by Carol Cuellar. Songbook (Piano/Vocal/Chords. ...(+)
Performed by Kurt Weill.
Edited by Carol Cuellar.
Songbook
(Piano/Vocal/Chords.
Arrangements for piano
and voice with guitar
chords). 284 pages.
Published by Alfred
Publishing.
Bass Guitar SKU: HL.14047676 Composed by Paolo Varca. CARISCH - MUSIC SAL...(+)
Bass Guitar
SKU:
HL.14047676
Composed
by Paolo Varca. CARISCH -
MUSIC SALES. Tuition.
General Merchandise. Play
Music Italy #ML3773.
Published by Play Music
Italy (HL.14047676).
ISBN 9788850730070.
Italian.
This Bass
method differs from
others since it is
entirely based on
practice. You will not
find riffs or licks of
one or two lines, but
rather full pieces in the
style of some of the
greatest bluesmen - Otis
Rush, BB King, Eric
Clapton, Freddie
King,Buddy Guy, Albert
King, Stevie Ray Vaughan,
Magic Sam and more.
Before addressing the 50
Bass lines in this
method, a preliminary
chapter will teach you
how to build lines in the
blues style. In doing so,
you will be able to
analyse what you
areplaying later, before
learning to create your
own. You'll also be
introduced to structure,
rhythm, arpeggios,
scales, chromatic
approaches and more. The
included DVD allows you
to listen to all of the
featured Bass lines
played at normal speed,
thenat a reduced speed,
in order to learn the
right gestures. The MP3
CD contains backing
tracks for you to play
along to, at two
different speeds: the
first being normal (the
speed to be achieved),
while the second is
reduced to help with
study. Intotal, over
seven hours of music is
included, giving you the
opportunity to practice
in the best possible
conditions.
Favorite classical themes in jazzy arrangements. By Various. Arranged by Dirko J...(+)
Favorite classical themes
in jazzy arrangements. By
Various. Arranged by
Dirko Juchem, Achim
Brochhausen. (Violin).
This edition: ED9599.
Schott. Book with CD. 24
pages. Published by
Schott Music.
Favorite classical themes in jazzy arrangements. By Various. Arranged by Dirko J...(+)
Favorite classical themes
in jazzy arrangements. By
Various. Arranged by
Dirko Juchem, Achim
Brochhausen. (Trumpet).
Schott. BOOK W/CD. 24
pages. Published by
Schott.
Level 7 Piano SKU: HL.360517 By Various. Piano Solo Songbook. Instruction...(+)
Level 7 Piano
SKU:
HL.360517
By Various.
Piano Solo Songbook.
Instruction. Softcover
Audio Online. Rockschool
#RSK200096US. Published
by Rockschool
(HL.360517).
ISBN
9781789361728. UPC:
840126990454.
9.0x12.0x0.235
inches.
Learn to
play rock and pop with
Rockschool. These
specially written
arrangements develop the
skills and techniques you
need to help you achieve
your musical goals. For
Rockschool's piano
series, Rockschool has
commissioned arrangements
of titles reflecting
popular music's rich
heritage in all its
forms. Each piece has
been tailored to fit the
relevant grade level and
support progression while
learning your instrument.
The music has been
arranged and performed by
top session musicians and
was recorded at Abbey
Road Studios. Songs
include: Cornflake Girl
(Tori Amos) • I Got
the News (Steely Dan)
• Live and Let Die
(Paul McCartney and
Wings) • Rosanna
(Toto) • Theme from
Schindler's List •
A Song for You (Ray
Charles). Plus: •
Band and artist fact
files with recommended
listening •
In-depth walkthroughs of
every track •
Easy-access downloadable
audio of backing tracks
and full recordings of
all performance pieces
• Example tests and
exercises.
Bass Guitar and Drums SKU: BT.MUSME0137 Composed by David N. Johnson and ...(+)
Bass Guitar and Drums
SKU: BT.MUSME0137
Composed by David N.
Johnson and Peter Safran.
Method. Book with CD.
Composed 2018. Play Music
Publishing #MUSME0137.
Published by Play Music
Publishing
(BT.MUSME0137).
English.
This
method is designed for
both the bassists and
drummers and its purpose
is to help them play
together in almost all
major musical styles:
Rock, Blues, Funk, Rhythm
and Blues, Disco/Dance,
Reggae, Latin music,
etc... The many grooves
presented here, even if
they can be practised
alone, are intended to be
played in a band, or at
least by a bass/drum duo,
either on stage or in a
studio or simply among
friends. Each example
displays the bass line
along with its tab and
the drum score just below
allowing to situate each
instrument in relation to
the other. In this way,
the grooves can easily be
read and analysed from
both perspectives. For
each style, you will
begin practisingone bar,
then two bar patterns...
before tackling longer
and more complex grooves.
To put this into
application, all you will
have to do is use your
own chord changes or
those you like, as well
as play the patterns you
find interesting over
these chords. On the CD,
the bass examples are
played on the left
channel and the drums
examples on the right
channel. With a centred
sound balance you will be
able to hear both
instruments!
The Call Ensemble Jazz [Conducteur et Parties séparées] Kendor Music Inc.
By Doug Beach and George Shutack. For jazz ensemble. Doug Beach Jazz Foundations...(+)
By Doug Beach and George
Shutack. For jazz
ensemble. Doug Beach Jazz
Foundations Series. Very
easy. Score and parts.
Duration 3:04. Published
by Kendor Music Inc
(Selections from the Cello Repertoire). Compiled, ed., and arr. Carey Cheney. Fo...(+)
(Selections from the
Cello Repertoire).
Compiled, ed., and arr.
Carey Cheney. For Cello
and Piano. String - Cello
Studies or Collection.
Companion CD also
available (see item
24482). Instrumental Solo
Book and Piano
Accompaniment Book. 76
pages. Published by
Alfred Publishing.
(For Strings - Cello Book). By Larry Clark. Arranged by Doris Gazda Larry Clark....(+)
(For Strings - Cello
Book). By Larry Clark.
Arranged by Doris Gazda
Larry Clark. For 2 Cello,
Compatible with Bf50,
Bf51, Bf53. 32 pages.
Published by Carl Fischer
Clarinet; Organ - easy to intermediate SKU: HL.49045022 For Clarinet i...(+)
Clarinet; Organ - easy to
intermediate
SKU:
HL.49045022
For
Clarinet in B Flat and
Organ. Composed by
Barbara Heller. Edited by
Irith Gabriely. This
edition: Saddle
stitching. Sheet music.
Woodwind Solo. Dieser
Orgelchoral mit
Soloklarinette folgt in
der formalen Anlage einem
Judischen Totengebet.
Dabei steht die
Soloklarinette fur den
Gesang des traditionellen
Vorbeters, die Orgel mimt
den Nachgesang der
Synagogengemeinde.
Classical. Softcover. 16
pages. Duration 8'.
Schott Music #KLB99.
Published by Schott Music
(HL.49045022).
ISBN
9790001154277. UPC:
841886027794.
The
formal structure of this
organ chorale with solo
clarinet follows a Jewish
death prayer. The solo
clarinet represents the
chant of the traditional
prayer leader while the
organ plays the response
of the congregation of
the synagogue. The piece
ends with a cadenza of
the solo clarinet to
which an optional organ
improvisation can be
added.Barbara Heller
dedicated this chorale to
the memory of Elke Mascha
Blankenburg (1943-2013).
Talking about her before
the first performance,
the composer said: 'She
was open-hearted with a
really tender soul, very
trusting. Her creativity
knew no limits; she was
also an almost fanatical
campaigner for music by
women. In the music you
will hear now I have
attempted to convey some
aspects of her
personality: charming,
loving, obstinate,
committed, volatile,
tragic, crazy, untamed,
tender and anguished.'
The various sections of
this chorale may be
performed in a
correspondingly
contrasting manner:
searching, hesitant,
visionary, focused,
volatile, accusatory,
hopeful, etc., with use
of rubato and powerful
contrasts in dynamic and
tone quality.
Piano/Keyboards - Intermediate SKU: AD.ADG209 Composed by Andrew D. Gordo...(+)
Piano/Keyboards -
Intermediate
SKU:
AD.ADG209
Composed by
Andrew D. Gordon. Funk,
Rock. Book & digital
audio. ADG Productions
#ADG209. Published by ADG
Productions (AD.ADG209).
ISBN 9781970178456.
UPC: 663389120921. 9 x 12
inches.
As so many
keyboards and virtual
instruments emulate
clavinet keyboard sounds
I thought it would be of
interest to many keyboard
players to write a book
containing riffs
associated with playing
the clavinet, usually
featured in Funk, Soul
and Rock,
Jazz-Funk-Fusion and
Reggae styles. The
Clavinet The clavinet
is a 5 octave keyboard
manufactured by Hohner
from the 1960’s to
the 1980’s and its
bright staccato sound has
been used extensively in
the above mentioned
styles. The clavinet is
often used with wah-wah
and phaser effects giving
unique sounds reminiscent
of how a rhythm guitarist
would play. Playing the
clavinet is generally
different than playing
the piano or organ.
Usually you are playing
very staccato parts
similar to how a
guitarist would pick a
string on the guitar. The
left and right hand often
play separate syncopated
parts that require
extensive practice. My
suggestion would be to
clap or tap the rhythm of
both left and right hand.
Once the rhythm is
mastered go on to play
the left and right hand
parts separately at a
slow tempo and gradually
speeding it up to the
recommended tempo. I
have created a youtube
video showing you the
steps that I recommend
for learning these
riffs. https://youtu.b
e/8tLdPhnA0ng
Each
of the 100 riffs has been
recorded 3 times:Clavinet
with rhythm backing
tracks, Rhythm backing
tracks, Rhythm backing
tracks at a slow
tempo.