Know Before You Blow - Jazz Modes for Alto Sax with CD composed by Chris Tedesco...(+)
Know Before You Blow -
Jazz Modes for Alto Sax
with CD composed by Chris
Tedesco. For alto sax.
This edition: Paperback.
Instructional. Jazz
Method. Book and CD. Text
Language: English. 32
pages. Published by
Santorella Publications
For voice and C instrument. Format: fakebook. With vocal melody, lyrics and chor...(+)
For voice and C
instrument. Format:
fakebook. With vocal
melody, lyrics and chord
names. Folk. Series: Hal
Leonard Fake Books. 536
pages. 9.6x12 inches.
Published by Hal Leonard.
Baritone Saxophone Baritone Sax SKU: HL.870074 Composed by Various. Essen...(+)
Baritone Saxophone
Baritone Sax
SKU:
HL.870074
Composed by
Various. Essential
Elements Band Folios.
Pop. Softcover. 16 pages.
Published by Hal Leonard
(HL.870074).
ISBN
9781705150238. UPC:
196288016977.
9.0x12.0x0.077
inches.
30 popular
melodies at an easy level
in solo books for all the
instruments in the
Essential Elements Band
Method. Perfect
motivational music for
students to play and
practice featuring songs
by Billie Eilish, Queen,
Shawn Mendes, Taylor
Swift, Star Wars, The
Avengers, and more!
Titles include: Believer
• Blinding Lights
• Don't Stop
Believin' •
Dynamite •
Hallelujah • The
Imperial March (Darth
Vader's Theme) •
Let It Go •
Señorita • Seven
Nation Army •
Sucker • This Is Me
• We Are the
Champions • Wildest
Dreams • You Will
Be Found • and
more.
Performed by Tom Paxton. Guitar/vocal songbook for voice and guitar. With vocal ...(+)
Performed by Tom Paxton.
Guitar/vocal songbook for
voice and guitar. With
vocal melody, lyrics,
chord names, introductory
text and black and white
photos. 142 pages.
Published by Cherry Lane
Music.
Composed by Various. Arranged by Gerd Philipp. Fentone Instrumental Books. P...(+)
Composed by Various.
Arranged
by Gerd Philipp. Fentone
Instrumental Books. Play
Along. Softcover with CD.
Composed 2006. 28 pages.
Fentone Music #F932.
Published
by Fentone Music
(100 Songs Excerpted for Successful Auditions). Edited by Michael Dansicker. For...(+)
(100 Songs Excerpted for
Successful Auditions).
Edited by Michael
Dansicker. For baritone
voice solo, bass voice
solo and piano
accompaniment. Vocal
Collection. Broadway,
Movies and Pop.
Difficulty: medium.
Songbook. Vocal melody,
lyrics, piano
accompaniment, chord
names and introductory
text. 172 pages.
Published by Hal Leonard
by Stacy Phillips. For fiddle. All styles, fiddle tunes. Level: Multiple Levels....(+)
by Stacy Phillips. For
fiddle. All styles,
fiddle tunes. Level:
Multiple Levels. Book.
Solos. Size 8.75x11.75.
268 pages. Published by
Mel Bay Pub., Inc.
Choral TBB chorus SKU: CF.CM9588 Composed by Tomas Luis de Victoria. Arra...(+)
Choral TBB chorus
SKU:
CF.CM9588
Composed by
Tomas Luis de Victoria.
Arranged by Jeb Mueller.
Fold. Performance Score.
8 pages. Duration 1
minute, 59 seconds. Carl
Fischer Music #CM9588.
Published by Carl Fischer
Music (CF.CM9588).
ISBN 9781491154106.
UPC: 680160912605. 6.875
x 10.5 inches. Key: Eb
major. Latin. Traditional
Latin.
Tomas Luis
de Victoria (15481611) is
widely considered the
greatest Spanish
Renaissance composer and
one of the most
influential musicians of
his time. Included in his
oeuvre are two settings
of the Pange
lingua, both
produced in 1581. This
motet is excerpted from
the first of those and
incorporates the original
Roman melody, or cantus
firmus. (He composed his
second Pange
lingua based on a
Spanish melody.) The
baritones anchor the
motet by singing the tune
in augmentation. This
line should be intoned
with a flowing, legato
articulation that
incorporates subtle
phrasing and text
stresses. The more
rhythmic tenor and bass
lines complement the
melody and illustrate the
hopeful nature of its
text. Singing this piece
with two pulses per
measure will encourage a
steady and vital
performance. Composers
provided minimal
performance details in
their scores during this
period in music history,
so I added a time
signature, bar lines,
dynamics, and metronome
markings in order to
facilitate performances
that musicologists
believe mimic those of
Victorias time. It should
be noted that dynamics
are largely subjective,
so performers may make
alternative choices. Each
tenuto indicates
word stress; the most
musical performances will
incorporate gentle
crescendos and
decrescendos before and
after each of them.
Lastly, using minimal
vibrato, especially at
cadences, will imbue this
wonderful motet with
style and clarity.
PRONUNCIATION GUIDE
Victoria received much of
his training in Italy,
therefore making
Italianate Latin most
appropriate. Pure vowels
are critical to correct
pronunciation, and those
phonemes remain constant
without exceptions. The
most problematic of the
vowels is o, which sounds
similar to the English
words bought and got. The
letter t should be
produced dentally: lift
the tongue to the top of
the mouth as in English,
but aspirate less on the
release. All occurrences
of s should be soft and
never hardened to [z],
such as in praise. Verbum
caro, panem verum,
[v??bum k??? p?n?m v?rum]
verbo carnem efficit:
fitque sanguis Christi
merum. [v??b? k??n?m
??fit?it fitkw? s??gwis
k?isti m??um] Et si
sensus deficit, ad
firmandum cor sin cerum.
[?t si s?nsus ?d?fit?it,
?d fi??m?ndum k?? sin
t???um] Jeb
Mueller. TomA!s Luis
de Victoria (1548a1611)
is widely considered the
greatest Spanish
Renaissance composer and
one of the most
influential musicians of
his time. Included in his
oeuvre are two settings
of the Pange
lingua, both
produced in 1581. This
motet is excerpted from
the first of those and
incorporates the original
Roman melody, or cantus
firmus. (He composed his
second Pange
lingua based on a
Spanish melody.) The
baritones anchor the
motet by singing the tune
in augmentation. This
line should be intoned
with a flowing, legato
articulation that
incorporates subtle
phrasing and text
stresses. The more
rhythmic tenor and bass
lines complement the
melody and illustrate the
hopeful nature of its
text. Singing this piece
with two pulses per
measure will encourage a
steady and vital
performance. Composers
provided minimal
performance details in
their scores during this
period in music history,
so I added a time
signature, bar lines,
dynamics, and metronome
markings in order to
facilitate performances
that musicologists
believe mimic those of
Victoriaas time. It
should be noted that
dynamics are largely
subjective, so performers
may make alternative
choices. Each
tenuto indicates
word stress; the most
musical performances will
incorporate gentle
crescendos and
decrescendos before and
after each of them.
Lastly, using minimal
vibrato, especially at
cadences, will imbue this
wonderful motet with
style and clarity.
PRONUNCIATION GUIDE
Victoria received much of
his training in Italy,
therefore making
Italianate Latin most
appropriate. Pure vowels
are critical to correct
pronunciation, and those
phonemes remain constant
without exceptions. The
most problematic of the
vowels is ao,a which
sounds similar to the
English words bought and
got. The letter ata
should be produced
dentally: lift the tongue
to the top of the mouth
as in English, but
aspirate less on the
release. All occurrences
of asa should be soft and
never hardened to [z],
such as in praise. Verbum
caro, panem verum, [vEE
3/4 bum kEE 3/4 E pEnEm
vErum] verbo carnem
efficit: fitque sanguis
Christi merum. [vEE 3/4
bE kEE 3/4 nEm EEfitEit
fitkwE sEAgwis kE 3/4
isti mEE 3/4 um] Et si
sensus deficit, ad
firmandum cor sin cerum.
[Et si sEnsus EdEfitEit,
Ed fiE 3/4 EmEndum kEE
3/4 sin tEEE 3/4 um] Jeb
Mueller. Tomas Luis de
Victoria (1548-1611) is
widely considered the
greatest Spanish
Renaissance composer and
one of the most
influential musicians of
his time. Included in his
oeuvre are two settings
of the Pange
lingua, both
produced in 1581. This
motet is excerpted from
the first of those and
incorporates the original
Roman melody, or cantus
firmus. (He composed his
second Pange
lingua based on a
Spanish melody.) The
baritones anchor the
motet by singing the tune
in augmentation. This
line should be intoned
with a flowing, legato
articulation that
incorporates subtle
phrasing and text
stresses. The more
rhythmic tenor and bass
lines complement the
melody and illustrate the
hopeful nature of its
text. Singing this piece
with two pulses per
measure will encourage a
steady and vital
performance. Composers
provided minimal
performance details in
their scores during this
period in music history,
so I added a time
signature, bar lines,
dynamics, and metronome
markings in order to
facilitate performances
that musicologists
believe mimic those of
Victoria's time. It
should be noted that
dynamics are largely
subjective, so performers
may make alternative
choices. Each
tenuto indicates
word stress; the most
musical performances will
incorporate gentle
crescendos and
decrescendos before and
after each of them.
Lastly, using minimal
vibrato, especially at
cadences, will imbue this
wonderful motet with
style and clarity.
PRONUNCIATION GUIDE
Victoria received much of
his training in Italy,
therefore making
Italianate Latin most
appropriate. Pure vowels
are critical to correct
pronunciation, and those
phonemes remain constant
without exceptions. The
most problematic of the
vowels is o, which sounds
similar to the English
words bought and got. The
letter t should be
produced dentally: lift
the tongue to the top of
the mouth as in English,
but aspirate less on the
release. All occurrences
of s should be soft and
never hardened to [z],
such as in praise. Verbum
caro, panem verum,
[verbum karo panem verum]
verbo carnem efficit:
fitque sanguis Christi
merum. [verbo karnem
'efitSit fitkwe saNGgwis
kristi merum] Et si
sensus deficit, ad
firmandum cor sin cerum.
[et si sensus 'defitSit,
ad fir'mandum kor sin
tSerum] Jeb
Mueller. Tomas Luis de
Victoria (1548-1611) is
widely considered the
greatest Spanish
Renaissance composer and
one of the most
influential musicians of
his time. Included in his
oeuvre are two settings
of the Pange lingua, both
produced in 1581. This
motet is excerpted from
the first of those and
incorporates the original
Roman melody, or cantus
firmus. (He composed his
second Pange lingua based
on a Spanish melody.) The
baritones anchor the
motet by singing the tune
in augmentation. This
line should be intoned
with a flowing, legato
articulation that
incorporates subtle
phrasing and text
stresses. The more
rhythmic tenor and bass
lines complement the
melody and illustrate the
hopeful nature of its
text. Singing this piece
with two pulses per
measure will encourage a
steady and vital
performance. Composers
provided minimal
performance details in
their scores during this
period in music history,
so I added a time
signature, bar lines,
dynamics, and metronome
markings in order to
facilitate performances
that musicologists
believe mimic those of
Victoria's time. It
should be noted that
dynamics are largely
subjective, so performers
may make alternative
choices. Each tenuto
indicates word stress;
the most musical
performances will
incorporate gentle
crescendos and
decrescendos before and
after each of them.
Lastly, using minimal
vibrato, especially at
cadences, will imbue this
wonderful motet with
style and clarity.
PRONUNCIATION GUIDE
Victoria received much of
his training in Italy,
therefore making
Italianate Latin most
appropriate. Pure vowels
are critical to correct
pronunciation, and those
phonemes remain constant
without exceptions. The
most problematic of the
vowels is o, which sounds
similar to the English
words bought and got. The
letter t should be
produced dentally: lift
the tongue to the top of
the mouth as in English,
but aspirate less on the
release. All occurrences
of s should be soft and
never hardened to [z],
such as in praise. Verbum
caro, panem verum,
[verbum karo panem verum]
verbo carnem efficit:
fitque sanguis Christi
merum. [verbo karnem
'efitSit fitkwe saNGgwis
kristi merum] Et si
sensus deficit, ad
firmandum cor sin cerum.
[et si sensus 'defitSit,
ad fir'mandum kor sin
tSerum] Jeb
Mueller. Tomas Luis de
Victoria (1548-1611) is
widely considered the
greatest Spanish
Renaissance composer and
one of the most
influential musicians of
his time. Included in his
oeuvre are two settings
of the Pange lingua, both
produced in 1581. This
motet is excerpted from
Pange lingua more
hisapano. The baritones
anchor the motet by
singing the tune in
augmentation. This line
should be intoned with a
flowing, legato
articulation that
incorporates subtle
phrasing and text
stresses. The more
rhythmic tenor and bass
lines complement the
melody and illustrate the
hopeful nature of its
text. Singing this piece
with two pulses per
measure will encourage a
steady and vital
performance. Composers
provided minimal
performance details in
their scores during this
period in music history,
so I added a time
signature, bar lines,
dynamics, and metronome
markings in order to
facilitate performances
that musicologists
believe mimic those of
Victoria's time. It
should be noted that
dynamics are largely
subjective, so performers
may make alternative
choices. Each tenuto
indicates word stress;
the most musical
performances will
incorporate gentle
crescendos and
decrescendos before and
after each of them.
Lastly, using minimal
vibrato, especially at
cadences, will imbue this
wonderful motet with
style and clarity.
PRONUNCIATION GUIDE
Victoria received much of
his training in Italy,
therefore making
Italianate Latin most
appropriate. Pure vowels
are critical to correct
pronunciation, and those
phonemes remain constant
without exceptions. The
most problematic of the
vowels is o, which sounds
similar to the English
words bought and got. The
letter t should be
produced dentally: lift
the tongue to the top of
the mouth as in English,
but aspirate less on the
release. All occurrences
of s should be soft and
never hardened to [z],
such as in praise. Verbum
caro, panem verum,
[verbum karo panem verum]
verbo carnem efficit:
fitque sanguis Christi
merum. [verbo karnem
'efitSit fitkwe saNGgwis
kristi merum] Et si
sensus deficit, ad
firmandum cor sin cerum.
[et si sensus 'defitSit,
ad fir'mandum kor sin
tSerum] Jeb
Mueller. Tomás Luis
de Victoria
(1548–1611) is
widely considered the
greatest Spanish
Renaissance composer and
one of the most
influential musicians of
his time. Included in his
oeuvre are two settings
of the Pange lingua, both
produced in 1581. This
motet is excerpted from
Pange lingua more
hisapano.The baritones
anchor the motet by
singing the tune in
augmentation. This line
should be intoned with a
flowing, legato
articulation that
incorporates subtle
phrasing and text
stresses. The more
rhythmic tenor and bass
lines complement the
melody and illustrate the
hopeful nature of its
text. Singing this piece
with two pulses per
measure will encourage a
steady and vital
performance.Composers
provided minimal
performance details in
their scores during this
period in music history,
so I added a time
signature, bar lines,
dynamics, and metronome
markings in order to
facilitate performances
that musicologists
believe mimic those of
Victoria’s time.
It should be noted that
dynamics are largely
subjective, so performers
may make alternative
choices. Each tenuto
indicates word stress;
the most musical
performances will
incorporate gentle
crescendos and
decrescendos before and
after each of them.
Lastly, using minimal
vibrato, especially at
cadences, will imbue this
wonderful motet with
style and
clarity.PRONUNCIATION
GUIDEVictoria received
much of his training in
Italy, therefore making
Italianate Latin most
appropriate. Pure vowels
are critical to correct
pronunciation, and those
phonemes remain constant
without exceptions. The
most problematic of the
vowels is
“o,†which
sounds similar to the
English words bought and
got. The letter
“t†should be
produced dentally: lift
the tongue to the top of
the mouth as in English,
but aspirate less on the
release. All occurrences
of “s†should
be soft and never
hardened to [z], such as
in praise.Verbum caro,
panem
verum,[vɛɾbum
kɑɾɔ
pɑnɛm
vɛrum]verbo carnem
efficit: fitque sanguis
Christi
merum.[vɛɾbɔ
kɑɾnɛm
ˈɛfitʃit
fitkwÉ›
sɑŋgwis kɾisti
mɛɾum]Et si sensus
deficit, ad firmandum cor
sin cerum.[ɛt si
sɛnsus
ˈdɛfitʃit,
É‘d
fiɾˈmɑndum
kɔɾ sin
tʃɛɾum]Jeb
Mueller.
Guitar - Beginning SKU: MB.31103M Third Edition. Bluegrass, Wire b...(+)
Guitar - Beginning
SKU: MB.31103M
Third Edition.
Bluegrass, Wire bound.
World. Book and online
audio. 236 pages. Mel Bay
Publications, Inc
#31103M. Published by Mel
Bay Publications, Inc
(MB.31103M).
ISBN
9781513468792. 8.75x11.75
inches.
Adam Granger
self-published the first
edition of
Grangerâ??s Fiddle
Tunes for Guitar in
1979. A second edition
was published in 1994.
Now Mel Bay Publications
presents the third
edition of the
book.
This 236-page book
is the most extensive and
best-documented
collection of fiddle
tunes for the flatpicking
guitar player in
existence, and includes
reels, hoedowns,
hornpipes, rags,
breakdowns, jigs and
slip-jigs, presented in
Southern, Northern,
Irish, Canadian, Texas
and Old-time
styles.
There are 508
fiddle tunes referenced
under 2500 titles and
alternate titles. The
titles are fully indexed,
making the book doubly
valuable as a reference
book and a source
book.
In this new
edition, all tunes are
typeset, instead of being
handwritten as they were
in the previous editions,
making the tabs easier to
read.
The tunes in
Grangerâ??s Fiddle
Tunes for Guitar are
presented in Easytab, a
streamlined tablature
notation system designed
by Adam specifically for
fiddle
tunes.
The book comes
with a link which gives
access to mp3 recordings
by Adam of all 508 tunes,
each played once at a
moderate tempo, with
rhythm on one channel and
lead on the
other.
Also included in
Grangerâ??s Fiddle
Tunes for Guitar are
instructions for reading
Easytab, descriptions of
tune types presented in
the book, and primers on
traditional flatpicking
and rhythm guitar.
Additionally, there are
sections on timing,
ornamentation, technique,
and fingering, as well as
information on tune
sources and a history of
the
collection.
Mel Bay also
offers The Granger
Collection, by Bill
Nicholson, the same 508
tunes in standard music
notation.
Composed by
Various. Essential
Elements Band Folios.
Pop. Softcover. 16 pages.
Published by Hal Leonard
(HL.870078).
ISBN
9781705150276. UPC:
196288017011.
9.0x12.0x0.077
inches.
30 popular
melodies at an easy level
in solo books for all the
instruments in the
Essential Elements Band
Method. Perfect
motivational music for
students to play and
practice featuring songs
by Billie Eilish, Queen,
Shawn Mendes, Taylor
Swift, Star Wars, The
Avengers, and more!
Titles include: Believer
• Blinding Lights
• Don't Stop
Believin' •
Dynamite •
Hallelujah • The
Imperial March (Darth
Vader's Theme) •
Let It Go •
Señorita • Seven
Nation Army •
Sucker • This Is Me
• We Are the
Champions • Wildest
Dreams • You Will
Be Found • and
more.
(Alto Sax). Arranged by Various. For Alto Sax. Book; CD; Instrumental Series; Pl...(+)
(Alto Sax). Arranged by
Various. For Alto Sax.
Book; CD; Instrumental
Series; Play-Along. Top
Hits Instrumental Solos.
Broadway; Movie; TV.
Grade 2; Grade 3. 76
pages. Published by
Alfred Music
Composed by Various.
Essential Elements Band
Folios. Pop. Softcover.
16 pages. Published by
Hal Leonard (HL.870072).
ISBN 9781705150214.
UPC: 196288016953.
9.0x12.0x0.064
inches.
30 popular
melodies at an easy level
in solo books for all the
instruments in the
Essential Elements Band
Method. Perfect
motivational music for
students to play and
practice featuring songs
by Billie Eilish, Queen,
Shawn Mendes, Taylor
Swift, Star Wars, The
Avengers, and more!
Titles include: Believer
• Blinding Lights
• Don't Stop
Believin' •
Dynamite •
Hallelujah • The
Imperial March (Darth
Vader's Theme) •
Let It Go •
Señorita • Seven
Nation Army •
Sucker • This Is Me
• We Are the
Champions • Wildest
Dreams • You Will
Be Found • and
more.
Music and Lyrics for 100 Standards from the Golden Age of American Song. By Vari...(+)
Music and Lyrics for 100
Standards from the Golden
Age of American Song. By
Various. E-Z Play Today
(Easy big-note
right-hand-only
arrangements for piano,
organ, and electronic
keyboard). Softcover.
Published by Hal Leonard.