| Moonlight Music Chorale SATB SATB A Cappella [Octavo] Alliance Music Publications
Composed by Eric Barnum. For SATB choir, a cappella. Octavo. Published by Allian...(+)
Composed by Eric Barnum.
For SATB choir, a
cappella. Octavo.
Published by Alliance
Music Publications
$2.10 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| I'm Seventeen Come Sunday Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Belwin
By Percy Aldridge Grainger (1882-1961). Arranged by Douglas E. Wagner. Concert B...(+)
By Percy Aldridge
Grainger (1882-1961).
Arranged by Douglas E.
Wagner. Concert Band.
Concert Band. Belwin
Symphonic Band. 20th
Century. Grade 4.
Conductor Score and
Parts. 252 pages.
Duration 2:31. Published
by Belwin Publishing
$87.00 $82.65 (- 5%) Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Requiem Orquesta Editorial de Musica Boileau
Orequesta sinfonica, Orquesta camara, voces y coro (Symphony Orchestra, Chamber ...(+)
Orequesta sinfonica,
Orquesta camara, voces y
coro (Symphony Orchestra,
Chamber Orchestra, Solo
Voices and Choir) SKU:
BO.B.3472 A la
memoria de Salvador
Espriu. Composed by
Xavier Benguerel. Vocal
Music. Choir. Duration
85:00. Published by
Editorial de Musica
Boileau (BO.B.3472).
ISBN
9788480208130. Engl
ish comments: The Requiem
in memory of Salvador
Espriu by Xavier
Benguerel was
commissioned by the
Torroella de Montgri
International Music
Festival for a double
commemoration: on the one
hand, to celebrate the
tenth anniversary of the
Festival, and on the
other, in remembrance of
Catalan poet Salvador
Espriu in the fifth year
after his death. This
concert, which was held
on 5 October, was a
brilliant closing gala
performance and it was
repeated twice on 6 and 7
October at the Palau de
la Musica Catalana in
Barcelona. It was
performed by the
Orchestra and Choir of
the Gran Teatro del
Liceo, with soloists
Enriqueta Tarres,
soprano; Nelibel
Martinez, mezzo soprano;
Eduard Gimenez, tenor;
and Carlos Chausson,
baritone, with the
additional collaboration
of baritone Lluis Llach,
conducted by Romano
Gandolfi. In my
opinion, this work by
Benguerel is a piece that
was written with passion
and sincerity, with great
strength and depth, and
it contains some very
beautiful passages. It is
written in a language
through which, without
abandoning his current
musical thoughts,
Benguerel manages to
communicate with the
audience in a dense work
that lasts for an hour
and a half. It is
interspersed with seven
poems by Espriu on the
subject of death, some
sung and others recited,
which gives the Requiem
great contrasts from a
musical and linguistic
point of view -in
comparison with the Latin
texts normally used in a
requiem mass-, but within
a successful and coherent
unity. The performers
certainly proved their
worth, but much of the
hard work that went into
preparing the piece can
be attributed not only to
the performers, the
composer and the poet in
tribute to whom the work
was written, but also to
the conductor Romano
Gandolfi, who is largely
responsible for the
success of the three
performances of this
Requiem. Benguerel
himself says of the work:
This Requiem is linked to
my previous work, the
Llibre Vermell, and it
has been written without
making any concessions,
but with a true wish to
communicate with the
audience. I've got past
the stage of musical
experiments and I'm now
working on bridging the
gap between composer and
audience, which I'm sure
will be good for
both. --Comments
written by Jordi Codina
in the December 1990
issue of Nexus
magazine Comentario
s del Espanol: El Requiem
a la memoria de Salvador
Espriu de Xavier
Benguerel ha sido
compuesto por encargo del
Festival Internacional de
Musica de Torroella de
Montgri para una doble
conmemoracion: por una
parte, el decimo
aniversario del Festival;
por otra, el recuerdo de
la figura del poeta
catalan Salvador Espriu
en el quinto ano de su
fallecimiento. Este
concierto, celebrado el
dia 5 de octubre,
constituyo una sesion de
gala y de clausura
brillante y tuvo una
doble repeticion los dias
6 y 7en el Palau de la
Musica Catalana de
Barcelona. Fueron sus
interpretes la Orquesta y
el Coro del Gran Teatro
del Liceo, con los
solistas vocales
Enriqueta Tarres,
soprano; Nelibel
Martinez, mezzo; Eduard
Gimenez, tenor; y Carlos
Chausson, baritono, con
la colaboracion del
tambien baritono Lluis
Llach. Todos bajo la
direccion de Romano
Gandolfi. A mi
entender, la obra de
Benguerel es una
partitura escrita con
pasion y sinceridad,
posee una gran solidez,
es profunda y contiene
pasajes de una gran
belleza. Esta escrita en
un lenguaje con el que
Benguerel, sin renunciar
a su actual pensamiento
musical, alcanza la
comunicacion con el
publico en una obra densa
que dura una hora y
media. La intercalacion
de siete poemas de Espriu
relacionados con el tema
de la muerte, en una
interpretacion cantada o
recitada, segun los
casos, otorga al Requiem
grandes contrastes desde
un punto de vista musical
y lingŸistico à en
contraposicion con los
textos latinos propios de
una misa de requiem Ã,
pero dentro de una unidad
conseguida y coherente.
La labor de los
interpretes demostro su
categoria y el trabajo
exhaustivo en la
preparacion de la obra,
que, ademas de los
interpretes, el
compositor y el poeta
homenajeado, tuvo otro
gran protagonista en la
persona del director
Romano Gandolfi, a quien
se debe una gran parte
del exito obtenido en las
tres audiciones de este
Requiem. El propio
Benguerel ha dicho de la
obra: Este Requiem
entronca con mi obra
anterior, el Llibre
Vermell, y ha sido
escrito sin concesiones,
pero con una voluntad
real de comunicacion con
el publico. La epoca de
los experimentos
musicales ya se me paso y
he entrado en una nueva
etapa de acercamiento
entre el compositor y el
publico que, estoy
convencido, beneficiara a
ambos. --Comentario
escrito por Jordi Codina
en la revista Nexus en
diciembre de 1990 $41.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Requiem Voces, Coro y Piano (Reduccion) Editorial de Musica Boileau
Coro, Voces y Piano (Choir, Solo Voices, and Piano) SKU: BO.B.3473 A l...(+)
Coro, Voces y Piano
(Choir, Solo Voices, and
Piano) SKU:
BO.B.3473 A la
memoria de Salvador
Espriu. Composed by
Xavier Benguerel. Vocal
Music. Piano reduction.
Choir. Duration 85:00.
Published by Editorial de
Musica Boileau
(BO.B.3473). ISBN
9788480208147. Engl
ish comments: The Requiem
in memory of Salvador
Espriu by Xavier
Benguerel was
commissioned by the
Torroella de Montgri
International Music
Festival for a double
commemoration: on the one
hand, to celebrate the
tenth anniversary of the
Festival, and on the
other, in remembrance of
Catalan poet Salvador
Espriu in the fifth year
after his death. This
concert, which was held
on 5 October, was a
brilliant closing gala
performance and it was
repeated twice on 6 and 7
October at the Palau de
la Musica Catalana in
Barcelona. It was
performed by the
Orchestra and Choir of
the Gran Teatro del
Liceo, with soloists
Enriqueta Tarres,
soprano; Nelibel
Martinez, mezzo soprano;
Eduard Gimenez, tenor;
and Carlos Chausson,
baritone, with the
additional collaboration
of baritone Lluis Llach,
conducted by Romano
Gandolfi. In my
opinion, this work by
Benguerel is a piece that
was written with passion
and sincerity, with great
strength and depth, and
it contains some very
beautiful passages. It is
written in a language
through which, without
abandoning his current
musical thoughts,
Benguerel manages to
communicate with the
audience in a dense work
that lasts for an hour
and a half. It is
interspersed with seven
poems by Espriu on the
subject of death, some
sung and others recited,
which gives the Requiem
great contrasts from a
musical and linguistic
point of view -in
comparison with the Latin
texts normally used in a
requiem mass-, but within
a successful and coherent
unity. The performers
certainly proved their
worth, but much of the
hard work that went into
preparing the piece can
be attributed not only to
the performers, the
composer and the poet in
tribute to whom the work
was written, but also to
the conductor Romano
Gandolfi, who is largely
responsible for the
success of the three
performances of this
Requiem. Benguerel
himself says of the work:
This Requiem is linked to
my previous work, the
Llibre Vermell, and it
has been written without
making any concessions,
but with a true wish to
communicate with the
audience. I've got past
the stage of musical
experiments and I'm now
working on bridging the
gap between composer and
audience, which I'm sure
will be good for
both. --Comments
written by Jordi Codina
in the December 1990
issue of Nexus
magazine Comentario
s del Espanol: El Requiem
a la memoria de Salvador
Espriu de Xavier
Benguerel ha sido
compuesto por encargo del
Festival Internacional de
Musica de Torroella de
Montgri para una doble
conmemoracion: por una
parte, el decimo
aniversario del Festival;
por otra, el recuerdo de
la figura del poeta
catalan Salvador Espriu
en el quinto ano de su
fallecimiento. Este
concierto, celebrado el
dia 5 de octubre,
constituyo una sesion de
gala y de clausura
brillante y tuvo una
doble repeticion los dias
6 y 7en el Palau de la
Musica Catalana de
Barcelona. Fueron sus
interpretes la Orquesta y
el Coro del Gran Teatro
del Liceo, con los
solistas vocales
Enriqueta Tarres,
soprano; Nelibel
Martinez, mezzo; Eduard
Gimenez, tenor; y Carlos
Chausson, baritono, con
la colaboracion del
tambien baritono Lluis
Llach. Todos bajo la
direccion de Romano
Gandolfi. A mi
entender, la obra de
Benguerel es una
partitura escrita con
pasion y sinceridad,
posee una gran solidez,
es profunda y contiene
pasajes de una gran
belleza. Esta escrita en
un lenguaje con el que
Benguerel, sin renunciar
a su actual pensamiento
musical, alcanza la
comunicacion con el
publico en una obra densa
que dura una hora y
media. La intercalacion
de siete poemas de Espriu
relacionados con el tema
de la muerte, en una
interpretacion cantada o
recitada, segun los
casos, otorga al Requiem
grandes contrastes desde
un punto de vista musical
y lingŸistico à en
contraposicion con los
textos latinos propios de
una misa de requiem Ã,
pero dentro de una unidad
conseguida y coherente.
La labor de los
interpretes demostro su
categoria y el trabajo
exhaustivo en la
preparacion de la obra,
que, ademas de los
interpretes, el
compositor y el poeta
homenajeado, tuvo otro
gran protagonista en la
persona del director
Romano Gandolfi, a quien
se debe una gran parte
del exito obtenido en las
tres audiciones de este
Requiem. El propio
Benguerel ha dicho de la
obra: Este Requiem
entronca con mi obra
anterior, el Llibre
Vermell, y ha sido
escrito sin concesiones,
pero con una voluntad
real de comunicacion con
el publico. La epoca de
los experimentos
musicales ya se me paso y
he entrado en una nueva
etapa de acercamiento
entre el compositor y el
publico que, estoy
convencido, beneficiara a
ambos. --Comentario
escrito por Jordi Codina
en la revista Nexus en
diciembre de 1990 $41.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Teaching Music through Performance in Middle School Choir Chorale GIA Publications
| | |
| Teaching Beyond the Music GIA Publications
SKU: GI.G-10900 Tools for Addressing Societal Challenges Through the A...(+)
SKU: GI.G-10900
Tools for Addressing
Societal Challenges
Through the Arts.
Composed by Jason Max
Ferdinand. Music
Education. 80 pages. GIA
Publications #10900.
Published by GIA
Publications
(GI.G-10900). ISBN
9781622777372. Jaso
n Max Ferdinand's book
Teaching With Heart is
the first book to
directly help us address
the societal issues in
our choral rehearsals.
Not attempting to
separate the music from
social issues, this new
tool in the classroom
uses musical examples to
address uncomfortable
topics and hopefully
'open minds and
hearts.'Â Built to ask
singers to read, watch,
listen and then to
respond and discuss, this
resource has been
developed with the help
of nine outstanding
contributors and ten
composers and arrangers.
I strongly urge you to
take a look at this new
resource for your
classroom.
—Jo-Michael
Scheibe, D.M.A. Â Â
Professor, Department of
Choral and Sacred Music
  Conductor,
University of Southern
California Thornton
Chamber Singers Teaching
With Heart is a timely
and relevant resource
that offers a
well-crafted,
research-based approach
to choral music
education. Students will
learn how diverse choral
repertoire can be used as
a tool to not only
advance musicianship, but
also as an access point
for critical thinking and
the enhancement of social
emotional learning
skills. —Rollo A.
Dilworth, D.Mus. Â
 Vice Dean and
Professor of Choral Music
Education  Â
Center for the Performing
and Cinematic Arts,
Temple University Through
valuable repertoire
suggestions, listening
examples, video
interviews, quotes, and
teaching activities, this
resource provides
designed lessons helping
students apply,
synthesize, evaluate, and
comprehend music from an
artistic perspective and,
more importantly, a human
perspective.
—Brandon Boyd,
Ph.D. Â Â Assistant
Professor Choral
Conducting, Choral Music
Education  Â
University of Missouri
'How would you suggest a
Caucasian teacher talk
about social justice
issues with students of
color?' a student from
Georgia Southern
University asked via
ZOOM. Dr. Ferdinand
responded by quoting from
Teaching With Heart,
specifically sharing
inspiration from the
module titled 'Justice,
or Just Us?' Powerful
conversation ensued and
our future educators were
immediately on fire to
get ahold of these
teaching tools! We are so
grateful for Dr.
Ferdinand's generous
leadership and his
extremely well-timed
Choral Conductor's
Compendium to help guide
us through current times
and into the future.
—Shannon Jeffreys,
D.M.A. Â Â Director
of Choral Activities Â
 Georgia Southern
University Jason Max
Ferdinand serves as the
Director of Choral
Activities at the
University of Maryland,
College Park. He assumed
the role in Fall of 2022.
He maintains an active
schedule as a presenter,
adjudicator, and guest
conductor for high
schools, collegiate, and
church choirs throughout
North America, Asia,
Europe, and the
Caribbean. $29.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Smiling Dennis Subito Music
Bass Clarinet & 21 Strings SKU: SU.50600030 For Bass Clarinet & 21 Str...(+)
Bass Clarinet & 21
Strings SKU:
SU.50600030 For
Bass Clarinet & 21
Strings. Composed by
Fred Cohen. Strings,
String Ensemble. Study
Score. Subito Music
Corporation #50600030.
Published by Subito Music
Corporation
(SU.50600030).
Commissioned by
the Colonial Symphony,
Paul Hostetter, Music
Director and Conductor
First performed in 2006
Published by: Dunsinane
Music Composer's Note: My
inspiration for Smiling
Dennis is the great bass
clarinet virtuoso Dennis
Smylie. I have had the
pleasure of getting to
know Dennis over the past
several years owing to
our mutual affiliation at
Montclair State
University. We would meet
unintentionally in the
halls and begin
conversations regarding
all manners of topics:
from the colorful history
of the bass
clarinet—and bass
clarinetists—to
the furious appetite of
the New Jersey groundhog.
Dennis inevitably finds
the humor in
things—he revels
in discovering the comic
story that can often be
found, just underneath
the topic. When Maestro
Hostetter asked me to
compose a new piece
during his initial season
with the Colonial
Symphony, and mentioned
the possibility of a work
related to humor, I
immediately thought of
the Dennis. When I spoke
with Maestro Hostetter
the following day, I had
already conceived of the
title (very unusual for
me—I’m much
more a musical/visual
thinker than a verbal
one) as well as the
overall musical
narrative. Smiling Dennis
is a concerto in one
movement for one bass
clarinetist and twenty
string players. Somewhat
unusually, each performer
has a unique musical
assignment—that
is, the string players
are not aligned into
their typical alliances
of first violins, second
violins and so forth.
This permits a more
complex string texture,
allowing each performer
to assert his or her
individuality. Indeed,
the notion of
individuality is
essential to this
concerto, as it often is
in concerti. For example,
Smiling Dennis begins
with the bass clarinet
not quite obeying the
conventions of tuning to
the orchestra. Rather
than simply take the A
offered by the
Concertmaster, the
soloist playfully
performs a gently
descending series of
notes. Offered another A,
the soloist repeats this
gesture (though with a
different descending
series). This exchange
occurs four times. In the
final one, members of the
string orchestra join the
soloist in the first
significant statement of
one of the central
melodies. The bass
clarinet completes this
introductory section
alone, playing all the
way down to a low A, a
third below the lowest
note in the celli.
Following the
introduction, Smiling
Dennis consists of six
sections, somewhat along
the lines of a dance
suite: an energetic
Allegro, a lyric Arioso,
a forward Piú mosso, a
light-hearted and
syncopated dance, a even
more energetic passage
for strings alone, and
finally a modified return
to the introduction. In
the return, the string
ensemble is no longer at
all oppositional to the
soloist. Rather, in
response to the
soloist’s gentle
cajoling and supportive
commentary, the strings
accompany—with
pleasure, you might
say—the quiet,
individual playfulness of
the bass clarinet. The
work ends with a return
to the soloist’s
substratum A, accompanied
quietly by the
strings. $50.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Smiling Dennis Seesaw Music Corp
Bass Clarinet & 21 Strings SKU: SS.50600030 Composed by Fred Cohen. Study...(+)
Bass Clarinet & 21
Strings SKU:
SS.50600030 Composed
by Fred Cohen. Study
Score. Published by
Seesaw Music Corp
(SS.50600030).
Commissioned by
the Colonial Symphony,
Paul Hostetter, Music
Director and Conductor.
First performed in 2006.
Composer's Note: My
inspiration for Smiling
Dennis is the great bass
clarinet virtuoso Dennis
Smylie. I have had the
pleasure of getting to
know Dennis over the past
several years owing to
our mutual affiliation at
Montclair State
University. We would meet
unintentionally in the
halls and begin
conversations regarding
all manners of topics:
from the colorful history
of the bass clarinet -
and bass clarinetists -
to the furious appetite
of the New Jersey
groundhog. Dennis
inevitably finds the
humor in things - he
revels in discovering the
comic story that can
often be found, just
underneath the topic.
When Maestro Hostetter
asked me to compose a new
piece during his initial
season with the Colonial
Symphony, and mentioned
the possibility of a work
related to humor, I
immediately thought of
the Dennis. When I spoke
with Maestro Hostetter
the following day, I had
already conceived of the
title (very unusual for
me - I'm much more a
musical/visual thinker
than a verbal one) as
well as the overall
musical narrative.
Smiling Dennis is a
concerto in one movement
for one bass clarinetist
and twenty string
players. Somewhat
unusually, each performer
has a unique musical
assignment - that is, the
string players are not
aligned into their
typical alliances of
first violins, second
violins and so forth.
This permits a more
complex string texture,
allowing each performer
to assert his or her
individuality. Indeed,
the notion of
individuality is
essential to this
concerto, as it often is
in concerti. For example,
Smiling Dennis begins
with the bass clarinet
not quite obeying the
conventions of tuning to
the orchestra. Rather
than simply take the A
offered by the
Concertmaster, the
soloist playfully
performs a gently
descending series of
notes. Offered another A,
the soloist repeats this
gesture (though with a
different descending
series). This exchange
occurs four times. In the
final one, members of the
string orchestra join the
soloist in the first
significant statement of
one of the central
melodies. The bass
clarinet completes this
introductory section
alone, playing all the
way down to a low A, a
third below the lowest
note in the celli.
Following the
introduction, Smiling
Dennis consists of six
sections, somewhat along
the lines of a dance
suite: an energetic
Allegro, a lyric Arioso,
a forward Piu mosso, a
light-hearted and
syncopated dance, a even
more energetic passage
for strings alone, and
finally a modified return
to the introduction. In
the return, the string
ensemble is no longer at
all oppositional to the
soloist. Rather, in
response to the soloist's
gentle cajoling and
supportive commentary,
the strings accompany -
with pleasure, you might
say - the quiet,
individual playfulness of
the bass clarinet. The
work ends with a return
to the soloist's
substratum A, accompanied
quietly by the
strings. $50.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| I Want to Be the Sun Carl Fischer
Choral SA choir, piano SKU: CF.CM9795 Composed by Mark Burrows. Duration ...(+)
Choral SA choir, piano
SKU: CF.CM9795
Composed by Mark Burrows.
Duration 3:45. Carl
Fischer Music #CM9795.
Published by Carl Fischer
Music (CF.CM9795).
ISBN 9781491164662.
UPC: 680160923571. Key: A
major. English. Coty
Raven Morris.
Original. The text
for When I Grow Up first
came to me while I was
teaching in Houston,
Texas. I noticed that my
students were becoming
more and more concerned
about what steps they had
to take as students to
secure a future for
themselves decades ahead.
Young people are finding
themselves having to make
lifelong decisions at a
time where they are still
in a season of
exploration and
wonderment. I then asked
myself, What happened to
discovery through play
and imagination?With the
help of one of my former
and forever choir
students, Monica Juarez,
we took my original text
and created illustrations
of a young Coty in New
Orleans, Louisiana
imagining, in real time,
all of the things that
she could be! It was
important to me that the
images were of real
things that I had seen
growing up every day.That
we are limitless and that
it's only in the
pressures of growing up
that we can lose our
creativity, I hope this
text allows both singers
and conductor to let
their imagination take
the lead and shape the
journey ahead!Sing with
JOY!—Coty
Occasionally, when I get
to visit with young
people, I’ll ask,
Has anyone ever asked you
want to be when you grow
up? All the hands go up.
Children say yes, and
then proceed to tell me
what they want to be when
they grow up. So, then I
ask a follow-up question,
Why on earth do you have
to wait until
you’re a grown-up
to be somebody?!When I
first read through
Coty’s text, I was
so moved by how clear and
beautiful that message of
empowerment shines
through:I want to live,
and that begins now. I
want to be happy. And I
refuse to wait until I
grow up.I also was struck
by her imaginative use of
the four classical
elements—air,
water, fire, and
earth—to bring us
on a journey of discovery
and wonder.I’ve
tried my best to, not so
much set Coty’s
words to a tune, as to go
along with her on the
journey and see what
music would emerge. And
I’m so happy
you’ve joined us
on the journey,
too.Welcome!—Mark.
$2.55 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| I Want to Be the Sun Carl Fischer
Choral SAB Choir, Piano SKU: CF.CM9794 Composed by Mark Burrows. Duration...(+)
Choral SAB Choir, Piano
SKU: CF.CM9794
Composed by Mark Burrows.
Duration 3:45. Carl
Fischer Music #CM9794.
Published by Carl Fischer
Music (CF.CM9794).
ISBN 9781491164655.
UPC: 680160923564. Key: A
major. English. Coty
Raven Morris.
Original. The text
for When I Grow Up first
came to me while I was
teaching in Houston,
Texas. I noticed that my
students were becoming
more and more concerned
about what steps they had
to take as students to
secure a future for
themselves decades ahead.
Young people are finding
themselves having to make
lifelong decisions at a
time where they are still
in a season of
exploration and
wonderment. I then asked
myself, What happened to
discovery through play
and imagination?With the
help of one of my former
and forever choir
students, Monica Juarez,
we took my original text
and created illustrations
of a young Coty in New
Orleans, Louisiana
imagining, in real time,
all of the things that
she could be! It was
important to me that the
images were of real
things that I had seen
growing up every day.That
we are limitless and that
it's only in the
pressures of growing up
that we can lose our
creativity, I hope this
text allows both singers
and conductor to let
their imagination take
the lead and shape the
journey ahead!Sing with
JOY!—CotyOccasiona
lly, when I get to visit
with young people,
I’ll ask, Has
anyone ever asked you
want to be when you grow
up? All the hands go up.
Children say yes, and
then proceed to tell me
what they want to be when
they grow up. So, then I
ask a follow-up question,
Why on earth do you have
to wait until
you’re a grown-up
to be somebody?!When I
first read through
Coty’s text, I was
so moved by how clear and
beautiful that message of
empowerment shines
through:I want to live,
and that begins now. I
want to be happy. And I
refuse to wait until I
grow up. I also was
struck by her imaginative
use of the four classical
elements—air,
water, fire, and
earth—to bring us
on a journey of discovery
and wonder.I’ve
tried my best to, not so
much set Coty’s
words to a tune, as to go
along with her on the
journey and see what
music would emerge. And
I’m so happy
you’ve joined us
on the journey,
too.Welcome!—Mark.
$2.75 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| B.A.M. Method for Drumset Metropolis Music Publishers
Drumset SKU: IS.PC6916EM Composed by Sam Gevers. Percussion. Sam Gevers P...(+)
Drumset SKU:
IS.PC6916EM Composed
by Sam Gevers.
Percussion. Sam Gevers
Percussion Collection.
Metropolis Music
Publishers #PC6916EM.
Published by Metropolis
Music Publishers
(IS.PC6916EM). ISBN
9790365069163. Sinc
e 2010 Sam is full time
drummer in the Royal Band
of the Belgian Navy. As a
freelance musician he
played with the Royal
Flemish Philharmonic, the
National Orchestra of
Belgium, Symphonic
Factory and many more. In
these orchestras some
famous conductors crossed
his path: f.i. Takuo
Yuasa (Jap), Jaap Van
Zweden (Ned) and Pincchas
Steinberg (Ger). In many
performances at the Night
of the Proms with Il
Novecento, he accompanied
world famous artists like
Donna Summer, Mike
Oldfield, Ike Turner and
Macy Gray. As freelance
drummer/percussion player
he worked on several
musical shows as Evita,
Elisabeth, Joseph and the
amazing tecnicolour
dreamcoat, Oliver!,
Fiddler on the roof,
Cinderella, Wizard of
Oz,... Performing all
these plays and concerts,
he came across the whole
wide world. Sam teaches
percussion and ensemble
at the Conservatory of
Mechelen, Belgium. He is
founder of the trio
Percussive, which is now
one the leading
percussion groups,
touring in the Belgian
theatres. Sam made a
serie of short percussion
videos which were
broadcasted many times on
national television, and
which are still popular
on social media. For one
of these movies he was
granted with 2 awards at
the Corporate Video
Festival. As a composer
Sam wrote many
educational pieces, a lot
of songs for Percussive,
some large compositions
for percussion ensemble
and 6 musicals/mass
productions as King
Albert 1,
Marie-Antoinette,
Gheelamania 2010 & 2015
and Mol-in-scene. These
mass productions were
visited by more then
90000 people. Sam's piece
Frozen planet was the
mandatory work voor the
ONSK percussion ensemble
contest 2016, in the
highest level. $36.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| My Fair Lady (I Could Have Danced All Night, On the Street Where You Live, I've Grown Accustomed to Your Face, and I'm Getting Married in the Morning) Orchestre [Conducteur] Alfred Publishing
By Alan Jay Lerner, music by Frederick Loewe. Arranged by John Whitney. Lyrics b...(+)
By Alan Jay Lerner, music
by Frederick Loewe.
Arranged by John Whitney.
Lyrics by Alan Jay
Lerner, music by
Frederick Loewe / arr.
John Whitney. For Full
Orchestra. Full
Orchestra. Pop Concert
Full Orchestra. Level:
grade III-IV. Conductor
Score. 36 pages.
Published by Alfred
Publishing.
$9.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| My Fair Lady (I Could Have Danced All Night, On the Street Where You Live, I've Grown Accustomed to Your Face, and I'm Getting Married in the Morning) Orchestre [Conducteur et Parties séparées] - Facile Alfred Publishing
By Alan Jay Lerner, music by Frederick Loewe. Arranged by John Whitney. Lyrics b...(+)
By Alan Jay Lerner, music
by Frederick Loewe.
Arranged by John Whitney.
Lyrics by Alan Jay
Lerner, music by
Frederick Loewe / arr.
John Whitney. For Full
Orchestra. Full
Orchestra. Pop Concert
Full Orchestra. Level:
Medium Easy to Medium
(grade III-IV). Conductor
Score and Parts. 296
pages. Published by
Alfred Publishing.
(1)$80.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Song of the Sound Chorale SATB SATB, Piano Carl Fischer
Choral SATB choir, piano SKU: CF.CM9713 Composed by Jacob Narverud. 16 pa...(+)
Choral SATB choir, piano
SKU: CF.CM9713
Composed by Jacob
Narverud. 16 pages.
Duration 4:01. Carl
Fischer Music #CM9713.
Published by Carl Fischer
Music (CF.CM9713).
ISBN 9781491160084.
UPC: 680160918683. Key: G
major. English. Robert
Bode. Original. The
piece was commissioned by
Kevin Scully, Director of
Creative Arts, for the
Port Washington School
District, New York, with
special thanks to the Ed
Foundation and HEARTS for
their unwavering support.
Performance Notes This
lighthearted piece is a
great way to bring
multiple choirs together
in harmony. It may be
sung by a single SATB
choir, though it is
intended to be performed
by multiple choirs of
varying age levels. Song
of the Sound was written
for an all-district
feeder festival piece for
combined elementary,
middle level, and high
school choirs. Here is a
suggested outline for
combining multiple
choirs: Rehearsal Letters
A to B: Elementary choir
only (two-part, Soprano,
Alto) Rehearsal Letter B:
add Middle Level Soprano,
Alto with Elementary
choir Rehearsal Letter C:
Middle Level choir only
Rehearsal Letter D: High
School choir only
Rehearsal Letter E to the
end: Everyone! Song of
the Sound: Running on the
beach, digging in the
sand, Seaweed in my toes,
bucket in my hand. When
I'm at the shore, way
above the rest, These are
all the things that I
love the best. Skipping
like a stone on the
water, diving deep in the
silvery foam, Swimming
far where the land cannot
hold us, where the
lighthouse calls us home.
Flying free above the
marshes, soaring high
above the sea, Where the
tern and cormorant and
plover call to lands we
cannot see.Come let us go
to the water, let us go
to the singing shore:
Where the gentle breezes
whisper and the mighty
breakers roar. We will
look to the shining
ocean, to the East, where
the new day dawned: We
will sing a song of the
edge of the world and the
waiting sky beyond. -Poem
by Robert Bode (Hope
Springs Retreat Center,
Ohio. August 2019) About
the Composer: Jacob
Narverud (b. 1986) is an
American composer,
arranger, and conductor.
Dr. Narverud is an active
guest Conductor/Clinician
for Choral Festivals and
All-State Choirs across
the country and is the
Founder/Artistic Director
of the Tallgrass Chamber
Choir, a professional
ensemble comprised of
musicians from across the
Great Plains. As a
sought-after composer,
Narverud has been
commissioned to write new
works for a variety of
choral ensembles and
organizations. Many of
his Editors' Choirs
compositions are
publisher Best Sellers
and are performed
worldwide by choirs of
all levels. Website:
www.jnarverud.com YouTube
& Spotify:
@jacobnarverud. The
piece was commissioned by
Kevin Scully, Director of
Creative Arts, for the
Port Washington School
District, New York, with
special thanks to the Ed
Foundation and HEARTS for
their unwavering
support.Performance
NotesThis lighthearted
piece is a great way to
bring multiple choirs
together in harmony. It
may be sung by a single
SATB choir, though it is
intended to be performed
by multiple choirs of
varying age levels. Song
of the Sound was written
for an all-district
feeder festival piece for
combined elementary,
middle level, and high
school choirs. Here is a
suggested outline for
combining multiple
choirs:Rehearsal Letters
AÂ to B: Elementary
choir only (two-part,
Soprano, Alto)Rehearsal
Letter B: add Middle
Level Soprano, Alto with
Elementary choirRehearsal
Letter C: Middle
Level choir onlyRehearsal
Letter D: High School
choir onlyRehearsal
Letter E to the end:
Everyone!Song of the
Sound:Running on the
beach, digging in the
sand,Seaweed in my toes,
bucket in my hand.When
I'm at the shore, way
above the rest,These are
all the things that I
love the
best. Skipping like a
stone on the water,
diving deep in the
silvery foam,Swimming far
where the land cannot
hold us, where the
lighthouse calls us
home.Flying free above
the marshes, soaring high
above the sea,Where the
tern and cormorant and
plover call to lands we
cannot see.Come let us go
to the water, let us go
to the singing
shore:Where the gentle
breezes whisper and the
mighty breakers roar.We
will look to the shining
ocean, to the East, where
the new day dawned:We
will sing a song of the
edge of the world and the
waiting sky beyond.-Poem
by Robert Bode (Hope
Springs Retreat Center,
Ohio. August 2019)About
the Composer:Jacob
Narverud (b. 1986) is an
American composer,
arranger, and conductor.
Dr. Narverud is an active
guest Conductor/Clinician
for Choral Festivals and
All-State Choirs across
the country and is the
Founder/Artistic Director
of the Tallgrass Chamber
Choir, a professional
ensemble comprised of
musicians from across the
Great Plains. As a
sought-after composer,
Narverud has been
commissioned to write new
works for a variety of
choral ensembles and
organizations. Many of
his Editors' Choirs
compositions are
publisher Best Sellers
and are performed
worldwide by choirs of
all levels. Website:
www.jnarverud.comÂ
YouTube & Spotify:
@jacobnarverud. $2.75 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Future of Tomorrow - Facile Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Cornet, Cornet 2...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Clarinet
1, Clarinet 2, Cornet,
Cornet 2, Crash Cymbals,
Euphonium, Euphonium
T.C., Flute,
Glockenspiel, Horn 1,
Horn 2, Mallet
Percussion, Oboe,
Percussion 1, Percussion
2, Percussion 3, Snare
Drum and more. - Grade 3
SKU: CF.CPS245
Composed by Benjamin Yeo.
Folio. Cps. Set of Score
and Parts.
8+2+8+8+2+4+4+4+4+2+4+4+4
+4+6+6+4+4+8+2+2+1+4+1+2+
24 pages. Duration 2
minutes, 42 seconds. Carl
Fischer Music #CPS245.
Published by Carl Fischer
Music (CF.CPS245).
ISBN 9781491158128.
UPC: 680160916726. 9 x 12
inches. ABOUT THE
MUSIC Future of Tomorrow
(Concert March) was
commissioned by the Arts
Education Branch,
Ministry of Education as
the set piece for the
Singapore Youth Festival
2016 Arts Presentation
for Concert and Brass
Bands (Primary Level).
This march uses brief
excerpts from the
well-known Malay folk
songs Katak Lompat and
Rasa Sayang. Our youths
are indeed our future of
tomorrow. This
joyful-themed march aims
to bring out the best in
each of your young
players. I hope that
students, band directors
and audiences will enjoy
preparing, performing and
listening to this work.
EDUCATIONAL NOTES Key: Eb
Major SECTION BARS EVENT
/ SCORING / SUGGESTIONS
Introduction 1-4 Opens in
Eb major with dotted
rhythm motif. 1st Strain
5-20 Take note of melodic
phrasing above the
(light) oom-pah ostinato;
melody repeats at m. 13
with the addition of
countermelody in the
inner lines; although
written at mf dynamic,
this anew ideaa needs to
be heard clearly for
contrast with the
previous statement. 2nd
Strain 21-36 C minor
(relative minor); excerpt
from Katak Lompat; melody
in the lower brass/wind
from m. 21 with a
contrasting
attitude/style from 1st
strain; back to a more
lyrical treatment from m.
29. Trio 37-56 Stays
unmodulated in the same
key; opens with a
percussion solo feature
before the start of the
softer Trio theme; keep
this section controlled
and be sensitive to the
balance; the metallic
timbre of the muted
trumpet/cornet needs to
be heard clearly (might
suggest to bring the
dynamic level up to mf
when muted); if
cued-notes are played,
make sure they are played
throughout the melodic
phrase as written to
avoid awkward leaps.
Break Strain 57-62
Excerpt from Rasa Sayang
with some play in
tonality and instrumental
dialogue; quasi
grandioso-style before
the final strain. Final
Strain 63-82 Back to Eb
major with the reprise of
the Trio theme;
festive-like style with
fuller orchestration and
new countermelodies;
dotted rhythm motif from
the introduction
concludes the march in a
codetta-like section from
m. 79. NOTE TO THE
CONDUCTOR This march has
been carefully written
with reasonable
technicalities and range
in mind for younger
players. Generally,
optional cued notes in
parenthesis are given for
less experienced players
who have yet to develop
their range on the
instrument. However, they
should never be taken as
an easy alternative for
all players in the
section; otherwise, this
may result in a less than
ideal flow of the musical
lines. Marches are good
tools to train tempo
consistency, articulation
and rhythmic precision as
well as musical phrasing.
I hope that there will be
great learning
opportunities for your
students as they learn
this piece. This march is
separately orchestrated
for both wind and brass
bands to maximize the
instrumental colors
within each ensemble. The
parts are therefore not
exchangeable between the
wind band and brass band
sets. I wish you the best
in the performance of
this work. - Benjamin
Yeo. ABOUT THE MUSIC
Future of Tomorrow
(Concert March) was
commissioned by the Arts
Education Branch,
Ministry of Education as
the set piece for the
Singapore Youth Festival
2016 Arts Presentation
for Concert and Brass
Bands (Primary Level).
This march uses brief
excerpts from the
well-known Malay folk
songs Katak Lompat and
Rasa Sayang. Our youths
are indeed our future of
tomorrow. This
joyful-themed march aims
to bring out the best in
each of your young
players. I hope that
students, band directors
and audiences will enjoy
preparing, performing and
listening to this work.
EDUCATIONAL NOTES Key: Eb
Major SECTION BARS EVENT
/ SCORING / SUGGESTIONS
Introduction 1-4 Opens in
Eb major with dotted
rhythm motif. 1st Strain
5-20 Take note of melodic
phrasing above the
(light) oom-pah ostinato;
melody repeats at m. 13
with the addition of
countermelody in the
inner lines; although
written at mf dynamic,
this 'new idea' needs to
be heard clearly for
contrast with the
previous statement. 2nd
Strain 21-36 C minor
(relative minor); excerpt
from Katak Lompat; melody
in the lower brass/wind
from m. 21 with a
contrasting
attitude/style from 1st
strain; back to a more
lyrical treatment from m.
29. Trio 37-56 Stays
unmodulated in the same
key; opens with a
percussion solo feature
before the start of the
softer Trio theme; keep
this section controlled
and be sensitive to the
balance; the metallic
timbre of the muted
trumpet/cornet needs to
be heard clearly (might
suggest to bring the
dynamic level up to mf
when muted); if
cued-notes are played,
make sure they are played
throughout the melodic
phrase as written to
avoid awkward leaps.
Break Strain 57-62
Excerpt from Rasa Sayang
with some play in
tonality and instrumental
dialogue; quasi
grandioso-style before
the final strain. Final
Strain 63-82 Back to Eb
major with the reprise of
the Trio theme;
festive-like style with
fuller orchestration and
new countermelodies;
dotted rhythm motif from
the introduction
concludes the march in a
codetta-like section from
m. 79. NOTE TO THE
CONDUCTOR This march has
been carefully written
with reasonable
technicalities and range
in mind for younger
players. Generally,
optional cued notes in
parenthesis are given for
less experienced players
who have yet to develop
their range on the
instrument. However, they
should never be taken as
an easy alternative for
all players in the
section; otherwise, this
may result in a less than
ideal flow of the musical
lines. Marches are good
tools to train tempo
consistency, articulation
and rhythmic precision as
well as musical phrasing.
I hope that there will be
great learning
opportunities for your
students as they learn
this piece. This march is
separately orchestrated
for both wind and brass
bands to maximize the
instrumental colors
within each ensemble. The
parts are therefore not
exchangeable between the
wind band and brass band
sets. I wish you the best
in the performance of
this work. - Benjamin
Yeo. ABOUT THE
MUSICFuture of Tomorrow
(Concert March) was
commissioned by the Arts
Education Branch,
Ministry of Education as
the set piece for the
Singapore Youth Festival
2016 Arts Presentation
for Concert and Brass
Bands (Primary Level).
This march uses brief
excerpts from the
well-known Malay folk
songs Katak Lompat and
Rasa Sayang.Our youths
are indeed our future of
tomorrow. This
joyful-themed march aims
to bring out the best in
each of your young
players. I hope that
students, band directors
and audiences will enjoy
preparing, performing and
listening to this
work.EDUCATIONAL
NOTESKey: Eb
MajorSECTIONBARSEVENT /
SCORING /
SUGGESTIONSIntroduction1-
4Opens in Eb major with
dotted rhythm motif.1st
Strain5-20Take note of
melodic phrasing above
the (light) oom-pah
ostinato;melody repeats
at m. 13 with the
addition of countermelody
in the inner lines;
although written at mf
dynamic, this ‘new
idea’ needs to be
heard clearly for
contrast with the
previous statement.2nd
Strain21-36C minor
(relative minor); excerpt
from Katak Lompat; melody
in the lower brass/wind
from m. 21 with a
contrasting
attitude/style from 1st
strain; back to a more
lyrical treatment from m.
29.Trio37-56Stays
unmodulated in the same
key; opens with a
percussion solo feature
before the start of the
softer Trio theme; keep
this section controlled
and be sensitive to the
balance; the metallic
timbre of the muted
trumpet/cornet needs to
be heard clearly (might
suggest to bring the
dynamic level up to mf
when muted); if
cued-notes are played,
make sure they are played
throughout the melodic
phrase as written to
avoid awkward leaps.Break
Strain57-62Excerpt from
Rasa Sayang with some
play in tonality and
instrumental dialogue;
quasi grandioso-style
before the final
strain.Final
Strain63-82Back to Eb
major with the reprise of
the Trio theme;
festive-like style with
fuller orchestration and
new countermelodies;
dotted rhythm motif from
the introduction
concludes the march in a
codetta-like section from
m. 79.NOTE TO THE
CONDUCTORThis march has
been carefully written
with reasonable
technicalities and range
in mind for younger
players. Generally,
optional cued notes in
parenthesis are given for
less experienced players
who have yet to develop
their range on the
instrument. However, they
should never be taken as
an easy alternative for
all players in the
section; otherwise, this
may result in a less than
ideal flow of the musical
lines. Marches are good
tools to train tempo
consistency, articulation
and rhythmic precision as
well as musical phrasing.
I hope that there will be
great learning
opportunities for your
students as they learn
this piece.This march is
separately orchestrated
for both wind and brass
bands to maximize the
instrumental colors
within each ensemble. The
parts are therefore not
exchangeable between the
wind band and brass band
sets.I wish you the best
in the performance of
this work.- Benjamin
Yeo. $85.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Future of Tomorrow [Conducteur] - Facile Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Cornet, Cornet 2...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Clarinet
1, Clarinet 2, Cornet,
Cornet 2, Crash Cymbals,
Euphonium, Euphonium
T.C., Flute,
Glockenspiel, Horn 1,
Horn 2, Mallet
Percussion, Oboe,
Percussion 1, Percussion
2, Percussion 3, Snare
Drum and more. - Grade 3
SKU: CF.CPS245F
Composed by Benjamin Yeo.
Sws. Cps. Full score. 24
pages. Carl Fischer Music
#CPS245F. Published by
Carl Fischer Music
(CF.CPS245F). ISBN
9781491158135. UPC:
680160916733. 9 x 12
inches. ABOUT THE
MUSIC Future of Tomorrow
(Concert March) was
commissioned by the Arts
Education Branch,
Ministry of Education as
the set piece for the
Singapore Youth Festival
2016 Arts Presentation
for Concert and Brass
Bands (Primary Level).
This march uses brief
excerpts from the
well-known Malay folk
songs Katak Lompat and
Rasa Sayang. Our youths
are indeed our future of
tomorrow. This
joyful-themed march aims
to bring out the best in
each of your young
players. I hope that
students, band directors
and audiences will enjoy
preparing, performing and
listening to this work.
EDUCATIONAL NOTES Key: Eb
Major SECTION BARS EVENT
/ SCORING / SUGGESTIONS
Introduction 1-4 Opens in
Eb major with dotted
rhythm motif. 1st Strain
5-20 Take note of melodic
phrasing above the
(light) oom-pah ostinato;
melody repeats at m. 13
with the addition of
countermelody in the
inner lines; although
written at mf dynamic,
this anew ideaa needs to
be heard clearly for
contrast with the
previous statement. 2nd
Strain 21-36 C minor
(relative minor); excerpt
from Katak Lompat; melody
in the lower brass/wind
from m. 21 with a
contrasting
attitude/style from 1st
strain; back to a more
lyrical treatment from m.
29. Trio 37-56 Stays
unmodulated in the same
key; opens with a
percussion solo feature
before the start of the
softer Trio theme; keep
this section controlled
and be sensitive to the
balance; the metallic
timbre of the muted
trumpet/cornet needs to
be heard clearly (might
suggest to bring the
dynamic level up to mf
when muted); if
cued-notes are played,
make sure they are played
throughout the melodic
phrase as written to
avoid awkward leaps.
Break Strain 57-62
Excerpt from Rasa Sayang
with some play in
tonality and instrumental
dialogue; quasi
grandioso-style before
the final strain. Final
Strain 63-82 Back to Eb
major with the reprise of
the Trio theme;
festive-like style with
fuller orchestration and
new countermelodies;
dotted rhythm motif from
the introduction
concludes the march in a
codetta-like section from
m. 79. NOTE TO THE
CONDUCTOR This march has
been carefully written
with reasonable
technicalities and range
in mind for younger
players. Generally,
optional cued notes in
parenthesis are given for
less experienced players
who have yet to develop
their range on the
instrument. However, they
should never be taken as
an easy alternative for
all players in the
section; otherwise, this
may result in a less than
ideal flow of the musical
lines. Marches are good
tools to train tempo
consistency, articulation
and rhythmic precision as
well as musical phrasing.
I hope that there will be
great learning
opportunities for your
students as they learn
this piece. This march is
separately orchestrated
for both wind and brass
bands to maximize the
instrumental colors
within each ensemble. The
parts are therefore not
exchangeable between the
wind band and brass band
sets. I wish you the best
in the performance of
this work. - Benjamin
Yeo. ABOUT THE MUSIC
Future of Tomorrow
(Concert March) was
commissioned by the Arts
Education Branch,
Ministry of Education as
the set piece for the
Singapore Youth Festival
2016 Arts Presentation
for Concert and Brass
Bands (Primary Level).
This march uses brief
excerpts from the
well-known Malay folk
songs Katak Lompat and
Rasa Sayang. Our youths
are indeed our future of
tomorrow. This
joyful-themed march aims
to bring out the best in
each of your young
players. I hope that
students, band directors
and audiences will enjoy
preparing, performing and
listening to this work.
EDUCATIONAL NOTES Key: Eb
Major SECTION BARS EVENT
/ SCORING / SUGGESTIONS
Introduction 1-4 Opens in
Eb major with dotted
rhythm motif. 1st Strain
5-20 Take note of melodic
phrasing above the
(light) oom-pah ostinato;
melody repeats at m. 13
with the addition of
countermelody in the
inner lines; although
written at mf dynamic,
this 'new idea' needs to
be heard clearly for
contrast with the
previous statement. 2nd
Strain 21-36 C minor
(relative minor); excerpt
from Katak Lompat; melody
in the lower brass/wind
from m. 21 with a
contrasting
attitude/style from 1st
strain; back to a more
lyrical treatment from m.
29. Trio 37-56 Stays
unmodulated in the same
key; opens with a
percussion solo feature
before the start of the
softer Trio theme; keep
this section controlled
and be sensitive to the
balance; the metallic
timbre of the muted
trumpet/cornet needs to
be heard clearly (might
suggest to bring the
dynamic level up to mf
when muted); if
cued-notes are played,
make sure they are played
throughout the melodic
phrase as written to
avoid awkward leaps.
Break Strain 57-62
Excerpt from Rasa Sayang
with some play in
tonality and instrumental
dialogue; quasi
grandioso-style before
the final strain. Final
Strain 63-82 Back to Eb
major with the reprise of
the Trio theme;
festive-like style with
fuller orchestration and
new countermelodies;
dotted rhythm motif from
the introduction
concludes the march in a
codetta-like section from
m. 79. NOTE TO THE
CONDUCTOR This march has
been carefully written
with reasonable
technicalities and range
in mind for younger
players. Generally,
optional cued notes in
parenthesis are given for
less experienced players
who have yet to develop
their range on the
instrument. However, they
should never be taken as
an easy alternative for
all players in the
section; otherwise, this
may result in a less than
ideal flow of the musical
lines. Marches are good
tools to train tempo
consistency, articulation
and rhythmic precision as
well as musical phrasing.
I hope that there will be
great learning
opportunities for your
students as they learn
this piece. This march is
separately orchestrated
for both wind and brass
bands to maximize the
instrumental colors
within each ensemble. The
parts are therefore not
exchangeable between the
wind band and brass band
sets. I wish you the best
in the performance of
this work. - Benjamin
Yeo. ABOUT THE
MUSICFuture of Tomorrow
(Concert March) was
commissioned by the Arts
Education Branch,
Ministry of Education as
the set piece for the
Singapore Youth Festival
2016 Arts Presentation
for Concert and Brass
Bands (Primary Level).
This march uses brief
excerpts from the
well-known Malay folk
songs Katak Lompat and
Rasa Sayang.Our youths
are indeed our future of
tomorrow. This
joyful-themed march aims
to bring out the best in
each of your young
players. I hope that
students, band directors
and audiences will enjoy
preparing, performing and
listening to this
work.EDUCATIONAL
NOTESKey: Eb
MajorSECTIONBARSEVENT /
SCORING /
SUGGESTIONSIntroduction1-
4Opens in Eb major with
dotted rhythm motif.1st
Strain5-20Take note of
melodic phrasing above
the (light) oom-pah
ostinato;melody repeats
at m. 13 with the
addition of countermelody
in the inner lines;
although written at mf
dynamic, this ‘new
idea’ needs to be
heard clearly for
contrast with the
previous statement.2nd
Strain21-36C minor
(relative minor); excerpt
from Katak Lompat; melody
in the lower brass/wind
from m. 21 with a
contrasting
attitude/style from 1st
strain; back to a more
lyrical treatment from m.
29.Trio37-56Stays
unmodulated in the same
key; opens with a
percussion solo feature
before the start of the
softer Trio theme; keep
this section controlled
and be sensitive to the
balance; the metallic
timbre of the muted
trumpet/cornet needs to
be heard clearly (might
suggest to bring the
dynamic level up to mf
when muted); if
cued-notes are played,
make sure they are played
throughout the melodic
phrase as written to
avoid awkward leaps.Break
Strain57-62Excerpt from
Rasa Sayang with some
play in tonality and
instrumental dialogue;
quasi grandioso-style
before the final
strain.Final
Strain63-82Back to Eb
major with the reprise of
the Trio theme;
festive-like style with
fuller orchestration and
new countermelodies;
dotted rhythm motif from
the introduction
concludes the march in a
codetta-like section from
m. 79.NOTE TO THE
CONDUCTORThis march has
been carefully written
with reasonable
technicalities and range
in mind for younger
players. Generally,
optional cued notes in
parenthesis are given for
less experienced players
who have yet to develop
their range on the
instrument. However, they
should never be taken as
an easy alternative for
all players in the
section; otherwise, this
may result in a less than
ideal flow of the musical
lines. Marches are good
tools to train tempo
consistency, articulation
and rhythmic precision as
well as musical phrasing.
I hope that there will be
great learning
opportunities for your
students as they learn
this piece.This march is
separately orchestrated
for both wind and brass
bands to maximize the
instrumental colors
within each ensemble. The
parts are therefore not
exchangeable between the
wind band and brass band
sets.I wish you the best
in the performance of
this work.- Benjamin
Yeo. $14.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Cantastoria Orchestre d'harmonie [Conducteur] - Facile De Haske Publications
Concert Band/Harmonie - Grade 3 SKU: BT.DHP-1165681-140 Sonata from 'd...(+)
Concert Band/Harmonie -
Grade 3 SKU:
BT.DHP-1165681-140
Sonata from 'die
Bänkelsängerlieder'
. Arranged by Robert
van Beringen. Great
Classics. Score Only.
Composed 2016. De Haske
Publications #DHP
1165681-140. Published by
De Haske Publications
(BT.DHP-1165681-140).
English-German-French-
Dutch. A
cantastoria or
Bänkelsänger German
for busker was a
travelling musician who
made music in streets and
squares, together with
his colleagues. Die
Bänkelsängerlieder<
/I> (buskers songs)
originally stem from the
seventeenth century.
Robert van Beringen, who
is known for his
attractive arrangements
of classical melodies,
created a colourful
transcription for wind
band based on this
characteristic music.
Een cantastoria
of Bänkelsänger
Duits voor straatzanger
was een rondreizende
muzikant die samen met
zijn collega’s
musiceerde in straten en
op pleinen. Die
Bänkelsängerlieder<
/I> stammen
oorspronkelijk uit de
zeventiende eeuw. Robert
van Beringen, die
bekendstaat om zijn
fraaie arrangementen van
klassieke melodieën,
maakte van deze
karakteristieke muziek
een kleurrijke
transcriptie voor
blaasorkest.
Ein
Cantastoria“ oder
Bänkelsänger war
ein reisender Musiker,
der auf den Straßen
und Plätzen zusammen
mit seinen Kollegen Musik
machte. Die
Bänkelsängerlieder<
/I> stammen
ursprünglich aus dem
17. Jahrhundert. Robert
van Beringen, der für
seine attraktiven
Arrangements klassischer
Melodien bekannt ist, hat
eine abwechslungsreiche
Bearbeitung dieser
charakteristischen Musik
für Blasorchester
geschaffen.
Un
cantastoria ou
Bänkelsänger
allemand pour chanteur
des rues était un
musicien de voyage qui
faisait de la musique
dans les rues et places,
en compagnie de ses
collègues. Die
Bänkelsängerlieder<
/I> (chansons des
artistes de rue) viennent
du XVIIe siècle.
Robert van Beringen,
connu pour ses
arrangements attractifs
de mélodies
classiques, a créé
une transcription
musicale pour orchestre
d’harmonie
basée sur cette
musique typique.
Van Beringen,
noto per i suoi eccelsi
riadattamenti di arie
classiche, si è questa
volta cimentato in una
variopinta trascrizione
per banda di soli fiati
della musica tipica dei
cantastorie, riuscendo
sorprendentemente a tener
vivo l’arcano
fascino delle busker
song. $22.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Cantastoria Orchestre d'harmonie [Conducteur et Parties séparées] - Facile De Haske Publications
Concert Band/Harmonie - Grade 3 SKU: BT.DHP-1165681-010 Sonata from 'd...(+)
Concert Band/Harmonie -
Grade 3 SKU:
BT.DHP-1165681-010
Sonata from 'die
Bänkelsängerlieder'
. Arranged by Robert
van Beringen. Great
Classics. Classical. Set
(Score & Parts). Composed
2016. 16 pages. De Haske
Publications #DHP
1165681-010. Published by
De Haske Publications
(BT.DHP-1165681-010).
English-German-French-
Dutch. A
cantastoria or
Bänkelsänger German
for busker was a
travelling musician who
made music in streets and
squares, together with
his colleagues. Die
Bänkelsängerlieder<
/I> (buskers songs)
originally stem from the
seventeenth century.
Robert van Beringen, who
is known for his
attractive arrangements
of classical melodies,
created a colourful
transcription for wind
band based on this
characteristic music.
Een cantastoria
of Bänkelsänger
Duits voor straatzanger
was een rondreizende
muzikant die samen met
zijn collega’s
musiceerde in straten en
op pleinen. Die
Bänkelsängerlieder<
/I> stammen
oorspronkelijk uit de
zeventiende eeuw. Robert
van Beringen, die
bekendstaat om zijn
fraaie arrangementen van
klassieke melodieën,
maakte van deze
karakteristieke muziek
een kleurrijke
transcriptie voor
blaasorkest.
Ein
Cantastoria“ oder
Bänkelsänger war
ein reisender Musiker,
der auf den Straßen
und Plätzen zusammen
mit seinen Kollegen Musik
machte. Die
Bänkelsängerlieder<
/I> stammen
ursprünglich aus dem
17. Jahrhundert. Robert
van Beringen, der für
seine attraktiven
Arrangements klassischer
Melodien bekannt ist, hat
eine abwechslungsreiche
Bearbeitung dieser
charakteristischen Musik
für Blasorchester
geschaffen.
Un
cantastoria ou
Bänkelsänger
allemand pour chanteur
des rues était un
musicien de voyage qui
faisait de la musique
dans les rues et places,
en compagnie de ses
collègues. Die
Bänkelsängerlieder<
/I> (chansons des
artistes de rue) viennent
du XVIIe siècle.
Robert van Beringen,
connu pour ses
arrangements attractifs
de mélodies
classiques, a créé
une transcription
musicale pour orchestre
d’harmonie
basée sur cette
musique typique.
Van Beringen,
noto per i suoi eccelsi
riadattamenti di arie
classiche, si è questa
volta cimentato in una
variopinta trascrizione
per banda di soli fiati
della musica tipica dei
cantastorie, riuscendo
sorprendentemente a tener
vivo l’arcano
fascino delle busker
song. $110.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Teaching with Heart - Course Pack - 4 hrs of videos GIA Publications
SKU: GI.G-10383 Tools for Addressing Societal Challenges through Music...(+)
SKU: GI.G-10383
Tools for Addressing
Societal Challenges
through Music.
Composed by Jason Max
Ferdinand. Music
Education. 106 pages. GIA
Publications #10383.
Published by GIA
Publications
(GI.G-10383). ISBN
9781622775378. Incl
udes course pack with
activities and four hours
of video interviews.
Includes access codes for
25 students. Purchase
includes digital access
to complete book and
videos for 25 students
plus a physical copy of
the book. Jason Max
Ferdinand's book Teaching
With Heart is the first
book to directly help us
address the societal
issues in our choral
rehearsals. Not
attempting to separate
the music from social
issues, this new tool in
the classroom uses
musical examples to
address uncomfortable
topics and hopefully
'open minds and hearts.'
Built to ask singers to
read, watch, listen and
then to respond and
discuss, this resource
has been developed with
the help of nine
outstanding contributors
and ten composers and
arrangers. I strongly
urge you to take a look
at this new resource for
your classroom.
--Jo-Michael Scheibe,
D.M.A. Professor,
Department of Choral and
Sacred Music Conductor,
University of Southern
California Thornton
Chamber Singers Teaching
With Heart is a timely
and relevant resource
that offers a
well-crafted,
research-based approach
to choral music
education. Students will
learn how diverse choral
repertoire can be used as
a tool to not only
advance musicianship, but
also as an access point
for critical thinking and
the enhancement of social
emotional learning
skills. --Rollo A.
Dilworth, D.Mus. Vice
Dean and Professor of
Choral Music Education
Center for the Performing
and Cinematic Arts,
Temple University Through
valuable repertoire
suggestions, listening
examples, video
interviews, quotes, and
teaching activities, this
resource provides
designed lessons helping
students apply,
synthesize, evaluate, and
comprehend music from an
artistic perspective and,
more importantly, a human
perspective. --Brandon
Boyd, Ph.D. Assistant
Professor Choral
Conducting, Choral Music
Education University of
Missouri 'How would you
suggest a Caucasian
teacher talk about social
justice issues with
students of color?' a
student from Georgia
Southern University asked
via ZOOM. Dr. Ferdinand
responded by quoting from
Teaching With Heart,
specifically sharing
inspiration from the
module titled 'Justice,
or Just Us?' Powerful
conversation ensued and
our future educators were
immediately on fire to
get ahold of these
teaching tools! We are so
grateful for Dr.
Ferdinand's generous
leadership and his
extremely well-timed
Choral Conductor's
Compendium to help guide
us through current times
and into the future.
--Shannon Jeffreys,
D.M.A. Director of Choral
Activities Georgia
Southern University Jason
Max Ferdinand is a Full
Professor, Chair of the
Music Department, and
Director of Choral
Activities at Oakwood
University, where he
conducts the Aeolians of
Oakwood University. He
maintains an active
schedule as a presenter,
adjudicator, and guest
conductor for high
schools, collegiate, and
church choirs throughout
North America, Asia,
Europe, and the
Caribbean. Learn more
about this new resource
in the short video
below:. $29.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Cosmosis Maximus DVD [DVD] GIA Publications
SKU: GI.G-DVD-795 Composed by Eugene M. Corporon. GIA WindWorks. Music Ed...(+)
SKU: GI.G-DVD-795
Composed by Eugene M.
Corporon. GIA WindWorks.
Music Education. DVD. GIA
Publications #795.
Published by GIA
Publications
(GI.G-DVD-795). UPC:
785147079552. Three
major works are captured
on this audiophile DVD:
Cosmosis by Susan Botti,
Concerto for String
Quartet by ErvÃn
Schulhoff, and Symphony
No. 3 “Circus
Maximus†by John
Corgliano. Eugene
Corporon and the North
Texas Wind Symphony, with
the help Women of the A
Cappella Choir, Jerry
McCoy, Conductor, and the
DaPonte String Quartet,
and other guest musicians
capture virtuoso
musicians at the height
of their powers. A
remarkable achievement.
90 minutes, available
only on DVD. CONTENTS:
Cosmosis (2004), Susan
Botti (b. 1962) (SUBO
Music) (Poetry of May
Swenson) Overboard
(Prologue) The 1st Night
Interlude The 2nd Night
Julie Whittington McCoy,
soprano Women of the A
Cappella Choir Jerry
McCoy, conductor Concerto
for String Quartet
(1930), ErvÃn
Schulhoff (1894-1942)
(Panton International)
Allegro moderato Largo
Finale (Allegro con brio)
Ferdinand Liva, violin,
DaPonte String Quartet
Susan Demetris, violin,
concertmaster, The Dallas
Opera Mark Preston,
viola, DaPonte String
Quartet Myles Jordan,
DaPonte String Quartet
Symphony No. 3
“Circus
Maximus†(2005),
John Corigliano (b. 1938)
(G, Schirmer, Inc.)
Introitus Screen/Siren
Channel Surfing Night
Music I Night Music II
Circus Maximus Prayer
Coda: Veritas. $24.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| I Guds Ljus (In The Light Of God) - Intermédiaire Barenreiter
Mixed choir (SMezATB) - Level 3 SKU: BA.BA07417 Composed by Marten Jansso...(+)
Mixed choir (SMezATB) -
Level 3 SKU:
BA.BA07417 Composed
by Marten Jansson.
Stapled. Choral score. 28
pages. Baerenreiter
Verlag #BA07417_00.
Published by Baerenreiter
Verlag (BA.BA07417).
ISBN 9790006561469. 27
x 19 cm inches. Text
Language: Swedish,
English. Preface:
Jansson,
Mårten. “I
asked my friend, the poet
Einar Askestad, if he
could write a poem for me
about love between father
and son, brothers and
God. I felt that these
forms of love are seldom
sung about. The poem
moved me greatly and I
have tried to put music
to these words which is
simple yet full of
beauty. In the four
movements of this
suite-like piece, various
aspects of these
relationships are
conveyed.†(Marten
Jansson)
â€
œMy music is my own and
I have never tried to be
original. That has always
been my motto and I have
only tried to use music
to express all the
feelings which life has
to offer. This has led
people to describe my
music as ‘so sad
that it sounds like birds
who have lost their
wings‘ but also as
‘the happiest
classical music that we
have ever
heard’. My
compositions are almost
all sacred. They express
not only my own faith but
also my appreciation and
respect for the timeless
texts that have been used
for centuries and
centuries.â€
MÃ¥rten Jansson (b.
1965), elected member of
the Föreningen svenska
tonsättare (the
Society of Swedish
Composers), graduated
from the Royal College of
Music, Stockholm (KHM)
with an MFA degree in
Music Education, Dalcroze
Eurhythmics and Voice.
For more than ten years
he was the music director
and conductor of
“Carmenâ€, one
of the most prominent
womens’ vocal
ensembles in Sweden. He
currently teaches choral
conducting and music
theory as well as giving
vocal tuition at the
Bolandgymnasiet and
Musikskolan in his home
town of Uppsala.
$15.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Girl I Left Behind Me Orchestre - Débutant Alfred Publishing
Orchestra - Grade 0.5 SKU: AP.45817 Arranged by Sandra Dackow. MakeMusic ...(+)
Orchestra - Grade 0.5
SKU: AP.45817
Arranged by Sandra
Dackow. MakeMusic Cloud;
Performance Music
Ensemble; Single Titles;
String Orchestra.
Orchestra Expressions.
Folk; Traditional. Score
and Part(s). 148 pages.
Duration 2:15. Alfred
Music #00-45817.
Published by Alfred Music
(AP.45817). UPC:
038081525501. English.
Traditional Irish
Tune. All in first
position with
straightforward rhythms
and thematic parts for
everyone, this poignant
song arranged by Sandra
Dackow will be a
wonderful addition to any
concert. The Girl I Left
Behind Me first appears
in 18th century Ireland,
often known as Brighton
Camp. It emigrated to the
United States along with
many other
Anglo/Scots/Irish folk
tunes and became a
popular marching song for
soldiers. During the
American Civil War,
soldiers in both the
Confederate and Union
armies sang it. A number
of cultures have embraced
this song, adding their
own local lyrics. (2:15)
This title is available
in MakeMusic Cloud.
About
Orchestra
Expressions <
p>Play great songs such
as Over the Rainbow,
Batman, This Land Is Your
Land, and Star Wars (Main
Title). Listen to and
play a variety of styles
of music: popular,
traditional, classical,
folk and patriotic. Read
and write music; compose
and improvise. Perform in
a concert and play for
your family and friends.
Be a conductor of the
orchestra. Learn about
composers, such as
Antonin Dvorak, Johann
Pachelbel, Jacques
Offenbach, Pytor Ilyich
Tchaikovsky, Giuseppe
Verdi, George M. Cohan,
George Frideric Handel,
Ludwig van Beethoven,
Johann Sebastian Bach,
Wolfgang Amadeus Mozart,
Giacomo Puccini, Georges
Bizet, Neal Hefti, and
John Williams. Discover
how music and art are
related. Learn about a
variety of musical
ensembles including
string orchestra, full
orchestra, mariachi band,
steel drum band,
dixieland jazz band, rock
band, and more. Play
music from around the
world, including North
America, Europe, Latin
America, Asia, and
Africa. $42.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Girl I Left Behind Me Orchestre [Conducteur] - Débutant Alfred Publishing
Orchestra - Grade 0.5 SKU: AP.45817S Arranged by Sandra Dackow. MakeMusic...(+)
Orchestra - Grade 0.5
SKU: AP.45817S
Arranged by Sandra
Dackow. MakeMusic Cloud;
Performance Music
Ensemble; Single Titles;
String Orchestra.
Orchestra Expressions.
Folk; Traditional. Score.
8 pages. Duration 2:15.
Alfred Music #00-45817S.
Published by Alfred Music
(AP.45817S). UPC:
038081525518. English.
Traditional Irish
Tune. All in first
position with
straightforward rhythms
and thematic parts for
everyone, this poignant
song arranged by Sandra
Dackow will be a
wonderful addition to any
concert. The Girl I Left
Behind Me first appears
in 18th century Ireland,
often known as Brighton
Camp. It emigrated to the
United States along with
many other
Anglo/Scots/Irish folk
tunes and became a
popular marching song for
soldiers. During the
American Civil War,
soldiers in both the
Confederate and Union
armies sang it. A number
of cultures have embraced
this song, adding their
own local lyrics. (2:15)
This title is available
in MakeMusic Cloud.
About
Orchestra
Expressions <
p>Play great songs such
as Over the Rainbow,
Batman, This Land Is Your
Land, and Star Wars (Main
Title). Listen to and
play a variety of styles
of music: popular,
traditional, classical,
folk and patriotic. Read
and write music; compose
and improvise. Perform in
a concert and play for
your family and friends.
Be a conductor of the
orchestra. Learn about
composers, such as
Antonin Dvorak, Johann
Pachelbel, Jacques
Offenbach, Pytor Ilyich
Tchaikovsky, Giuseppe
Verdi, George M. Cohan,
George Frideric Handel,
Ludwig van Beethoven,
Johann Sebastian Bach,
Wolfgang Amadeus Mozart,
Giacomo Puccini, Georges
Bizet, Neal Hefti, and
John Williams. Discover
how music and art are
related. Learn about a
variety of musical
ensembles including
string orchestra, full
orchestra, mariachi band,
steel drum band,
dixieland jazz band, rock
band, and more. Play
music from around the
world, including North
America, Europe, Latin
America, Asia, and
Africa. $8.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| When Johnny Comes Marching Home Orchestre à Cordes [Conducteur] Alfred Publishing
Arranged by Sandra Dackow. Performance Music Ensemble; Single Titles; String Orc...(+)
Arranged by Sandra
Dackow. Performance Music
Ensemble; Single Titles;
String Orchestra.
Orchestra Expressions.
Folk. Score. 12 pages.
Duration 1:30. Alfred
Music #00-45825S.
Published by Alfred Music
(AP.45825S).
$9.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| When Johnny Comes Marching Home Orchestre à Cordes [Conducteur et Parties séparées] - Facile Alfred Publishing
Arranged by Sandra Dackow. Part(s); Score; String Orchestra. Orchestra Expressio...(+)
Arranged by Sandra
Dackow. Part(s); Score;
String Orchestra.
Orchestra Expressions.
Folk. 148 pages.
Published by Alfred Music
(AP.45825).
$49.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Six Easy Pieces (based on Mozart's opera The Magic Flute, K. 620) 1 Piano, 4 mains Alfred Publishing
By Christian Gottlob Neefe [Wolfgang Amadeus Mozart]. Edited by Dmitry Rachmanov...(+)
By Christian Gottlob
Neefe [Wolfgang Amadeus
Mozart]. Edited by Dmitry
Rachmanov. For Piano.
Book; Duet or Duo;
Masterworks; Piano Duet
(1 Piano, 4 Hands).
Alfred Masterwork
Edition. Classical;
Masterwork; Recital.
Advanced. 52 pages.
Published by Alfred Music
$9.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| I Thank You, Lord Hope Publishing Company
Choir; orchestra; rhythm (electric bass, drums, flute 1 & 2, oboe, clarinet 1 & ...(+)
Choir; orchestra; rhythm
(electric bass, drums,
flute 1 & 2, oboe,
clarinet 1 & 2, bassoon,
french horn 1 & 2,
trumpets 1, 2 & 3,
trombones 1 & 2, bass
trombone/tuba, timpani,
percussion 1 & 2, harp,
violins 1 & 2, viola,
cello, and double bass)
SKU: HP.C5614O
Composed by Joseph M.
Martin. Piano
Accompaniment with
Optional Orchestra. Vocal
Solo Sheet Music Series.
Thanksgiving, General
Worship, Sacred. Set of
Instrumental Parts. Hope
Publishing Company
#C5614O. Published by
Hope Publishing Company
(HP.C5614O). UPC:
763628256142. Joseph M.
Martin. Philippians
2:10-11, Isaiah 12:4,
Acts 18:9, Psalms
19:1-14, Psalms 107:1-7,
Luke
17:11-19. Original
anthem From Joseph Martin
here is a gorgeous,
lyrical expression of
praise and thanksgiving.
The memorable melody and
personal text build to
the familiar quote, If
Christ is Lord of heaven
and earth, how can I keep
from singing? The
orchestration, by Stan
Pethel, heightens the
impact of this deeply
felt anthem of gratitude
useful for Thanksgiving
and general occasions.
This top-seller has been
newly re-voiced for SAB
voices. The Rhythm packet
contains parts for Drums
and Electric Bass. The
Orchestration includes a
Conductor's Score and
parts for: Electric Bass,
Drums, Flute 1 & 2, Oboe,
Clarinet 1 & 2, Bassoon,
French Horn 1 & 2,
Trumpets 1, 2 & 3,
Trombones 1 & 2, Bass
Trombone/Tuba, Timpani,
Percussion 1 & 2, Harp,
Violins 1 & 2, Viola,
Cello, and Double
Bass. $89.95 - Voir plus => AcheterDélais: 4 to 6 business days | | |
| Kentucky 1800 Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Boosey and Hawkes
By Clare Grundman. (Score & Parts). Boosey and Hawkes Concert Band. Size 9x12 in...(+)
By Clare Grundman. (Score
& Parts). Boosey and
Hawkes Concert Band. Size
9x12 inches. Published by
Boosey & Hawkes.
(1)$90.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
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