Guitar - fingerpicking - Intermediate SKU: MB.30015M Composed by John Mil...(+)
Guitar - fingerpicking -
Intermediate
SKU:
MB.30015M
Composed by
John Miller. Squareback
saddle stitch. Grossman
Audio. Blues. Book and
online audio. 120 pages.
Mel Bay Publications, Inc
#30015M. Published by Mel
Bay Publications, Inc
(MB.30015M).
ISBN
9781513465470. 8.75 x
11.75
inches.
Virtually
every country blues
recording made prior to
World War II that has
been recovered by the
collectors is
commercially available.
No one could have
anticipated how much of
the recorded legacy of
country blues would
become available to be
heard. It really is a
treasure trove of musical
history, and in listening
to the incredible breadth
and variety in the
country blues that this
re-issuing movement has
made possible, I stand in
awe of the magnitude and
scope of what the people
who played in this style
expressed in their music.
There really is something
for everyone in this
music, whether you like
your blues smooth and
sophisticated or down and
dirty. - John Miller.
Includes access to online
audio.
String Quartet No.2 Quatuor à cordes: 2 violons, alto, violoncelle [Conducteur et Parties séparées] Promethean Editions
Chamber Music String Quartet SKU: PO.PME06 Composed by David Farquhar. Sw...(+)
Chamber Music String
Quartet
SKU:
PO.PME06
Composed by
David Farquhar. Sws.
Score and parts. Composed
2003. Promethean Editions
#PME06. Published by
Promethean Editions
(PO.PME06).
ISBN
9780958242844.
In
six inter-related
movements, exhibiting
throughout great
concision and economy,
devotees of the
composer's style will
find much to admire in
the second of Farquhar's
four string quartets.The
composer writes: The
quartet is in six
movements which are
played without a break.
The odd-numbered
movements are quick, and
are all based on the same
material?an unsettled
chord with B as the
melody note, followed by
a downward arpeggio
flourish and a rising
stepwise melody. The
tempo in movements 3 and
5 gets progressively
faster, and the
atmosphere increasingly
scherzando in character.
The first two
even-numbered movements
(2 and 4) are slow
expressive intermezzi;
both feature an up-beat
of three repeated Bs
leading into chromatic
lines. The final movement
serves as an epilogue and
resolution; the
instruments are now muted
and the three repeated Bs
are now on the beat,
while off-beat
accompaniment figures
provide a gentle swaying
dance around them..
Composed by Ludwig van Beethoven (1770-1827). Edited by Leonardo Miucci. This ...(+)
Composed by Ludwig van
Beethoven (1770-1827).
Edited
by Leonardo Miucci. This
edition: urtext edition.
Paperback. Barenreiter
Urtext. Performance
score,
Set of part(s),
anthology.
WoO 36. Baerenreiter
Verlag
#BA09037. Published by
Baerenreiter Verlag
Set of Parts. Composed by Wolfgang Amadeus Mozart (1756-1791). Edited by Wolf-Di...(+)
Set of Parts. Composed by
Wolfgang Amadeus Mozart
(1756-1791). Edited by
Wolf-Dieter Seiffert and
Ernst Herttrich. Sheet
music. Paperbound. Henle
Music Folios. Pages: Vl I
Part = * Vl II Part = *
Va I Part = *Va II Part =
* Vc Part =. Classical.
Set of Parts. 64 pages.
G. Henle #HN777.
Published by G. Henle
Piano/harpsichord and
orchestra (solo: pno -
3(picc).3(cor ang).2.2 -
4.2.3.1 - timp.perc - hp
- cel - str)
SKU:
BR.PB-15154
Impresiones sinfonicas
- Urtext. Composed by
Manuel de Falla. Edited
by Ullrich Scheideler.
Orchestra; Softcover.
Partitur-Bibliothek
(Score Library). Solo
concerto; Symphonic poem;
Late-romantic; Early
modern. Study Score.
Duration 23'. Breitkopf
and Haertel #PB 15154.
Published by Breitkopf
and Haertel
(BR.PB-15154).
ISBN
9790004215593. 6.5 x 9
inches.
Composed by
Manuel de Falla during
his lengthy residence in
Paris, these three
symphonic impressions for
piano and orchestra are
an expressive work
bringing the southern
Spanish gardens, which
are laid out in the
European and
Arabic-Moorish tradition,
to life. The influence of
contemporary French music
is noticeable in this
composition. Despite many
modifications, involving
among other things, the
scoring, number of
movements, as well as
layout and content, the
basic idea of a nocturnal
impression is retained
from the outset. The work
was finished - and
likewise the orchestral
material - only shortly
before its premiere on 9
April 1916, which was a
great success. World War
I prevented its
publication, though
further performances
followed, played then
from manuscript material.
The Urtext edition
presented by Ullrich
Scheideler takes as the
main source the first
edition of the score. The
Critical Report gives
detailed information
about the source
situation.
By Willy Van Dorsselaer. Edited by John Bowden. For Violin and Piano. Educationa...(+)
By Willy Van Dorsselaer.
Edited by John Bowden.
For Violin and Piano.
Educational. Instrumental
Collection. Classical.
Level: Intermediate. Book
and Solo Part. 24+12
pages. Duration 27
minutes. Published by
Digital Music Print
(Belgian import).
Colonial Song Orchestre d'harmonie [Conducteur et Parties séparées] Carl Fischer
By Percy Aldridge Grainger (1882-1961). Concert Band. For Concert Band. Carl Fis...(+)
By Percy Aldridge
Grainger (1882-1961).
Concert Band. For Concert
Band. Carl Fischer
Classic Band Editions.
Score and Set of Parts.
Standard notation.
Published by Carl Fischer
Urtext based on the
Brahms Complete Edition
of the Gesellschaft der
Musikfreunde in
Vienna. Composed by
Johannes Brahms.
Orchestra; stapled.
Orchester-Bibliothek
(Orchestral Library). EB
6043 is printed in score
form; two copies are
needed for performance.
Have a look into study
score PB 3654. Solo
concerto; Romantic. Part.
12 pages. Duration 43'.
Breitkopf and Haertel #OB
3210-19. Published by
Breitkopf and Haertel
(BR.OB-3210-19).
ISBN
9790004300718. 10 x 12.5
inches.
Johannes
Brahms' first Piano
Concerto was the fruit of
a complex, protracted,
and extremely trying
creative process. Its
origin goes back to a
sonata in D minor for two
pianos conceived in
spring 1854. The impulse
for the creation of the
main subject was however
a shocking event:
According to Joseqph
Joachim, the theme
originated after hearing
about Schumanns suicide
attempt. A few months
earlier, Schumann had
revealed Brahms to the
musical world in his
essay New Paths. In this
article, Brahms is
extolled as the musician
who is called to give
expression to the feeling
of his times in an ideal
fashion. The unusually
rapid genesis of the
D-minor sonata and its
prevailingly dark,
monumental mood can be
interpreted as an
impassioned compositional
response to Schumann's
suicide attempt. However,
the year-long struggle to
arrive at the final form
of the work should
perhaps also be seen in
the context of the
resounding praise of
Schumann's prophetic
article. Brahms undoubtly
felt a growing inner
pressure to live up to
the expectations aroused
therein.Together with
Clara Schumann, Brahms
played the three so far
existing movements of the
sonata, but he was very
self-critical. He felt
that he had not been able
to realize the
monumentality he had
envisioned, and which
Clara Schumann felt, by
merely doubling the piano
sound. He soon decided to
transform the sonata into
a symphony (his first
orchestral project).
However, this idea did
not seem to fit his
vision either. Only in
spring 1855 did he strike
upon the definitive
solution: a piano
concerto. With Brahms as
soloist, this concerto
premiered in 1859, though
he initially had little
success. He wrote to
Joachim about one of the
first performances that
the concerto was a
brilliant and
unmistakable - failure.
This hardly surprised
Brahms, for he was
undoubtedly aware of the
newness of the work,
which surpassed the
expectations of the
audience. The work's
complex structure and
symphonic dimensions, the
solo part's rejection of
showy, elegant
brilliance, and the
uniquely Brahmsian
orchestral density it
maintains throughout; all
of these qualities
inevitably exasperated
audiences at first -
until they raised this
work to the ranks of the
most celebrated concertos
of all time.
Fiedel-Max
Streichorchester.
Composed by Andrea
Holzer-Rhomberg. Sheet
music. Score and parts.
Holzschuh Musikverlag
#VHR 3891. Published by
Holzschuh Musikverlag
(M7.VHR-3891).
ISBN
9783864341359.
Half
-Past-Three-Blues - this
piece of music -
performed with a 'swing'
- expresses a pleasant,
idle mood, like lying in
a hammock on a very warm
afternoon in summer. This
composition is ideal to
train first shiftings.
While the parts of violin
1, viola 1 and cello 1
include challenging
passages (up to the
3rd/4th position), the
parts of violin 2, viola
2 and cello 2 can be
played by students in the
first or second year of
learning the instrument.
These parts also contain
pleasing melodies apart
from accompaniment.
Technique required: Vl.
1: 1st and 3rd position
Vl. 2: 1st finger pattern
in the 1st position Vla.
1: all finger patterns in
the 1st position Vla. 2:
1st finger pattern in the
1st position Cl. 1: 1st -
4th position Cl. 2:
extended 1st position
DB.: 1st position.
Composed
by Josef Gabriel
Rheinberger. Sacred vocal
music, Mass, latin.
German title: Missa In B
(Orchesterfassung).
Sacred vocal music,
Masses, Latin. Single
Part, Double Bass.
Composed 1892. Op. 172. 4
pages. Duration 23
minutes. Carus Verlag #CV
50.172/11. Published by
Carus Verlag
(CA.5017211).
ISBN
9790007080549. Key: B
flat major. Language:
Latin.
The Mass in
B flat, op. 172, dates
from 1892 and was
published in two
authentic versions. The
instrumental
accompaniment can be
played either by an
ensemble of wind
instruments or by organ.
Between Gloria and Credo
Rheinberger placed a
powerfully expressive a
cappella Ave Maria,
probably due to the fact
that the Mass was first
performed on a major
feast day of the Virgin
Mary: on the feast of
Purification (Candlemas)
in Breslau Cathedral.
Score and part available
separately - see item
CA.5017200.
Reprint, edited and newly commented by Wilhelm Ohmen.. Composed by Ignaz Moschel...(+)
Reprint, edited and newly
commented by Wilhelm
Ohmen.. Composed by Ignaz
Moscheles (1794-1870).
Edited by Wilhelm Ohmen.
Arranged by Adolphe F.
Wouters. This edition:
Paperback/Soft Cover.
Sheet music. Piano.
Classical. Softcover. Op.
70. 88 pages. Schott
Music #SF6717. Published
by Schott Music
Composed by Lynne Latham.
Performance Music
Ensemble; String Trio.
Latham Music. Score and
Part(s). Latham Music
Enterprises #36-52702035.
Published by Latham Music
Enterprises
(AP.36-52702035).
ISBN
9781682964958. UPC:
660355035999.
English.
This
long-time best-seller is
now available with a
score and newly edited by
Lynne Latham. These are
great for gigs and first
chamber music experiences
for students. Can be
played mostly in first
position, but more
expressive fingerings are
provided. [replaces M1231
#1-8].
These products
are currently being
prepared by a new
publisher. While many
items are ready and will
ship on time, some others
may see delays of several
months.
Organ - Advanced SKU: MN.12-128 Composed by Harold Stover. Non Hymn-Based...(+)
Organ - Advanced
SKU:
MN.12-128
Composed by
Harold Stover. Non
Hymn-Based, Recital
Music. General.
Instrumental part.
MorningStar Music
Publishers #12-128.
Published by MorningStar
Music Publishers
(MN.12-128).
UPC:
688670121289.
The
three movements that make
up Nocturnes, Book I are
programmatic pieces that
take as their points of
departure a painting, the
rhythms of a great city,
and a poem. 1. The Starry
Night is a written down
improvisation based on
Vincent van Goghs famous
picture of the same name.
The tonal material is a
quite literal
transformation of the
visual elements of the
painting: the melismatic
cadenzas mirror van Goghs
swirling starlight, and
the powerful chords were
suggested by the sinister
trees that shoot upward
to puncture the skys
patterns. 2. Stovers Rag
is a product of the
ragtime revival of the
early 1970s, when many
composers tried their
hand at writing concert
rags. The New York night,
which was not without its
sinister element in those
days, is expressed in an
updating of the classic
ragtime format. The piece
looks backward as well,
with the old French
Baroque basse de
trompette making an
appearance in the trio
section. 3. The Song of
Shadows taps the
nostalgic mood typical of
the poetry of Walter de
la Mare. The poem of the
same name pictures a lone
musician on a winter
night, an dog sleeping
before a sinking fire,
and, at the end, the
spirits that are summoned
by music. The opening
melody, played on an 8
flute with tremulant,
suggests the blues-tinged
sound of an alto
saxophone, and throughout
the movement the organs
capacity for sustained
tone is used to suggest
and atmosphere of dreamy
timelessness. The pieces
were written in 1971 and
first performed on July
2, 1972 at the National
Shrine of the Immaculate
Conception in Washington,
DC, with the composer at
the console.
Composed by
Geoffrey Brand. Arranged
by Geoffrey Brand. Band
Music. Score only.
Duration 5:25. Published
by G & M Brand Music
Publishers (CN.S11251).
Originally
written for piano, Grieg
later scored his Holberg
Suite for orchestra.
Geoffrey Brand has done a
masterful job of setting
two movements of the
suite - the Sarabande and
Gavotte - for wind band.
Give your students the
opportunity to perform
first-rate classical
music they wouldn't
otherwise have access
to.
Born in
Bergen, Norway, into a
family of Scottish
descent, Edvard Grieg
showed a talent for music
early and at the age of
10 had piano lessons from
his mother. In 1849 he
went to study at Leipzig
Conservatoire before
moving to Copenhagen
where he met Riokaard
Nordaak, a young
Norwegian composer who
was immersed in Norwegian
nationalism and greatly
influence Grieg who felt
his future was as a
musician dedicated to
romantic nationalism.
Holberg Suite, originally
for piano, was written in
1884 in response to a
commission to mark the
bicentenary of the birth
of Ludvig Holberg, a
Norwegian dramatist and
satirist. A year later,
Grieg arranged 5
movements for string
orchestra. Sarabande and
Gavotte are intended to
be played segue but can,
if desired, be performed
separately. The music
expresses Grieg and his
native Norway in a manner
which justifies his
declaration I am not an
exponent of Scandinavian
music but of
Norwegian..
Piano/harpsichord and
orchestra (solo: pno -
3(picc).3(cor ang).2.2 -
4.2.3.1 - timp.perc - hp
- cel - str)
SKU:
BR.EB-11450
Impresiones sinfonicas
- Urtext. Composed by
Manuel de Falla. Edited
by Ullrich Scheideler.
Orchestra; Softbound.
Edition Breitkopf.
In
Cooperation with G. Henle
Verlag
Solo concerto;
Symphonic poem;
Late-romantic; Early
modern. Piano reduction.
68 pages. Duration 23'.
Breitkopf and Haertel #EB
11450. Published by
Breitkopf and Haertel
(BR.EB-11450).
ISBN
9790201814506. 9.5 x 12
inches.
Composed by
Manuel de Falla during
his lengthy residence in
Paris, these three
symphonic impressions for
piano and orchestra are
an expressive work
bringing the southern
Spanish gardens, which
are laid out in the
European and
Arabic-Moorish tradition,
to life. The influence of
contemporary French music
is noticeable in this
composition. Despite many
modifications, involving
among other things, the
scoring, number of
movements, as well as
layout and content, the
basic idea of a nocturnal
impression is retained
from the outset. The work
was finished - and
likewise the orchestral
material - only shortly
before its premiere on 9
April 1916, which was a
great success. World War
I prevented its
publication, though
further performances
followed, played then
from manuscript material.
The Urtext edition
presented by Ullrich
Scheideler takes as the
main source the first
edition of the score. The
Critical Report gives
detailed information
about the source
situation.
Fiedel
Max Streichorchester.
Composed by Andrea
Holzer-Rhomberg. Sheet
music. Score and parts.
Holzschuh Musikverlag
#VHR 3898. Published by
Holzschuh Musikverlag
(M7.VHR-3898).
ISBN
9783864341427.
The
Philosopher - an
expressive piece of
music, which the audience
will love because of the
rich string sound. The
melodic lines are well
distributed amongst the
different instrumental
groups. This composition
is ideal to practise
phrasing. While the parts
of violin 1, viola 1 and
cello 1 include partly
passages up to the
3rd/4th position, the
parts of violin 2, viola
2 and cello 2 can be
played by students in the
first or second year of
learning the instrument.
These parts also contain
pleasing melodies, not
just accompaniment.
Technique required: Vl.
1: 1st and 3rd position
Vl. 2: 1st and 2nd finger
pattern in the 1st
position Vla. 1: all
finger patterns in the
1st position Vla. 2: 1st
and 2nd finger pattern in
the 1st position Cl. 1:
1st - 4th position Cl. 2:
closed (regular) 1st
position DB.: 1st
position.
(Sieben Klavierstucke in Fughettenform). By Robert Schumann. Edited by Ernst Her...(+)
(Sieben Klavierstucke in
Fughettenform). By Robert
Schumann. Edited by Ernst
Herttrich. For solo
piano. This edition:
Urtext edition. Henle
Music Folios. Book only,
paperbound. 32 pages
Composed
by Patricia Hurlbutt.
Handbell score.
SoundForth #20/2048SF.
Published by SoundForth
(S2.20-2048SF).
ISBN
9780787759896.
This
setting of Koschat's
Psalm 23 features the
melody in both low and
high bells. The mood
shifts from tranquil LV
to a dramatic middle
section played with
mallets, returning
gradually to a feeling of
serenity. Choir and
congregation will get the
most out of this peaceful
work when it is performed
with great expression
throughout.
Onward we go Chorale Unison Unison, Orgue Stainer and Bell
Unison choir and organ and piano (opt. ensemble) SKU: ST.CN72P Composed b...(+)
Unison choir and organ
and piano (opt. ensemble)
SKU: ST.CN72P
Composed by Thomas Hewitt
Jones. Octavo. Stainer
and Bell Ltd. #CN72P.
Published by Stainer and
Bell Ltd. (ST.CN72P).
ISBN
9790220228629.
A
perfect seasonal choice,
Onward we go is a
consummate example of
Thomas Hewitt Jonesâ??s
feeling for young voices,
and his passion for
sharing the joy of
Christmas through
memorable tunes. A
beautiful, arching melody
carries the delightful
verse by Canon Gordon
Giles, which tells of
children singing as they
journey to the manger.
Shepherds, angels and the
Magi accompany them on
their way, bearing gifts
of love to honour the
incarnation in faith,
hope and reverence.
Expressive and
irresistible, words and
music go straight to the
heart, with a warmth
especially inspired by
the dedicatees,
chorister-tutor Caroline
Lenton-Ward and the
childrenâ??s choir of St
Stephenâ??s, South
Dulwich, a church which
also played a formative
part in the composerâ??s
musical upbringing.
Onward we go may
be performed by unison
voices with organ or
piano, or with organ or
piano and additional
flexible instrumental
ensemble including any
available upper strings
and woodwind, plus
optional cello, bass
guitar or double bass,
mark tree and tubular
bells.
A set of
score and parts for the
optional ensemble (Cat.
No. Y373) will be
available to
purchase.
By Susan E. Geschke. For handbells (3-5 octaves) / handchimes (3-5 octaves). Gen...(+)
By Susan E. Geschke. For
handbells (3-5 octaves) /
handchimes (3-5 octaves).
General, Holy Week, Lent.
Level 1 . Sheet Music.
Published by Chorister's
Guild
Urtext based on the
Brahms Complete Edition
of the Gesellschaft der
Musikfreunde in
Vienna. Composed by
Johannes Brahms.
Orchestra; Folder.
Orchester-Bibliothek
(Orchestral Library). EB
6043 is printed in score
form; two copies are
needed for performance.
Have a look into study
score PB 3654. Solo
concerto; Romantic. Set
of parts. 90 pages.
Duration 43'. Breitkopf
and Haertel #OB 3210-30.
Published by Breitkopf
and Haertel
(BR.OB-3210-30).
ISBN
9790004300749. 10 x 12.5
inches.
Johannes
Brahms' first Piano
Concerto was the fruit of
a complex, protracted,
and extremely trying
creative process. Its
origin goes back to a
sonata in D minor for two
pianos conceived in
spring 1854. The impulse
for the creation of the
main subject was however
a shocking event:
According to Joseqph
Joachim, the theme
originated after hearing
about Schumanns suicide
attempt. A few months
earlier, Schumann had
revealed Brahms to the
musical world in his
essay New Paths. In this
article, Brahms is
extolled as the musician
who is called to give
expression to the feeling
of his times in an ideal
fashion. The unusually
rapid genesis of the
D-minor sonata and its
prevailingly dark,
monumental mood can be
interpreted as an
impassioned compositional
response to Schumann's
suicide attempt. However,
the year-long struggle to
arrive at the final form
of the work should
perhaps also be seen in
the context of the
resounding praise of
Schumann's prophetic
article. Brahms undoubtly
felt a growing inner
pressure to live up to
the expectations aroused
therein.Together with
Clara Schumann, Brahms
played the three so far
existing movements of the
sonata, but he was very
self-critical. He felt
that he had not been able
to realize the
monumentality he had
envisioned, and which
Clara Schumann felt, by
merely doubling the piano
sound. He soon decided to
transform the sonata into
a symphony (his first
orchestral project).
However, this idea did
not seem to fit his
vision either. Only in
spring 1855 did he strike
upon the definitive
solution: a piano
concerto. With Brahms as
soloist, this concerto
premiered in 1859, though
he initially had little
success. He wrote to
Joachim about one of the
first performances that
the concerto was a
brilliant and
unmistakable - failure.
This hardly surprised
Brahms, for he was
undoubtedly aware of the
newness of the work,
which surpassed the
expectations of the
audience. The work's
complex structure and
symphonic dimensions, the
solo part's rejection of
showy, elegant
brilliance, and the
uniquely Brahmsian
orchestral density it
maintains throughout; all
of these qualities
inevitably exasperated
audiences at first -
until they raised this
work to the ranks of the
most celebrated concertos
of all time.
Composed by Fran�§ois Couperin. For Piano. Masterworks; Piano Collection. K...(+)
Composed by
Fran�§ois Couperin.
For Piano. Masterworks;
Piano Collection. Kalmus
Edition. Baroque;
Masterwork. Book. 120
pages. Published by
Kalmus Classic Edition
Clarinet and piano SKU: BR.EB-9440 Urtext based on the Brahms Complete...(+)
Clarinet and piano
SKU: BR.EB-9440
Urtext based on the
Brahms Complete Edition
of the Gesellschaft der
Musikfreunde in
Vienna. Composed by
Johannes Brahms. Edited
by Hans Gal. Solo
instruments; stapled.
Edition Breitkopf.
Sonata; Romantic. Sheet
Music. 40 pages. Duration
21'. Breitkopf and
Haertel #EB 9440.
Published by Breitkopf
and Haertel (BR.EB-9440).
ISBN 9790004189177. 9
x 12 inches.
The
two sonatas of Johannes
Brahms's op. 120 are
widely hailed as crowning
points of the repertoire
for clarinet and piano.
Moreover, in the version
for viola and piano
arranged by Brahms
himself, they rank among
the most frequently
played viola works of the
19th century. They far
surpass in compositional
substance the relatively
few original sonatas
written for these
instrumentations during
the same period.Of the
two fellow works, the
Sonata No. 2 in E flat
major is the more
accessible. Diverging
from the
classical-romantic
tradition, Brahms used
the key of E flat major
here not to express the
heroic or monumental, but
to obtain lyrical,
chiefly restrained
characterizations. The
serenade-like beauty of
the principal theme,
which opens the sonata,
has always been
particularly admired. In
his review of the world
premiere, the renowned
Viennese music critic
Eduard Hanslick, a friend
of Brahms's, raves with
the words it was as if it
had fallen from the
Heavens. The closing set
of variations also
follows with gentle
gracefulness this lyrical
character. However, the
middle movement, with its
tempestuous outer
sections in E flat minor
and the hymnic trio in B
major provides a
passionate and serious
contrast, which allows
the flanking idyll to
unfold its beauties all
the more insistently.