| Roger Nichols Recording Method Livre - Pas de partitions [Livre + DVD] - Intermédiaire Alfred Publishing
(A Primer for the 21st Century Audio Engineer). By Roger Nichols. Book; Books an...(+)
(A Primer for the 21st
Century Audio Engineer).
By Roger Nichols. Book;
Books and DVDs; DVD;
Method/Instruction; Pro
Audio; Pro Audio
Textbook; Reference
Textbooks. 180 pages.
Published by Alfred Music
Publishing
$29.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Daily Ukulele: Leap Year Edition for Baritone Ukulele Ukulele Baryton Hal Leonard
366 More Great Songs for Better Living. Arranged by Jim Beloff, Liz Belof...(+)
366 More Great Songs
for Better Living.
Arranged by Jim Beloff,
Liz Beloff. Fake Book.
Country, Pop,
Standards. Softcover. 416
pages. Published by Hal
Leonard (HL.212971).
$39.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Peggy Seeger Songbook: Forty Years Of Songmaking Paroles et Accords [Partition] Oak Publications
By Peggy Seeger. For Melody Line, Lyrics and Chord symbols. Folk. Sheet Music. 3...(+)
By Peggy Seeger. For
Melody Line, Lyrics and
Chord symbols. Folk.
Sheet Music. 364 pages.
Published by Oak
Publications.
$29.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Works for Violin and Piano (1): Sonatas for Violin and Piano Violon et Piano Barenreiter
Composed by Camille Saint- Saens (1835-1921). Edited by Fabien Guilloux and Fra...(+)
Composed by Camille
Saint-
Saens (1835-1921). Edited
by
Fabien Guilloux and
François
de Médicis. This
edition:
Edition of selected
works,
Urtext edition. Linen.
Saint-
Saens, Camille. OEuvres
instrumentales completes
III/4. Edition of
selected
works, Performance score,
anthology. Baerenreiter
Verlag
#BA10304-01. Published by
Baerenreiter Verlag
$394.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Lord Nelson Mass [Vocal Score] Oxford University Press
By Franz Joseph Haydn. Arranged by Mccauldin. For Longer Choral Work: Vocal Scor...(+)
By Franz Joseph Haydn.
Arranged by Mccauldin.
For Longer Choral Work:
Vocal Score Mixed Choir.
Published by Oxford
University Press.
$19.50 - Voir plus => Acheter | | |
| Extreme Make-Over Orchestre d'harmonie [Conducteur] Amstel Music
Metamorphoses on a Theme by Tchaikovsky for Brass Band. By Johan De Meij. (Scor...(+)
Metamorphoses on a Theme
by Tchaikovsky for Brass
Band. By Johan De Meij.
(Score). Amstel Concert
Bands. 90 pages.
Published by Amstel
Music.
$55.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Oboe Method
Hautbois Alfred Publishing
By A.M.R. Barret. Edited by Martin Schuring. For Oboe. This edition: Revised and...(+)
By A.M.R. Barret. Edited
by Martin Schuring. For
Oboe. This edition:
Revised and Expanded.
Book; Masterworks;
Woodwind - Oboe Method or
Collection. Kalmus
Edition. Masterwork;
Romantic. 192 pages.
Published by Alfred Music
Publishing
$34.99 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Smooth Jazz Piano Piano seul [Partition + Accès audio] - Intermédiaire Hal Leonard
Keyboard Style Series. Performed by Various. Keyboard instruction. Book and CD P...(+)
Keyboard Style Series.
Performed by Various.
Keyboard instruction.
Book and CD Package. Size
9x12 inches. 80 pages.
Published by Hal Leonard.
$19.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Te Deum and Jubilate Deo in D Soli, choeur mixte et accompagnement Soli, chœur mixte et orchestre [Vocal Score] - Intermédiaire/avancé Oxford University Press
By Henry Purcell (1659-1695). Arranged by Robert King. For SSATB soloists, SSATB...(+)
By Henry Purcell
(1659-1695). Arranged by
Robert King. For SSATB
soloists, SSATB choir, 2
trumpets, strings and
continuo (2 trumpets,
violin 1, violin 2,
viola, cello, double
bass, organ, theorbo
(optional)). Mixed
Voices. Classic Choral
Works. Standard Choral
Works. Vocal score. 40
pages. Duration 20'.
Published by Oxford
University Press
$11.50 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Requiem K626 Chorale SATB [Vocal Score] Oxford University Press
By Wolfgang Amadeus Mozart. Arranged by Maunder. For Longer Choral Work: Vocal S...(+)
By Wolfgang Amadeus
Mozart. Arranged by
Maunder. For Longer
Choral Work: Vocal Score
Mixed Choir. Published by
Oxford University Press.
$16.25 - Voir plus => Acheter | | |
| Creation (German and Eng Texts) Soli, choeur mixte et accompagnement [Vocal Score] Oxford University Press
By Franz Joseph Haydn. Arranged by Brown. For Longer Choral Work: Vocal Score Mi...(+)
By Franz Joseph Haydn.
Arranged by Brown. For
Longer Choral Work: Vocal
Score Mixed Choir.
Published by Oxford
University Press.
$26.50 - Voir plus => Acheter | | |
| Les Adieux Sonata * Complete Original * with Performance CD Piano seul [Partition + CD] Santorella Publications
Les Adieux Sonata * Complete Original * with Performance CD composed by Ludwig v...(+)
Les Adieux Sonata *
Complete Original * with
Performance CD composed
by Ludwig van Beethoven
(1770-1827). For piano
solo. This edition:
Paperback. Solo.
Classical. Book and CD.
Text Language: English.
48 pages. Published by
Santorella Publications
$14.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Carol Barnett : Angelus ad virginem (Gabriel to Mary came) Chorale SATB SATB A Cappella [Vocal Score] Oxford University Press
By Carol Barnett. For SATB unaccompanied choir with optional tambourine. Mixed V...(+)
By Carol Barnett. For
SATB unaccompanied choir
with optional tambourine.
Mixed Voices. Christmas,
Choral Leaflet. Vocal
score. 16 pages. Duration
3'. Published by Oxford
University Press
$4.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Requiem (1893 version) Soli, choeur mixte et accompagnement Oxford University Press
Composed by Gabriel Faure (1845-1924). Edited by John Rutter. This edition: pape...(+)
Composed by Gabriel Faure
(1845-1924). Edited by
John Rutter. This
edition: paperback.
Oratorios. Classic Choral
Works. Set of string
parts (contains 1 violin
solo, 1 double bass, 2
of all others). 112
pages. Duration 35'.
Published by Oxford
University Press
(OU.9780193360983).
$102.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Requiem (1893 version) Soli, choeur mixte et accompagnement Oxford University Press
Composed by Gabriel Faure (1845-1924). Edited by John Rutter. This edition: pape...(+)
Composed by Gabriel Faure
(1845-1924). Edited by
John Rutter. This
edition: paperback.
Oratorios. Classic Choral
Works. Set of non-string
parts (1 of each
including timpani). 32
pages. Duration 35'.
Published by Oxford
University Press
(OU.9780193360976).
$77.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Mass In Time Of War Soli, choeur mixte et accompagnement satb (soli), SATB (chœur), Orchestre Oxford University Press
By Franz Joseph Haydn. Arranged by Russell Hulme. For Longer Choral Work: Vocal ...(+)
By Franz Joseph Haydn.
Arranged by Russell
Hulme. For Longer Choral
Work: Vocal Score Mixed
Choir. Published by
Oxford University Press.
$19.50 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Requiem (1893 version) Soli, choeur mixte et accompagnement Oxford University Press
Composed by Gabriel Faure (1845-1924). Edited by John Rutter. This edition: pape...(+)
Composed by Gabriel Faure
(1845-1924). Edited by
John Rutter. This
edition: paperback.
Oratorios. Classic Choral
Works. Harp part. 8
pages. Duration 35'.
Published by Oxford
University Press
(OU.9780193360990).
$18.25 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Rise Up Singing
Paroles et Accords [Partition] Hal Leonard
The Group Singing Songbook. By Various. Vocal. Size 9.5x12 inches. 281 pages. Pu...(+)
The Group Singing
Songbook. By Various.
Vocal. Size 9.5x12
inches. 281 pages.
Published by Hal Leonard.
(1)$39.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Rise Up Singing Paroles et Accords [Partition] Hal Leonard
Arranged by Peter Blood, Annie Patterson. Vocal. Size 7.5x10.5 inches. 283 pages...(+)
Arranged by Peter Blood,
Annie Patterson. Vocal.
Size 7.5x10.5 inches. 283
pages. Published by Hal
Leonard.
(1)$34.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Volume 123 - Now's the Time - Standards with the Joey DeFrancesco Trio Instruments Sib, Mib, Do et Bass clef [Partition + CD] Jamey Aebersold Jazz
Edited by Jamey Aebersold. For any C, Eb, Bb, bass instrument or voice. Play-Alo...(+)
Edited by Jamey
Aebersold. For any C, Eb,
Bb, bass instrument or
voice. Play-Along series
with accompaniment CD.
Jazz Play-A-Long For All
Musicians. Book with CD.
Published by Jamey
Aebersold Jazz.
$17.90 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| For the Mystic Harmony Theodore Presser Co.
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clar...(+)
Band Bass Clarinet,
Bassoon 1, Bassoon 2,
Clarinet, Clarinet 1,
Clarinet 2, Clarinet 3,
Contrabass Clarinet,
Contrabassoon, English
Horn, Flute 1, Flute 2,
Oboe 1, Oboe 2, Piccolo,
alto Saxophone, soprano
Saxophone, tenor
Saxophone SKU:
PR.165001000 Hymns
for Wind Ensemble.
Composed by Dan Welcher.
Folio. Set of Score and
Parts.
4+24+24+16+8+4+4+24+12+12
+8+4+4+4+4+8+8+8+8+4+4+4+
4+8+8+8+8+8+8+8+8+4+16+4+
8+4+8+8+4+4+4+48 pages.
Duration 10 minutes, 41
seconds. Theodore Presser
Company #165-00100.
Published by Theodore
Presser Company
(PR.165001000). ISBN
9781491129241. UPC:
680160669776. 9 x 12
inches. Commissione
d for a consortium of
high school and college
bands in the north Dallas
region, FOR THEMYSTIC
HARMONY is a 10-minute
inspirational work in
homage to Norwood and
Elizabeth Dixon,patrons
of the Fort Worth
Symphony and the Van
Cliburn Competition.
Welcher draws melodic
flavorfrom five American
hymns, spirituals, and
folk tunes of the 19th
century. The last of
these sources toappear is
the hymn tune For the
Beauty of the Earth,
whose third stanza is the
quatrain: “For the
joy of earand eye, For
the heart and
mind’s delight,
For the mystic harmony,
Linking sense to sound
and sight,â€giving
rise to the work’s
title. This work,
commissioned for a
consortium of high school
bands in the north Dallas
area, is my fifteenth
maturework for wind
ensemble (not counting
transcriptions). When I
asked Todd Dixon, the
band director
whospearheaded this
project, what kind of a
work he most wanted, he
first said
“something
that’s basically
slow,†butwanted to
leave the details to me.
During a long subsequent
conversation, he
mentioned that his
grandparents,Norwood and
Elizabeth Dixon, were
prime supporters of the
Fort Worth Symphony,
going so far as to
purchase anumber of high
quality instruments for
that orchestra. This
intrigued me, so I asked
more about his
grandparentsand was
provided an 80-page
biographical sketch.
Reading that article,
including a long section
about theirdevotion to
supporting a young man
through the rigors of the
Van Cliburn International
Piano Competition fora
number of years, moved me
very much. Norwood and
Elizabeth Dixon
weren’t just
supporters of the arts;
theywere passionate
lovers of music and
musicians. I determined
to make this work a
testament to that love,
and tothe religious faith
that sustained them both.
The idea of using extant
hymns was also suggested
by Todd Dixon,and this
10-minute work is the
result.I have employed
existing melodies in
several works, delving
into certain kinds of
religious music more than
a fewtimes. In seeking
new sounds, new ways of
harmonizing old tunes,
and the contrapuntal
overlaying of one
tunewith another, I was
able to make works like
ZION (using 19th-century
Revivalist hymns) and
LABORING SONGS(using
Shaker melodies) reflect
the spirit of the
composers who created
these melodies, without
sounding likepastiches or
medleys. I determined to
do the same with this new
work, with the added
problem of
employingmelodies that
were more familiar. I
chose five tunes from the
19th century: hymns,
spirituals, and
folk-tunes.Some of these
are known by differing
titles, but they all
appear in hymnals of
various Christian
denominations(with
various titles and
texts). My idea was to
employ the tunes without
altering their notes,
instead using aconstantly
modulating sense of
harmony —
sometimes leading to
polytonal harmonizations
of what are
normallysimple four-chord
hymns.The work begins and
ends with a repeated
chime on the note C: a
reminder of steeples,
white clapboard
churchesin the country,
and small church organs.
Beginning with a
Mixolydian folk tune of
Caribbean origin
presentedtwice with
layered entrances, the
work starts with a
feeling of mystery and
gentle sorrow. It
proceeds, after along
transition, into a second
hymn that is sometimes
connected to the sea
(hence the sensation of
water andwaves throughout
it). This tune, by John
B. Dykes (1823-1876), is
a bit more chromatic and
“shifty†than
mosthymn-tunes, so I
chose to play with the
constant sensation of
modulation even more than
the original does. Atthe
climax, the familiar
spiritual “Were you
there?†takes over,
with a double-time
polytonal feeling
propelling itforward at
“Sometimes it
causes me to
tremble.â€Trumpets
in counterpoint raise the
temperature, and the
tempo as well, leading
the music into a third
tune (ofunknown
provenance, though it
appears with different
texts in various hymnals)
that is presented in a
sprightlymanner. Bassoons
introduce the melody, but
it is quickly taken up by
other instruments over
three
“verses,â€cons
tantly growing in
orchestration and volume.
A mysterious second tune,
unrelated to this one,
interrupts it inall three
verses, sending the
melody into unknown
regions.The final melody
is “For the Beauty
of the Earth.†This
tune by Conrad Kocher
(1786-1872) is commonly
sung atThanksgiving
— the perfect
choice to end this work
celebrating two people
known for their
generosity.Keeping the
sense of constant
modulation that has been
present throughout, I
chose to present this
hymn in threegrowing
verses, but with a twist:
every four bars, the
“key†of the
hymn seems to shift
— until the
“Lord of all,
toThee we praiseâ€
melody bursts out in a
surprising compound
meter. This, as it turns
out, was the
“mystery
tuneâ€heard earlier
in the piece. After an
Ivesian, almost polytonal
climax, the Coda begins
over a long B( pedal. At
first,it seems to be a
restatement of the first
two phrases of “For
the Beauty†with
long spaces between them,
but it soonchanges to a
series of
“Amenâ€
cadences, widely
separated by range and
color. These, too, do not
conform to anykey, but
instead overlay each
other in ways that are
unpredictable but
strangely comforting.The
third verse of “For
the Beauty of the
Earth†contains
this quatrain:“For
the joy of ear and eye,
–For the heart and
mind’s delightFor
the mystic harmonyLinking
sense to sound and
sightâ€and it was
from this poetry that I
drew the title for the
present work. It is my
hope that audiences and
performerswill find
within it a sense of
grace: more than a little
familiar, but also quite
new and unexpected. $150.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| For the Mystic Harmony [Conducteur] Theodore Presser Co.
Band Bass Clarinet, Bass Drum, Bassoon 1, Bassoon 2, Bongos, Castanets, Celesta,...(+)
Band Bass Clarinet, Bass
Drum, Bassoon 1, Bassoon
2, Bongos, Castanets,
Celesta, Clarinet,
Clarinet 1, Clarinet 2,
Clarinet 3, Contrabass
Clarinet, Contrabassoon,
English Horn, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Horn 1, Horn 2,
Horn 3 and more. SKU:
PR.16500100F Hymns
for Wind Ensemble.
Composed by Dan Welcher.
Sws. Full score. 48
pages. Duration 10
minutes, 41 seconds.
Theodore Presser Company
#165-00100F. Published by
Theodore Presser Company
(PR.16500100F). ISBN
9781491114421. UPC:
680160669783. 9 x 12
inches. Commissione
d for a consortium of
high school and college
bands in the north Dallas
region, FOR THEMYSTIC
HARMONY is a 10-minute
inspirational work in
homage to Norwood and
Elizabeth Dixon,patrons
of the Fort Worth
Symphony and the Van
Cliburn Competition.
Welcher draws melodic
flavorfrom five American
hymns, spirituals, and
folk tunes of the 19th
century. The last of
these sources toappear is
the hymn tune For the
Beauty of the Earth,
whose third stanza is the
quatrain: “For the
joy of earand eye, For
the heart and
mind’s delight,
For the mystic harmony,
Linking sense to sound
and sight,â€giving
rise to the work’s
title. This work,
commissioned for a
consortium of high school
bands in the north Dallas
area, is my fifteenth
maturework for wind
ensemble (not counting
transcriptions). When I
asked Todd Dixon, the
band director
whospearheaded this
project, what kind of a
work he most wanted, he
first said
“something
that’s basically
slow,†butwanted to
leave the details to me.
During a long subsequent
conversation, he
mentioned that his
grandparents,Norwood and
Elizabeth Dixon, were
prime supporters of the
Fort Worth Symphony,
going so far as to
purchase anumber of high
quality instruments for
that orchestra. This
intrigued me, so I asked
more about his
grandparentsand was
provided an 80-page
biographical sketch.
Reading that article,
including a long section
about theirdevotion to
supporting a young man
through the rigors of the
Van Cliburn International
Piano Competition fora
number of years, moved me
very much. Norwood and
Elizabeth Dixon
weren’t just
supporters of the arts;
theywere passionate
lovers of music and
musicians. I determined
to make this work a
testament to that love,
and tothe religious faith
that sustained them both.
The idea of using extant
hymns was also suggested
by Todd Dixon,and this
10-minute work is the
result.I have employed
existing melodies in
several works, delving
into certain kinds of
religious music more than
a fewtimes. In seeking
new sounds, new ways of
harmonizing old tunes,
and the contrapuntal
overlaying of one
tunewith another, I was
able to make works like
ZION (using 19th-century
Revivalist hymns) and
LABORING SONGS(using
Shaker melodies) reflect
the spirit of the
composers who created
these melodies, without
sounding likepastiches or
medleys. I determined to
do the same with this new
work, with the added
problem of
employingmelodies that
were more familiar. I
chose five tunes from the
19th century: hymns,
spirituals, and
folk-tunes.Some of these
are known by differing
titles, but they all
appear in hymnals of
various Christian
denominations(with
various titles and
texts). My idea was to
employ the tunes without
altering their notes,
instead using aconstantly
modulating sense of
harmony —
sometimes leading to
polytonal harmonizations
of what are
normallysimple four-chord
hymns.The work begins and
ends with a repeated
chime on the note C: a
reminder of steeples,
white clapboard
churchesin the country,
and small church organs.
Beginning with a
Mixolydian folk tune of
Caribbean origin
presentedtwice with
layered entrances, the
work starts with a
feeling of mystery and
gentle sorrow. It
proceeds, after along
transition, into a second
hymn that is sometimes
connected to the sea
(hence the sensation of
water andwaves throughout
it). This tune, by John
B. Dykes (1823-1876), is
a bit more chromatic and
“shifty†than
mosthymn-tunes, so I
chose to play with the
constant sensation of
modulation even more than
the original does. Atthe
climax, the familiar
spiritual “Were you
there?†takes over,
with a double-time
polytonal feeling
propelling itforward at
“Sometimes it
causes me to
tremble.â€Trumpets
in counterpoint raise the
temperature, and the
tempo as well, leading
the music into a third
tune (ofunknown
provenance, though it
appears with different
texts in various hymnals)
that is presented in a
sprightlymanner. Bassoons
introduce the melody, but
it is quickly taken up by
other instruments over
three
“verses,â€cons
tantly growing in
orchestration and volume.
A mysterious second tune,
unrelated to this one,
interrupts it inall three
verses, sending the
melody into unknown
regions.The final melody
is “For the Beauty
of the Earth.†This
tune by Conrad Kocher
(1786-1872) is commonly
sung atThanksgiving
— the perfect
choice to end this work
celebrating two people
known for their
generosity.Keeping the
sense of constant
modulation that has been
present throughout, I
chose to present this
hymn in threegrowing
verses, but with a twist:
every four bars, the
“key†of the
hymn seems to shift
— until the
“Lord of all,
toThee we praiseâ€
melody bursts out in a
surprising compound
meter. This, as it turns
out, was the
“mystery
tuneâ€heard earlier
in the piece. After an
Ivesian, almost polytonal
climax, the Coda begins
over a long B( pedal. At
first,it seems to be a
restatement of the first
two phrases of “For
the Beauty†with
long spaces between them,
but it soonchanges to a
series of
“Amenâ€
cadences, widely
separated by range and
color. These, too, do not
conform to anykey, but
instead overlay each
other in ways that are
unpredictable but
strangely comforting.The
third verse of “For
the Beauty of the
Earth†contains
this quatrain:“For
the joy of ear and eye,
–For the heart and
mind’s delightFor
the mystic harmonyLinking
sense to sound and
sightâ€and it was
from this poetry that I
drew the title for the
present work. It is my
hope that audiences and
performerswill find
within it a sense of
grace: more than a little
familiar, but also quite
new and unexpected. $25.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Overture No. 2 for the Opera 'Leonore' Chorale, Orchestre [Conducteur d'étude / Miniature] G. Henle
For the Opera 'Leonore' (1807) Study Score. Composed by Ludwig van Beethoven ...(+)
For the Opera 'Leonore'
(1807) Study Score.
Composed
by Ludwig van Beethoven
(1770-1827). Edited by
Helga
Luhning. Henle Study
Scores.
Classical, Opera.
Softcover.
56 pages. G. Henle
#HN9045.
Published by G. Henle
$19.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Guitar Four-Chord Songbook G-C-D-Em Ligne De Mélodie, Paroles et Accords Hal Leonard
(Melody/Lyrics/Chords). By Various. For Guitar. Guitar Collection. Softcover...(+)
(Melody/Lyrics/Chords).
By
Various. For Guitar.
Guitar
Collection. Softcover.
114
pages. Published by Hal
Leonard
$16.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
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