(Easy Piano). Arranged by Dan Coates. For Piano. This edition: Easy Piano. B...(+)
(Easy Piano). Arranged by
Dan
Coates. For Piano. This
edition: Easy Piano.
Book;
Piano - Easy Piano
Collection.
The Giant Book of Sheet
Music.
Jazz. Easy Piano. 252
pages.
Published by Alfred Music
Piano, Voix et Guitare [Partition] - Intermédiaire Warner Brothers
Performed by Ray Charles. For voice, piano and guitar chords. Format: piano/voca...(+)
Performed by Ray Charles.
For voice, piano and
guitar chords. Format:
piano/vocal/chords
songbook. With vocal
melody, piano
accompaniment, lyrics,
chord names, guitar chord
diagrams, introductory
text and black and white
photos. Randb, rock and
standards. Series:
Legendary Performers,
Volume 5. 84 pages. 9x12
inches. Published by
Warner Brothers.
Chamber Music Flute, Piccolo, alto Flute SKU: PR.164002480 Composed by Da...(+)
Chamber Music Flute,
Piccolo, alto Flute
SKU: PR.164002480
Composed by Dan Welcher.
Set of performance
scores. With Standard
notation. 23 pages.
Duration 14 minutes.
Theodore Presser Company
#164-00248. Published by
Theodore Presser Company
(PR.164002480).
UPC:
680160038237.
This
work is my second for a
solo woodwind and a solo
percussionist, following
Firewing: The Flame and
the Moth for oboe and
percussion by nine years.
The earlier piece
followed a specific story
line, and pitted the oboe
against the percussionist
as both adversary and
lover. In Spirit Realms,
my aim was not only to
juxtapose the very
different sounds of flute
(plus alto flute and
piccolo) against a large
array of percussion, but
also to attempt three
different meditative
spaces, each named for a
different type of
spiritual practice. The
musical means of
expression is very
different for each of the
three movements (as is
the instrumentation),
although they share a
common scale-source: the
looped pentatonic scale I
have been developing over
the last several years.
The first movement
is called Prayer Tunnel,
and is named for the
Eskimo practice of solo
meditation within a
tunnel of ice blocks.
This is said to be a
means of overcoming
demons within, and in my
musical rendering it
takes the form of an
unaccompanied alto flute
solo. The flute begins
rather angrily, full of
tension, but in the
course of the solo
passage manages to slowly
unwind. The percussionist
then plays the exact same
music the alto flute had
played....on seven tuned
cymbals. Toward the end,
the alto flute re-enters,
its original meditation
having fused with its
mirror. Kiva
represents the circular,
subterranean pit in which
the Anasazi practiced
their religion, a form of
which still can be found
in the Hopi tribes of the
American southwest. These
are not spaces for solo
meditation, but rather a
group meeting place in
which only the sanctified
are permitted. After an
introductory invocation
(dove call), the music
begins. At first, it is
flowing, in a repetitive
double-five meter. It
then traces several
sections, with metric
shifts forcing the pulse
to race faster and
faster, until it halves
itself in the coda and
returns to the exact
pulse of the beginning.
The flutist here uses the
C flute, and the
percussionist plays on
both pitched (marimba)
and unpitched instruments
(various drums and struck
sources). Zendo is
the meditation room used
by Zen Buddhists. My
music begins with another
invocation (wind chimes,
temple cup gongs, and
temple blocks), then
moves on to a slow
subject stated by the
flute. The subject is
taken up by the
vibraphone, and after
several modulations and
tempo changes, the
flutist takes up the
piccolo. The music
continues higher and
higher, and faster and
faster (Zen meditation is
NOT all about becoming
lost!) until it breaks
free at the very end. The
percussionist is put
through his paces in this
movement, having to reach
a staggering number of
instruments in a short
time. Spirit
Realms was commissioned
by, and is dedicated to,
the Armstrong Duo. -- Dan
Welcher.
Flute, Percussion SKU: PR.16400248S Composed by Dan Welcher. With Standar...(+)
Flute, Percussion
SKU:
PR.16400248S
Composed
by Dan Welcher. With
Standard notation.
Duration 14 minutes.
Theodore Presser Company
#164-00248S. Published by
Theodore Presser Company
(PR.16400248S).
UPC:
680160038244.
This
work is my second for a
solo woodwind and a solo
percussionist, following
Firewing: The Flame and
the Moth for oboe and
percussion by nine years.
The earlier piece
followed a specific story
line, and pitted the oboe
against the percussionist
as both adversary and
lover. In Spirit Realms,
my aim was not only to
juxtapose the very
different sounds of flute
(plus alto flute and
piccolo) against a large
array of percussion, but
also to attempt three
different meditative
spaces, each named for a
different type of
spiritual practice. The
musical means of
expression is very
different for each of the
three movements (as is
the instrumentation),
although they share a
common scale-source: the
looped pentatonic scale I
have been developing over
the last several years.
The first movement
is called Prayer Tunnel,
and is named for the
Eskimo practice of solo
meditation within a
tunnel of ice blocks.
This is said to be a
means of overcoming
demons within, and in my
musical rendering it
takes the form of an
unaccompanied alto flute
solo. The flute begins
rather angrily, full of
tension, but in the
course of the solo
passage manages to slowly
unwind. The percussionist
then plays the exact same
music the alto flute had
played....on seven tuned
cymbals. Toward the end,
the alto flute re-enters,
its original meditation
having fused with its
mirror. Kiva
represents the circular,
subterranean pit in which
the Anasazi practiced
their religion, a form of
which still can be found
in the Hopi tribes of the
American southwest. These
are not spaces for solo
meditation, but rather a
group meeting place in
which only the sanctified
are permitted. After an
introductory invocation
(dove call), the music
begins. At first, it is
flowing, in a repetitive
double-five meter. It
then traces several
sections, with metric
shifts forcing the pulse
to race faster and
faster, until it halves
itself in the coda and
returns to the exact
pulse of the beginning.
The flutist here uses the
C flute, and the
percussionist plays on
both pitched (marimba)
and unpitched instruments
(various drums and struck
sources). Zendo is
the meditation room used
by Zen Buddhists. My
music begins with another
invocation (wind chimes,
temple cup gongs, and
temple blocks), then
moves on to a slow
subject stated by the
flute. The subject is
taken up by the
vibraphone, and after
several modulations and
tempo changes, the
flutist takes up the
piccolo. The music
continues higher and
higher, and faster and
faster (Zen meditation is
NOT all about becoming
lost!) until it breaks
free at the very end. The
percussionist is put
through his paces in this
movement, having to reach
a staggering number of
instruments in a short
time. Spirit
Realms was commissioned
by, and is dedicated to,
the Armstrong Duo. -- Dan
Welcher.
Alto, Mixed choir (SATB), Piano SKU: BA.BA11309 Composed by Camille Saint...(+)
Alto, Mixed choir (SATB),
Piano
SKU:
BA.BA11309
Composed
by Camille Saint-Saens.
Edited by Christina M.
Stahl. This edition:
urtext edition.
Paperback. Score.
Baerenreiter Verlag
#BA11309. Published by
Baerenreiter Verlag
(BA.BA11309).
ISBN
9790006577705. 27 x 19 cm
inches. Text Language:
English.
It is a
small music history
sensation: Thanks to Yves
Grard an unknown and
unpublished manuscript
penned by Camille
Saint-Saëns has been
unearthed in the
Mdiathèque Jean Renoir
in Dieppe in
France.
It is the
top four instrumental
parts which make this
manuscript something of a
sensation. Placed under
each other are
â??Saxophone Soprano en
Si bâ?, â??Saxophone
Alto en Mi bâ?,
â??Saxophone Tnor en Si
bâ? and â??Saxophone
Baryton en Mi bâ?,
strings, soprano solo
with chorus and organ.
Musical history has
hitherto credited
Jean-Baptiste Singele
(1812â??1875) with
having written the first
saxophone quartet, his
opus 53, which he
completed in 1857. Now
this historiography
clearly has to be
revised. The date 1854
has been found under the
first page of the
treasure from Dieppe,
which is pasted over and
also sewn, meaning that
Saint-Saënsâ?? work
was written three years
earlier than that of
Singele.
In
contrast to Singele,
Saint-Saëns does not
have the wind instruments
taking solo parts but
rather uses their tonal
colour to depict textual
moods and nuances. On the
one hand the saxophones
accompany the choral
parts (certainly singable
by amateurs) and support
the human voices in fugal
passages. On the other
hand, they take the
melody in the purely
orchestral
passages.
Saint-Sa
ëns wrote the motet in
the period when he had
taken up his first
permanent appointment as
organist at the Church of
Saint-Merri in Paris. He
revised the work several
times over the decades,
changing the motifs at
the beginning, correcting
obvious mistakes,
reworking the ending,
eventually changing the
instrumentation several
times and even â??
probably in the final
stage â?? replacing the
Latin text with an
English one. Today,
three-and-a-half versions
have been handed down,
one of them stopping
after just a few pages.
The compositional steps
have been successfully
reconstructed by means of
detailed detective work.
Furthermore, the first
saxophone version (BA
11305) and the last
English piano version (BA
11309) have been edited
to produce a
scholarly-critical
edition.
The
present edition of the
English version for
soprano solo, choir and
piano (BA 11309) serves
both as a full score and
as a vocal score due to
the
instrumentation.
About
Barenreiter
Urtext
What can I
expect from a Barenreiter
Urtext
edition?<
/p>
MUSICOLOGICA
LLY SOUND - A
reliable musical text
based on all available
sources - A
description of the
sources -
Information on the
genesis and history of
the work - Valuable
notes on performance
practice - Includes
an introduction with
critical commentary
explaining source
discrepancies and
editorial decisions
... AND
PRACTICAL -
Page-turns, fold-out
pages, and cues where you
need them - A
well-presented layout and
a user-friendly
format - Excellent
print quality -
Superior paper and
binding
Written by Mark Levine. Instructional book (spiral bound). With instructional te...(+)
Written by Mark Levine.
Instructional book
(spiral bound). With
instructional text,
musical examples and
black and white photos.
522 pages. Published by
Sher Music Company.
Ukulele SKU: HL.263232 For Ukulele. Composed by Various. Ukulele. ...(+)
Ukulele
SKU:
HL.263232
For
Ukulele. Composed by
Various. Ukulele.
Standards. Softcover. 232
pages. Published by Hal
Leonard (HL.263232).
ISBN 9781540021038.
UPC: 888680729318.
9.0x12.0x0.586
inches.
Romance,
heartbreak, optimism,
melancholy, or just a
lovely autumn day - it's
all been captured by
American songwriters. A
generation of the
country's finest
songwriters captured
universal feelings and
experiences in such an
infectious combination of
words and music that
their songs still inspire
today. This collection
features 100 classics by
treasured composers
arranged for ukulele: All
the Things You Are
(Jerome Kern) * Blue
Skies (Irving Berlin) *
Come Fly with Me (Sammy
Cahn) * Georgia on My
Mind (Hoagy Carmichael) *
Mood Indigo (Duke
Ellington) * On the
Street Where You Live
(Lerner & Loewe) *
People Will Say We're in
Love (Rodgers &
Hammerstein) * Somebody
Loves Me (George
Gershwin) * You'd Be So
Nice to Come Home To
(Cole Porter) * and
more.
The Definitive Paul Simon Songbook by Paul Simon. For Melody Line, Lyrics and Ch...(+)
The Definitive Paul Simon
Songbook by Paul Simon.
For Melody Line, Lyrics
and Chords. Music Sales
America. Folk Rock.
Softcover. 560 pages.
Paul Simon Music
#PS11594. Published by
Paul Simon Music
Band Concert Band SKU: PR.11540239L I. from Mythology Suite. Compo...(+)
Band Concert Band
SKU:
PR.11540239L
I.
from Mythology Suite.
Composed by Stacy Garrop.
Large Score. Duration
5:30. Theodore Presser
Company #115-40239L.
Published by Theodore
Presser Company
(PR.11540239L).
UPC:
680160680221.
The
Sirens were sea nymphs,
usually pictured as part
woman and part bird, who
lived on a secluded
island surrounded by
rocks. Their enchanting
song was irresistible to
passing sailors, who were
lured to their deaths as
their ships were
destroyed upon the rocks.
The Lovely Sirens
presents three ideas: the
Sirens' beautiful song,
an unfortunate group of
sailors whose course
takes them near the
island, and the disaster
that befalls the sailors.
The sailors' peril is
represented by the Morse
code S.O.S. signal (three
dots, three dashes, and
three dots--represented
musically by short and
long rhythms). The S.O.S.
signal grows increasingly
more insistent and
distressed as it becomes
obvious that the sailors,
smitten with the voices
of the Sirens, are headed
for their
demise. The Sirens
were sea nymphs, usually
pictured as part woman
and part bird, who lived
on a secluded island
surrounded by rocks.
Their enchanting song was
irresistible to passing
sailors, who were lured
to their deaths as their
ships were destroyed upon
the rocks. The Lovely
Sirens presents three
ideas: the Sirens’
beautiful song, an
unfortunate group of
sailors whose course
takes them near the
island, and the disaster
that befalls the sailors.
The sailors’ peril
is represented by the
Morse code S.O.S. signal
(three dots, three
dashes, and three
dots—represented
musically by short and
long rhythms). The S.O.S.
signal grows increasingly
more insistent and
distressed as it becomes
obvious that the sailors,
smitten with the voices
of the Sirens, are headed
for their demise.
Orchestra Orchestra SKU: PR.416416210 III. from Mythology Symphony...(+)
Orchestra Orchestra
SKU: PR.416416210
III. from Mythology
Symphony. Composed by
Stacy Garrop. Study
Score. With Standard
notation. Duration 5:30.
Theodore Presser Company
#416-41621. Published by
Theodore Presser Company
(PR.416416210).
UPC:
680160642908. 9 x 12
inches.
The Sirens
were sea nymphs, usually
pictured as part woman
and part bird, who lived
on a secluded island
surrounded by rocks.
Their enchanting song was
irresistible to passing
sailors, who were lured
to their deaths as their
ships were destroyed upon
the rocks. The Lovely
Sirens presents three
ideas: the Sirens'
beautiful song, an
unfortunate group of
sailors whose course
takes them near the
island, and the disaster
that befalls the sailors.
The sailors' peril is
represented by the Morse
code S.O.S. signal (three
dots, three dashes, and
three dots--represented
musically by short and
long rhythms). The S.O.S.
signal grows increasingly
more insistent and
distressed as it becomes
obvious that the sailors,
smitten with the voices
of the Sirens, are headed
for their
demise. The Sirens
were sea nymphs, usually
pictured as part woman
and part bird, who lived
on a secluded island
surrounded by rocks.
Their enchanting song was
irresistible to passing
sailors, who were lured
to their deaths as their
ships were destroyed upon
the rocks. The Lovely
Sirens presents three
ideas: the Sirens’
beautiful song, an
unfortunate group of
sailors whose course
takes them near the
island, and the disaster
that befalls the sailors.
The sailors’ peril
is represented by the
Morse code S.O.S. signal
(three dots, three
dashes, and three
dots—represented
musically by short and
long rhythms). The S.O.S.
signal grows increasingly
more insistent and
distressed as it becomes
obvious that the sailors,
smitten with the voices
of the Sirens, are headed
for their demise.
Orchestra Orchestra SKU: PR.41641621L III. from Mythology Symphony...(+)
Orchestra Orchestra
SKU: PR.41641621L
III. from Mythology
Symphony. Composed by
Stacy Garrop. Large
Score. With Standard
notation. Duration 5:30.
Theodore Presser Company
#416-41621L. Published by
Theodore Presser Company
(PR.41641621L).
UPC:
680160642915. 11 x 17
inches.
The Sirens
were sea nymphs, usually
pictured as part woman
and part bird, who lived
on a secluded island
surrounded by rocks.
Their enchanting song was
irresistible to passing
sailors, who were lured
to their deaths as their
ships were destroyed upon
the rocks. The Lovely
Sirens presents three
ideas: the Sirens'
beautiful song, an
unfortunate group of
sailors whose course
takes them near the
island, and the disaster
that befalls the sailors.
The sailors' peril is
represented by the Morse
code S.O.S. signal (three
dots, three dashes, and
three dots--represented
musically by short and
long rhythms). The S.O.S.
signal grows increasingly
more insistent and
distressed as it becomes
obvious that the sailors,
smitten with the voices
of the Sirens, are headed
for their
demise. The Sirens
were sea nymphs, usually
pictured as part woman
and part bird, who lived
on a secluded island
surrounded by rocks.
Their enchanting song was
irresistible to passing
sailors, who were lured
to their deaths as their
ships were destroyed upon
the rocks. The Lovely
Sirens presents three
ideas: the Sirens’
beautiful song, an
unfortunate group of
sailors whose course
takes them near the
island, and the disaster
that befalls the sailors.
The sailors’ peril
is represented by the
Morse code S.O.S. signal
(three dots, three
dashes, and three
dots—represented
musically by short and
long rhythms). The S.O.S.
signal grows increasingly
more insistent and
distressed as it becomes
obvious that the sailors,
smitten with the voices
of the Sirens, are headed
for their demise.
The Lovely Sirens Orchestre d'harmonie [Conducteur] Theodore Presser Co.
Band Concert Band SKU: PR.11540239S I. from Mythology Suite. Compo...(+)
Band Concert Band
SKU:
PR.11540239S
I.
from Mythology Suite.
Composed by Stacy Garrop.
Full score. Duration
5:30. Theodore Presser
Company #115-40239S.
Published by Theodore
Presser Company
(PR.11540239S).
UPC:
680160680214.
The
Sirens were sea nymphs,
usually pictured as part
woman and part bird, who
lived on a secluded
island surrounded by
rocks. Their enchanting
song was irresistible to
passing sailors, who were
lured to their deaths as
their ships were
destroyed upon the rocks.
The Lovely Sirens
presents three ideas: the
Sirens' beautiful song,
an unfortunate group of
sailors whose course
takes them near the
island, and the disaster
that befalls the sailors.
The sailors' peril is
represented by the Morse
code S.O.S. signal (three
dots, three dashes, and
three dots--represented
musically by short and
long rhythms). The S.O.S.
signal grows increasingly
more insistent and
distressed as it becomes
obvious that the sailors,
smitten with the voices
of the Sirens, are headed
for their
demise. The Sirens
were sea nymphs, usually
pictured as part woman
and part bird, who lived
on a secluded island
surrounded by rocks.
Their enchanting song was
irresistible to passing
sailors, who were lured
to their deaths as their
ships were destroyed upon
the rocks. The Lovely
Sirens presents three
ideas: the Sirens’
beautiful song, an
unfortunate group of
sailors whose course
takes them near the
island, and the disaster
that befalls the sailors.
The sailors’ peril
is represented by the
Morse code S.O.S. signal
(three dots, three
dashes, and three
dots—represented
musically by short and
long rhythms). The S.O.S.
signal grows increasingly
more insistent and
distressed as it becomes
obvious that the sailors,
smitten with the voices
of the Sirens, are headed
for their demise.