| Free Arrangements and Technical Exercises Piano seul EMB (Editio Musica Budapest)
Piano SKU: BT.EMBZ20004A Complete Edition. Composed by Liszt Feren...(+)
Piano SKU:
BT.EMBZ20004A
Complete Edition.
Composed by Liszt Ferenc.
EMB New Listz Edition.
Studies & Exercises. Book
Hardcover. Composed 2021.
240 pages. Editio Musica
Budapest #EMBZ20004A.
Published by Editio
Musica Budapest
(BT.EMBZ20004A).
English-German-Hungari
an. Supplementary
Volume 16 of the New
Liszt Edition contains
free arrangements and
technical exercises. In
the first section can be
found early versions of
three arrangements. The
first consists of the
first and intermediary
versions of a
transcription of Die
Rose, a song Schubert
composed to a poem by
Schlegel. The arrangement
of the second movement of
Berlioz's Harold Symphony
also draws on literary
inspiration: Lord Byron's
(1788-1824) narrative
poem Childe Harold's
Pilgrimage (1812-18) was
a literary experience
Liszt shared with
Berlioz. The fantasy on
themes from Bellini's
opera La sonnambula [The
Sleepwalker] (here the
first version of 1842,
and the second version
dating from the following
decade are given) is
important in music
history because it was
while he worked on this
(and other operatic
fantasies) that Liszt
developed a new concept
of the form, which took
shape in more complex and
more concentrated
fantasies than before.
Particularly interesting
material can be found in
the appendix. In addition
to sketches and drafts
for arrangements of
Spanish themes, there are
three sources published
here for the first time,
which shed light on
technical aspects of
Liszt's piano teaching.
These are three sets of
exercises: the first
written by Liszt himself
for Valérie Boissier
in 1832; the second a
copy in an unidentified
hand from the same period
or slightly later; and
finally the third which
was noted down in 1871 by
Henri Maréchal in Rome
based on the composer's
dictation. This latest
volume of the New Liszt
Edition includes a
detailed preface in
German, English, and
Hungarian containing new
research findings,
together with five
manuscript facsimiles and
critical notes.
Simultaneously with the
cloth-bound Complete
Edition, a practical
paperback version has
been published, the
contents of which are
identical to those of the
hardcover edition, minus
the inclusion of critical
notes. $119.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Colonnade Theodore Presser Co.
Orchestra Bassoon, Clarinet, Contrabass, Flute, Harp, Horn, Marimba, Oboe, Vibra...(+)
Orchestra Bassoon,
Clarinet, Contrabass,
Flute, Harp, Horn,
Marimba, Oboe,
Vibraphone, Viola, Violin
1, Violin 2, Violoncello
SKU: PR.41641423L
For Chamber
Orchestra. Composed
by James Matheson. This
edition: Version 6/10/10.
Contemporary. Large
Score. With Standard
notation. Composed
February 13 2003. 84
pages. Duration 18
minutes. Theodore Presser
Company #416-41423L.
Published by Theodore
Presser Company
(PR.41641423L). UPC:
680160602094. 11 x 14
inches. Colonnade
is inspired by Albanys
majestic New York State
Board of Education
Building, and written on
a commission from the
Albany Symphony
Orchestra. It was an
intriguing task, in part
because in order to
accept the commission I
had to agree to write a
work inspired by a
building I had not yet
seen. This problem was
compounded by the fact
that, for me, the very
notion of extra-musical
inspiration is a complex
one, particularly with
respect to literary or
visual sources. I
generally find ideas and
abstracted notions more
generative of musical
ideas than specific ones
(a poem, an experience, a
painting). So when I went
to see and tour the
building, I sought to
identify fundamental
formal aspects of the
building which I could
process into musical
ideas, and would then be
linked to the building
through a sense of formal
relationship. In the end,
two characteristics of
the building stood out as
noteworthy and
undiminished by time
(compared with, for
instance, the buildings
rotunda, which contains a
series of quaintly
outdated allegorical
paintings): the exterior
colonnade and a beautiful
interior vaulted ceiling,
designed by Rafael
Guastavino. For me, a
colonnade acts as a
metaphor for the tension
between knowledge and
perception. We all know,
for instance, that the
columns are of the same
height and are
equidistant from each
other. Nevertheless,
while the mind
understands this fully,
it is also the case that
there exists no place no
standpoint or viewpoint
anywhere in the universe
from which one can
perceive this; the
columns always appear to
be of uneven height and
spacing. If one then adds
motion to perspective a
walk along the colonnade,
for instance the fixed,
even, rigidly identical
columns acquire
elasticity, and begin to
change kaleidoscopically
they shrink, grow, become
closer, and then further
apart. Further, the
detail of the buildings
facade behind the
colonnade shifts into and
out of visibility, with
different portions
obscured by the columns
from each vantage point.
These considerations
underlie the outer
sections of Colonnade, in
which a continuously
repeated, continuously
varied rising figure
suggestive of a column
dominates. The iterations
of this elastic, evolving
figure are interspersed
with other music
suggestive of the
buildings facade. The
second feature of the
building that caught my
attention was the vaulted
ceiling, designed by
Guastavino, of one of the
buildings largest rooms.
The ceiling enhances the
spaciousness of the room,
giving it an openness and
lightness that is quite
captivating. The middle
section of Colonnade has
this openness at its
core, and is dominated by
long, arching lines that,
to me, suggest the
refined beauty of this
ceiling. World premiere
March 8, 2003; Albany
Symphony Orchestra
conducted by David Alan
Miller. $110.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| The Hal Leonard Acoustic Guitar Method Guitare notes et tablatures [Partition + Accès audio] Hal Leonard
Cultivate Your Acoustic Skills with Practical Lessons and 45 Great Riffs and Son...(+)
Cultivate Your Acoustic
Skills with Practical
Lessons and 45 Great
Riffs and Songs. Guitar
Method. Acoustic,
Instruction, Method.
Softcover Audio Online.
With guitar tablature. 80
pages. Published by Hal
Leonard
$22.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Bluegrass Standards Guitare notes et tablatures [Partition] Hal Leonard
(16 Songs Arranged for Solo Guitar in Travis Picking Style). By Various. Arrange...(+)
(16 Songs Arranged for
Solo Guitar in Travis
Picking Style). By
Various. Arranged by
David Hamburger. Guitar
Solo. Softcover. Guitar
tablature. 32 pages.
Published by Hal Leonard
$7.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Acoustic Guitar - DVD Guitare notes et tablatures [Partition + DVD] Hal Leonard
At a Glance. Softcover with DVD. With notes and tablature. Published by Hal Leon...(+)
At a Glance. Softcover
with DVD. With notes and
tablature. Published by
Hal Leonard.
$12.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| A Little Violin Music in Memory of Elijah McClain Violon Merion Music
Chamber Music Violin SKU: PR.144407380 Composed by Ellen Taaffe Zwilich. ...(+)
Chamber Music Violin
SKU: PR.144407380
Composed by Ellen Taaffe
Zwilich. Performance
Score. 4 pages. Duration
4 minutes. Merion Music
#144-40738. Published by
Merion Music
(PR.144407380). ISBN
9781491133903. UPC:
680160683475. 9 x 12
inches. In her
powerful Foreword to the
music, violinist Kelly
Hall-Tompkins has
written: “There are
great works which give
voice to important
moments for generations,
and this is one of
them.†The tragedy
of Elijah
McClain’s murder
has moved us all, and for
many musicians the image
of this gentle young man
playing his violin for
kittens at an animal
shelter has added a
poignant extra layer.
Zwilich was a
professional violinist
before turning
exclusively to composing,
and A LITTLE VIOLIN MUSIC
is a memorial from the
heart of one violinist to
another. [THESE NOTES
MAY NOT BE REPRODUCED
OUTSIDE OF THE
PUBLICATION; OK TO QUOTE
A BIT AND GIVE AUTHOR
CREDIT]We often research
important pieces of music
to gain some glimpse into
the mind of the composer
by understanding the
times in which a piece
was written. The times
that brought this piece
into being, 2020, has
been a year like no other
in our lifetimes.With the
suffering of a once in a
century pandemic raging
in ever higher waves, and
millions of people around
the world confined to
their homes with a shared
attention span for the
first time in
generations, we watched
in horror the 8 minute 46
second killing of George
Floyd, a man previously
unknown to us, but now
unwillingly joining a
long list of names of
unarmed African Americans
killed by police. The
anguished backlash of
citizens around the
world, from Japan to New
Zealand to Germany to the
United States, of every
age, color, and creed,
has rallied for weeks and
months on end to demand
enough and that
“Black Lives
Matter.â€And yet, in
the midst of it all is an
America starkly divided
against itself with some
defiantly pushing back,
emboldened by
authoritarian-style
government actions
against its own citizens
occurring all over the
country. It is against
this backdrop that we
ever had a chance to know
of Elijah McClain. Here
in quarantine I sometimes
practice my scales in
front of the news. And
one day the mirror image
looking back at me from
the screen was a slight
young man, warm, affable
brown eyes, and also a
violin under his chin.
The newsreel-style camera
pan so familiar now, I
knew the only reason we
were gazing upon his
unfamous face was that he
too had been killed by
police nearly a year
before. But the
revelation of it in the
broadcast hit me
particularly hard.Ellen
Taaffe Zwilich, who is
not only one of the great
composers of our time, is
also a dear friend, and
called me the next day,
also deeply saddened by
the news. It was from
Ellen that I learned that
Elijah used to play for
the kittens at the local
animal shelter so they
wouldn’t be
lonely. This kind, gentle
soul was aggressively
taken into police custody
while saying, “I am
an introvert. Please
respect the boundaries
that I am speaking...
I’m going
home.†He was never
seen alive again.Ellen
and I spoke of the
sadness and the injustice
of this several times.
She felt a powerful
calling to contribute
something in a statement
and the result is the
piece you now hold in
your hands. I am deeply
honored to be the
dedicatee of the piece,
to have worked together
with Ellen on some of the
final details, and to pen
this score note. As an
invited alumna of the
Eastman School of Music,
I premiered the work for
their virtual event on
Diversity and Inclusion.
Each time I play it,
there is a persistent
lump in my throat because
Ellen has captured
something poignant and
powerful here.There are
great works which give
voice to important
moments for generations,
and this is one of them.
We humbly offer this
piece in memory of Elijah
McClain.Foreword ©
2021 by Kelly
Hall-Tompkins. Used by
permission. $9.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Pantera: Pantera Guitar Anthology Guitare notes et tablatures [Partition] - Intermédiaire Alfred Publishing
Performed by Pantera. Guitar tablature songbook for guitar and voice. Parental a...(+)
Performed by Pantera.
Guitar tablature songbook
for guitar and voice.
Parental advisory -
explicit lyrics. Series:
Guitar Anthology Series.
156 pages. Published by
Alfred Publishing.
(10)$29.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Unleashed [Conducteur] - Facile Carl Fischer
Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade ...(+)
Orchestra Cello,
Contrabass, Piano, Viola,
Violin 1, Violin 2,
Violin 3 - Grade 3
SKU: CF.CAS112F
Composed by Peter Terry.
Concert String Orchestra
(CAS). Full score. With
Standard notation. 12
pages. Carl Fischer Music
#CAS112F. Published by
Carl Fischer Music
(CF.CAS112F). ISBN
9781491151686. UPC:
680160909186. 9 x 12
inches. Peter
Terry's Unleashed?makes
for an impressive concert
opener that is the
musical equivalent of
unleashing a caged
animal. The piece is
exciting from start to
finish, with energetic
and bold material that
students will love to
play. Everyone wants
to be unleashed, to be
set free of restraints.
This piece captures the
exhilaration of being set
into motion with
unlimited optimism and
energy. The piece is a
rhythmic and
propulsive gallop that spins
off lyrical material as
it drives to a climactic
finish that is both
exciting and
fun. The piece opens
with a robust
first theme, then
transitions on a rhythmic
figure spun off from the
opening
material. The opening
section
repeats in
variation with different
orchestration. The more
lyrical material that
emerges should be brought
out to balance the first
theme and rhythmic
figures from the first
section. A development of
the material from the
opening follows,
driving to a
brief
pause. This
pause
feels like it
will lead to a
contrasting lyrical
theme, but the energy
is
just suspended for a
second before the piece
takes off again.
The
work finishes with a
repeated-note transition
back to variations on the
opening material and a
propulsive rush to the
end. I enjoyed
writing this piece and
hope your students will
enjoy playing these
contrasting styles and
that you will find the
piece beneficial in
teaching important
musical concepts.
?????????Peter Terry,
2018. Everyone
wants to be unleashed, to
be set free of
restraints. This piece
captures the exhilaration
of being set into motion
with unlimited optimism
and energy.A The piece is a
rhythmic and
propulsive gallop that spins
off lyrical material as
it drives to a climactic
finish that is both
exciting and
fun. The piece opens
with a robust
first theme, then
transitions on a rhythmic
figure spun off from the
opening
material. The opening
section
repeats in
variation with different
orchestration. The more
lyrical material that
emerges should be brought
out to balance the first
theme and rhythmic
figures from the first
section. A development of
the material from the
opening follows,
driving to a
brief
pause. This
pause
feels like it
will lead to a
contrasting lyrical
theme, but the energy
is
just suspended for a
second before the piece
takes off again.
The
work finishes with a
repeated-note transition
back to variations on the
opening material and a
propulsive rush to the
end. I enjoyed
writing this piece and
hope your students will
enjoy playing these
contrasting styles and
that you will find the
piece beneficial in
teaching important
musical concepts.
?????????Peter Terry,
2018. Everyone
wants to be unleashed, to
be set free of
restraints. This piece
captures the exhilaration
of being set into motion
with unlimited optimism
and energy.A The piece is a
rhythmic and
propulsive gallop that spins
off lyrical material as
it drives to a climactic
finish that is both
exciting and
fun. The piece opens
with a robust
first theme, then
transitions on a rhythmic
figure spun off from the
opening
material. The opening
section
repeats in
variation with different
orchestration. The more
lyrical material that
emerges should be brought
out to balance the first
theme and rhythmic
figures from the first
section. A development of
the material from the
opening follows,
driving to a
brief
pause. This
pause
feels like it
will lead to a
contrasting lyrical
theme, but the energy
is
just suspended for a
second before the piece
takes off again.
The
work finishes with a
repeated-note transition
back to variations on the
opening material and a
propulsive rush to the
end. I enjoyed
writing this piece and
hope your students will
enjoy playing these
contrasting styles and
that you will find the
piece beneficial in
teaching important
musical concepts.
?????????Peter Terry,
2018. Everyone
wants to be unleashed, to
be set free of
restraints. This piece
captures the exhilaration
of being set into motion
with unlimited optimism
and energy. The piece is a
rhythmic and
propulsive gallop that spins
off lyrical material as
it drives to a climactic
finish that is both
exciting and
fun. The piece opens
with a robust
first theme, then
transitions on a rhythmic
figure spun off from the
opening
material. The opening
section
repeats in
variation with different
orchestration. The more
lyrical material that
emerges should be brought
out to balance the first
theme and rhythmic
figures from the first
section. A development of
the material from the
opening follows,
driving to a
brief
pause. This
pause
feels like it
will lead to a
contrasting lyrical
theme, but the energy
is
just suspended for a
second before the piece
takes off again.
The
work finishes with a
repeated-note transition
back to variations on the
opening material and a
propulsive rush to the
end. I enjoyed
writing this piece and
hope your students will
enjoy playing these
contrasting styles and
that you will find the
piece beneficial in
teaching important
musical concepts.
?????????Peter Terry,
2018. Eve
ryone wants to be
unleashed, to be set free
of restraints. This piece
captures the exhilaration
of being set into motion
with unlimited optimism
and energy. The piece is
a rhythmic and propulsive
gallop that spins off
lyrical material as it
drives to a climactic
finish that is both
exciting and fun. The
piece opens with a robust
first theme, then
transitions on a rhythmic
figure spun off from the
opening material. The
opening section repeats
in variation with
different orchestration.
The more lyrical material
that emerges should be
brought out to balance
the first theme and
rhythmic figures from the
first section. A
development of the
material from the opening
follows, driving to a
brief pause. This pause
feels like it will lead
to a contrasting lyrical
theme, but the energy is
just suspended for a
second before the piece
takes off again. The work
finishes with a
repeated-note transition
back to variations on the
opening material and a
propulsive rush to the
end. I enjoyed writing
this piece and hope your
students will enjoy
playing these contrasting
styles and that you will
find the piece beneficial
in teaching important
musical concepts. Peter
Terry, 2018. Everyone
wants to be unleashed, to
be set free of
restraints. This piece
captures the exhilaration
of being set into motion
with unlimited optimism
and energy. The piece
is a rhythmic and
propulsive gallop that
spins off lyrical
material as it drives to
a climactic finish that
is both exciting and
fun.The piece opens with
a robust first theme,
then transitions on a
rhythmic figure spun off
from the opening
material. The opening
section repeats in
variation with different
orchestration. The more
lyrical material that
emerges should be brought
out to balance the first
theme and rhythmic
figures from the first
section. A development of
the material from the
opening follows, driving
to a brief pause. This
pause feels like it will
lead to a contrasting
lyrical theme, but the
energy is just suspended
for a second before the
piece takes off again.
The work finishes with a
repeated-note transition
back to variations on the
opening material and a
propulsive rush to the
end.I enjoyed writing
this piece and hope your
students will enjoy
playing these contrasting
styles and that you will
find the piece beneficial
in teaching important
musical
concepts.​​
​​​
€‹â€‹â€‹â
€‹Peter Terry,
2018.
About Carl
Fischer Concert String
Orchestra
Series Thi
s series of pieces (Grade
3 and higher) is designed
for advancing ensembles.
The pieces in this series
are characterized
by: - Expanded use
of rhythms, ranges and
keys but technical
demands are still
carefully
considered
- More
comprehensive bowing
techniques
- Viola
T.C.
included
- Careful
selection of keys and
degree of difficulty for
advancing
musicians
$9.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Unleashed - Facile Carl Fischer
Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade ...(+)
Orchestra Cello,
Contrabass, Piano, Viola,
Violin 1, Violin 2,
Violin 3 - Grade 3
SKU: CF.CAS112
Composed by Peter Terry.
Concert String Orchestra
(CAS). Set of Score and
Parts. With Standard
notation.
16+4+16+10+10+10+4+12
pages. Duration 2
minutes, 57 seconds. Carl
Fischer Music #CAS112.
Published by Carl Fischer
Music (CF.CAS112).
ISBN 9781491151310.
UPC: 680160908813. 9 x 12
inches. Key: E
minor. Peter
Terry's Unleashed?makes
for an impressive concert
opener that is the
musical equivalent of
unleashing a caged
animal. The piece is
exciting from start to
finish, with energetic
and bold material that
students will love to
play. Everyone wants
to be unleashed, to be
set free of restraints.
This piece captures the
exhilaration of being set
into motion with
unlimited optimism and
energy. The piece is a
rhythmic and
propulsive gallop that spins
off lyrical material as
it drives to a climactic
finish that is both
exciting and
fun. The piece opens
with a robust
first theme, then
transitions on a rhythmic
figure spun off from the
opening
material. The opening
section
repeats in
variation with different
orchestration. The more
lyrical material that
emerges should be brought
out to balance the first
theme and rhythmic
figures from the first
section. A development of
the material from the
opening follows,
driving to a
brief
pause. This
pause
feels like it
will lead to a
contrasting lyrical
theme, but the energy
is
just suspended for a
second before the piece
takes off again.
The
work finishes with a
repeated-note transition
back to variations on the
opening material and a
propulsive rush to the
end. I enjoyed
writing this piece and
hope your students will
enjoy playing these
contrasting styles and
that you will find the
piece beneficial in
teaching important
musical concepts.
?????????Peter Terry,
2018. Everyone
wants to be unleashed, to
be set free of
restraints. This piece
captures the exhilaration
of being set into motion
with unlimited optimism
and energy.A The piece is a
rhythmic and
propulsive gallop that spins
off lyrical material as
it drives to a climactic
finish that is both
exciting and
fun. The piece opens
with a robust
first theme, then
transitions on a rhythmic
figure spun off from the
opening
material. The opening
section
repeats in
variation with different
orchestration. The more
lyrical material that
emerges should be brought
out to balance the first
theme and rhythmic
figures from the first
section. A development of
the material from the
opening follows,
driving to a
brief
pause. This
pause
feels like it
will lead to a
contrasting lyrical
theme, but the energy
is
just suspended for a
second before the piece
takes off again.
The
work finishes with a
repeated-note transition
back to variations on the
opening material and a
propulsive rush to the
end. I enjoyed
writing this piece and
hope your students will
enjoy playing these
contrasting styles and
that you will find the
piece beneficial in
teaching important
musical concepts.
?????????Peter Terry,
2018. Everyone
wants to be unleashed, to
be set free of
restraints. This piece
captures the exhilaration
of being set into motion
with unlimited optimism
and energy.A The piece is a
rhythmic and
propulsive gallop that spins
off lyrical material as
it drives to a climactic
finish that is both
exciting and
fun. The piece opens
with a robust
first theme, then
transitions on a rhythmic
figure spun off from the
opening
material. The opening
section
repeats in
variation with different
orchestration. The more
lyrical material that
emerges should be brought
out to balance the first
theme and rhythmic
figures from the first
section. A development of
the material from the
opening follows,
driving to a
brief
pause. This
pause
feels like it
will lead to a
contrasting lyrical
theme, but the energy
is
just suspended for a
second before the piece
takes off again.
The
work finishes with a
repeated-note transition
back to variations on the
opening material and a
propulsive rush to the
end. I enjoyed
writing this piece and
hope your students will
enjoy playing these
contrasting styles and
that you will find the
piece beneficial in
teaching important
musical concepts.
?????????Peter Terry,
2018. Everyone
wants to be unleashed, to
be set free of
restraints. This piece
captures the exhilaration
of being set into motion
with unlimited optimism
and energy. The piece is a
rhythmic and
propulsive gallop that spins
off lyrical material as
it drives to a climactic
finish that is both
exciting and
fun. The piece opens
with a robust
first theme, then
transitions on a rhythmic
figure spun off from the
opening
material. The opening
section
repeats in
variation with different
orchestration. The more
lyrical material that
emerges should be brought
out to balance the first
theme and rhythmic
figures from the first
section. A development of
the material from the
opening follows,
driving to a
brief
pause. This
pause
feels like it
will lead to a
contrasting lyrical
theme, but the energy
is
just suspended for a
second before the piece
takes off again.
The
work finishes with a
repeated-note transition
back to variations on the
opening material and a
propulsive rush to the
end. I enjoyed
writing this piece and
hope your students will
enjoy playing these
contrasting styles and
that you will find the
piece beneficial in
teaching important
musical concepts.
?????????Peter Terry,
2018. Eve
ryone wants to be
unleashed, to be set free
of restraints. This piece
captures the exhilaration
of being set into motion
with unlimited optimism
and energy. The piece is
a rhythmic and propulsive
gallop that spins off
lyrical material as it
drives to a climactic
finish that is both
exciting and fun. The
piece opens with a robust
first theme, then
transitions on a rhythmic
figure spun off from the
opening material. The
opening section repeats
in variation with
different orchestration.
The more lyrical material
that emerges should be
brought out to balance
the first theme and
rhythmic figures from the
first section. A
development of the
material from the opening
follows, driving to a
brief pause. This pause
feels like it will lead
to a contrasting lyrical
theme, but the energy is
just suspended for a
second before the piece
takes off again. The work
finishes with a
repeated-note transition
back to variations on the
opening material and a
propulsive rush to the
end. I enjoyed writing
this piece and hope your
students will enjoy
playing these contrasting
styles and that you will
find the piece beneficial
in teaching important
musical concepts. Peter
Terry, 2018. Everyone
wants to be unleashed, to
be set free of
restraints. This piece
captures the exhilaration
of being set into motion
with unlimited optimism
and energy. The piece
is a rhythmic and
propulsive gallop that
spins off lyrical
material as it drives to
a climactic finish that
is both exciting and
fun.The piece opens with
a robust first theme,
then transitions on a
rhythmic figure spun off
from the opening
material. The opening
section repeats in
variation with different
orchestration. The more
lyrical material that
emerges should be brought
out to balance the first
theme and rhythmic
figures from the first
section. A development of
the material from the
opening follows, driving
to a brief pause. This
pause feels like it will
lead to a contrasting
lyrical theme, but the
energy is just suspended
for a second before the
piece takes off again.
The work finishes with a
repeated-note transition
back to variations on the
opening material and a
propulsive rush to the
end.I enjoyed writing
this piece and hope your
students will enjoy
playing these contrasting
styles and that you will
find the piece beneficial
in teaching important
musical
concepts.​​
​​​
€‹â€‹â€‹â
€‹Peter Terry,
2018.
About Carl
Fischer Concert String
Orchestra
Series Thi
s series of pieces (Grade
3 and higher) is designed
for advancing ensembles.
The pieces in this series
are characterized
by: - Expanded use
of rhythms, ranges and
keys but technical
demands are still
carefully
considered
- More
comprehensive bowing
techniques
- Viola
T.C.
included
- Careful
selection of keys and
degree of difficulty for
advancing
musicians
$60.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Resurrection Of The Soldiers Orchestre à Cordes [Conducteur] University Of York Music Press
String Orchestra SKU: BT.MUSM570367214 Composed by Robert Saxton. Classic...(+)
String Orchestra SKU:
BT.MUSM570367214
Composed by Robert
Saxton. Classical. Score
Only. 25 pages.
University of York Music
Press #MUSM570367214.
Published by University
of York Music Press
(BT.MUSM570367214).
English. Robert
Saxton 's The
Resurrection Of The
Soldiers for String
Orchestra. Composed and
published 2016. Duration:
c. 12 minutes. The
Resurrection Of The
Soldiers for String
Orchestra was
commissioned by George
Vass, to whom it is
dedicated, and the
English Symphony
Orchestra, for the 2016
Presteigne Festival, with
funds generously provided
by the John S. Cohen
Foundation and the Arts
Council of England.
The title derives from
the final panel of
Stanley Spencer’s
Sandham Chapel visionary
series of paintings which
were the result of
Spencer’s
experiences in the
British army in World War
One and depicts soldiers
emerging from their
graves on the last day.
Themusic is in three
continuous sections: a
slow, sustained
introduction which is, in
essence, a descent from
the note E by means of a
prolation canon, but
which ascends to a rather
intense climactic point
before finally falling
and giving way to an
active fugue which, after
arriving at an anguished,
sustained climax, is
succeeded by a closing
slow movement consisting
of a rising melodic line
which permeates the
entire texture
heterophonically ,
leading to the closing E
major triad. The work
thus traces a cyclical
pitch path which, while
tracing a cyclical path,
also develops
expressively towards a
sense of hope and
resurrection. - Robert
Saxton, April 2016. $15.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| String Quartet No. 2 Quatuor à cordes: 2 violons, alto, violoncelle Theodore Presser Co.
Chamber Music String Quartet SKU: PR.114405050 Composed by John Downey. S...(+)
Chamber Music String
Quartet SKU:
PR.114405050 Composed
by John Downey. Set of
Score and Parts. With
Standard notation. 53
pages. Duration 25
minutes. Theodore Presser
Company #114-40505.
Published by Theodore
Presser Company
(PR.114405050). UPC:
680160008377. 11 x 14
inches. Although
structurally it
subdivides into five
movements, the entire
quartet emerges as one
vast continuum. There are
no formal breaks between
movements. However,
certain musical signposts
can be discerned,
associated with each of
the movements'
terminations and new
beginnings. The opening
movement, The Nostalgia
of Clanging Bell
Sonorities, begins
floating on recurrent Bbs
whose soft rhythmic flow
slowly puts into motion
strong undercurrents
suggestive of the latent
power of water... After
several suggestions of
tolling bells, the
movement gradually fades
into hushed tones of
veiled and very distant
sonorities. It uses a
unique efffect, for the
first time in a musical
context, conveyed through
the use of extra heavy
practice mutes. The
second movement, The
Spill of Water ,
disengages itself from
the first through its
distinct contrast in
tempo. Water moves fast,
and when it splashes, it
tends to run wildly. In
this case, it happens to
be bubbly water that
gushes forth bodly...
smashing across rocky
shorlines. So, too, the
music attempts to conjure
such moods. At the end of
this movement, a cello
cadenza emerges,
introducing an
introspective type of
melodicism. The third
movement, The Poignancy
of Memory, contains many
silences as it tries to
convey memory through
fragmented remembrances
much like often occur in
our dream state.
Progressing through
several slowly building
images, it gradually
works itself into
juxtaposition of musical
images. Towards the
movement's end, high
harmonics are sounding in
all four instruments
while left hand pizzicato
notes in the cello pluch
the last remembrances of
this central core. Almost
imperceptibly, the viola
assumes leadership as it
dissolves into: The
fourth movement, The
Fluidity of Motion, which
has mostly the viola, but
also the cello,
articulating lyrical
statements against the
sheets of sound conjured
up by the two violins
playing a flood of
swirling figures, evokes
a kind of static motion
in spae. Here, the
virtually imperceptible
manner in which this
hushed whisper continues
incessantly, can suggest
the potential fluidity
with which movement may
inch forward... Later
into the fourth movement
, two fairly extended
solos by the second and
then the first violins,
lead to a kind of
spontaneous dialogue
among the four
instrumentalists.
Eventually, this musical
conversation gets caught
up in: The fifth
movement's The Rush of
Time, which opens with a
hushed flurry of speed,
precipitates the Finale.
It generates, at first
slowly, but then very
swiftly, whole shifts of
rhythmic fields that
initially seem to
conflict with one
another. Ultimately, this
use of 'psycho-rhythmics
contributes to an on-rush
of motion and time.
Rhythmic changes are, at
times, abruptly
precipitated with but
little or no preparation
creating a kind of
inevitability in forward
thrust, while the
movement rushes forward
with a feeling of gradual
and continuous
acceleration. It gathers
density as more and more
notes are piled
progressively upon
successive beats. The
attempt is to spark
tension and ignite
excitement by means of
frenetic confrontations
of dissimilitudes.
Ultimately - with the
help of time - these
polarities centrifically
spin out their own
destinies with their
accompanying fall-out and
own inevitable
resolutions. $130.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| String Quartet No. 2 Quatuor à cordes: 2 violons, alto, violoncelle [Conducteur] Theodore Presser Co.
Chamber Music String Quartet SKU: PR.11440505S Composed by John Downey. F...(+)
Chamber Music String
Quartet SKU:
PR.11440505S Composed
by John Downey. Full
score. With Standard
notation. 53 pages.
Duration 25 minutes.
Theodore Presser Company
#114-40505S. Published by
Theodore Presser Company
(PR.11440505S). UPC:
680160008391. 11 x 14
inches. Although
structurally it
subdivides into five
movements, the entire
quartet emerges as one
vast continuum. There are
no formal breaks between
movements. However,
certain musical signposts
can be discerned,
associated with each of
the movements'
terminations and new
beginnings. The opening
movement, The Nostalgia
of Clanging Bell
Sonorities, begins
floating on recurrent Bbs
whose soft rhythmic flow
slowly puts into motion
strong undercurrents
suggestive of the latent
power of water... After
several suggestions of
tolling bells, the
movement gradually fades
into hushed tones of
veiled and very distant
sonorities. It uses a
unique effect, for the
first time in a musical
context, conveyed through
the use of extra heavy
practice mutes. The
second movement, The
Spill of Water,
disengages itself from
the first through its
distinct contrast in
tempo. Water moves fast,
and when it splashes, it
tends to run wildly. In
this case, it happens to
be bubbly water that
gushes forth bodly...
smashing across rocky
shorelines. So, too, the
music attempts to conjure
such moods. At the end of
this movement, a cello
cadenza emerges,
introducing an
introspective type of
melodicism. The third
movement, The Poignancy
of Memory, contains many
silences as it tries to
convey memory through
fragmented remembrances
much like often occur in
our dream state.
Progressing through
several slowly building
images, it gradually
works itself into
juxtaposition of musical
images. Towards the
movement's end, high
harmonics are sounding in
all four instruments
while left hand pizzicato
notes in the cello pluck
the last remembrances of
this central core. Almost
imperceptibly, the viola
assumes leadership as it
dissolves into: The
fourth movement, The
Fluidity of Motion, which
has mostly the viola, but
also the cello,
articulating lyrical
statements against sheets
of sound conjured up by
the two violins playing a
flood of swirling
figures, evokes a kind of
static motion in space.
Here , the virtually
imperceptible manner in
which this hushed whisper
continues incessantly,
can suggest the potential
fluidity with which
movement may inch
forward... Later into the
fourth movement, two
fairly extended solos by
the second and then the
first violins, lead to a
kind of spontaneous
dialogue amont the four
instrumentalists.
Eventually, this musical
conversation gets caught
up in: The fifth
movement's The Rush of
Time, which opens with a
hushed flurry of speed,
precipitates the Finale.
It generates, at first
slowly, but then very
swiftly, whole shifts of
rhythmic fields that
initially seem to
conflict with one
another. Ultimately, this
use of psycho-rhythmics
contributes to an on-rush
seem of motion and time.
Rhythmic changes are, at
times, abruptly
precipitated with but
little or no preparation
creating a kind of
inevitability in forward
thrust, while the
movement rushes forward
with a feeling of gradual
and continuous
acceleration. It gathers
density as more and more
notes are piled
progressively upon
successive beats. The
attempt is to spark
tension and ignite
excitement by means of
frenetic confrontations
of dissimilitudes.
Ultimately - with the
help of time - these
polarities centrifically
spin out their own
destinies with their
accompanying fall-out and
own inevitable
resolutions. $75.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| On The Coney Island Boardwalk - Intermédiaire Forton Music
2tpt. Pft - Intermediate SKU: FT.FM529 Composed by Paul Austin Kelly. Two...(+)
2tpt. Pft - Intermediate
SKU: FT.FM529
Composed by Paul Austin
Kelly. Two Trumpets and
Piano. Score and Part.
Forton Music #FM529.
Published by Forton Music
(FT.FM529). ISBN
9790570484287. On
the Coney Island
Boardwalk was inspired by
my years of listening to
trumpeter Herb Alpert.
The melody came to me
when I was reminiscing
about those summer days
when I would take the
subway out to Coney
Island from my flat in
Brooklyn. I'd spend the
day roaming the
boardwalk, hunting down
used vinyl records in the
second- hand shops, and
always riding the old
wooden Cyclone roller
coaster at least once.
What made Herb's trumpet
sound like it was talking
was his way of
articulating each note,
imagining they were
words. If you really want
to get your horn to
speak, follow the
articulation markings
carefully. The Romantic
tune My Girl alternates
between swing and
straight rhythms. The a
capella B section should
be played straight and
with particular attention
to the tuning of the
intervals and the written
articulation markings.
This Cat Bugs Me - a rag
- was inspired by the
compositions of LeRoy
Shield, one of the very
first composers to write
original music for
Hollywood films. You can
hear his music on the
soundtracks for Laurel
and Hardy and Our Gang
comedies. As with all
ragtime, don't try to
play it too fast. Try to
feel it as a march that
swings. I don't recall
where I got the title,
but I suspect I was
watching some old
cartoons at the time.
Grapplin' with the Apple
should be played with
straight quavers, not
swung. In order to get
real flavour out of this
piece, pay close
attention to the
articulation markings,
especially the
combinations of quavers
slurred to staccato
notes. The apple referred
to in the title is New
York City, often referred
to as 'The Big Apple'.
Take it to the Shed -
here's one to help you
sharpen up your chops!
Take it well under tempo
at first to get the
tricky passages as clean
as possible, especially
bars 45-47. Slowly work
it up to speed as your
technique allows. All
quavers are to be swung
and again, in order to
get the most from this
piece pay close attention
to all articulation
markings. The title is a
jazz reference. When you
take something to 'the
shed' you're working on
it to make it as fine as
it can be. $19.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Overture to a Small Town - Intermédiaire Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon 1, Bassoon 2, Chimes, Clarinet 1, Clarine...(+)
Band Bass Clarinet, Bass
Drum, Bassoon 1, Bassoon
2, Chimes, Clarinet 1,
Clarinet 2, Clarinet 3,
Crotales, English Horn,
Euphonium, Euphonium
T.C., Flute 1, Flute 2,
Glockenspiel, Horn 1,
Horn 2, Horn 3, Horn 4,
Mallet Percussion 1 and
more. - Grade 4 SKU:
CF.SPS94 Composed by
Cooper Minnis. Sps. Set
of Score and Parts.
1+8+8+4+1+8+8+8+2+2+2+2+2
+2+2+3+3+3+2+2+2+2+3+3+3+
3+2+3+1+2+2+1+2+2+24
pages. Duration 7:48.
Carl Fischer Music
#SPS94. Published by Carl
Fischer Music (CF.SPS94).
ISBN 9781491161449.
UPC:
680160920037. On
November 5th, 2017, a
mass shooting took place
at the First Baptist
Church in Sutherland
Springs, Texas.
Twenty-six innocent
people lost their lives
that day, including an
unborn child. Overture to
a Small Town is dedicated
to these victims and the
loved ones they left
behind. From the biggest
cities to the smallest
towns, the senseless
bloodshed must end.
Despite the darkness of
this tragedy, it is my
intent through this music
to portray a sense of
hope, dignity, and
innocence deserved by all
America's cities and
towns. The opening
moments of this piece
should be treated
delicately, ensuring that
the brass section moves
together in one unified
voice, and that the
crotales evoke distant
flickers of light.
Similarly, in mm.
120-127, articulations in
the flutes, trumpets and
mallets should be strong
enough to be heard, but
without being aggressive.
The textural layering in
mm. 48-53 should be
executed with
machine-like precision of
both rhythm and
articulation. This
passage should evoke the
sound of many voices
rising together. There
should be a great
contrast between the
opening Piano dynamic and
the final Forte dynamic.
In mm. 65-69, both mallet
percussionists may play
the indicated notes in
any octave they choose.
Both players should move
rapidly between notes in
any order. This passage
should sound fluid and
ethereal. In mm. 69-73:
If there is no English
Horn available to the
ensemble, the Trumpet
should play this passage
solo. If there is an
English Horn, both
instruments should play
the passage together.
This impressionistic
composition about these
vanished structures,
although written for more
advanced ensembles, has
only one flute, clarinet,
trumpet, horn and
trombone part. As a
result, smaller bands can
play this composition
without having to look
for a flex-band
arrangement. Use this to
develop the essential
skills of syncopation and
counting while also
offering the security of
only having one part for
each instrument voice. An
exciting contrasting
selection for bands
looking for a
harmonically interesting
composition, this also
works well as a contest
selection.  . On
November 5th, 2017, a
mass shooting took place
at the First Baptist
Church in Sutherland
Springs, Texas.
Twenty-six innocent
people lost their lives
that day, including an
unborn child. Overture to
a Small Town is dedicated
to these victims and the
loved ones they left
behind. From the biggest
cities to the smallest
towns, the senseless
bloodshed must end.
Despite the darkness of
this tragedy, it is my
intent through this music
to portray a sense of
hope, dignity, and
innocence deserved by all
America’s cities
and towns.  The
opening moments of this
piece should be treated
delicately, ensuring that
the brass section moves
together in one unified
voice, and that the
crotales evoke distant
flickers of light.
Similarly, in mm.
120-127, articulations in
the flutes, trumpets and
mallets should be strong
enough to be heard, but
without being
aggressive.  The
textural layering in mm.
48-53 should be executed
with machine-like
precision of both rhythm
and articulation. This
passage should evoke the
sound of many voices
rising together. There
should be a great
contrast between the
opening Piano dynamic and
the final Forte
dynamic.  In mm.
65-69, both mallet
percussionists may play
the indicated notes in
any octave they choose.
Both players should move
rapidly between notes in
any order. This passage
should sound fluid and
ethereal.  In mm.
69-73: If there is no
English Horn available to
the ensemble, the Trumpet
should play this passage
solo. If there is an
English Horn, both
instruments should play
the passage together.This
impressionistic
composition about these
vanished structures,
although written for more
advanced ensembles, has
only one flute, clarinet,
trumpet, horn and
trombone part. As a
result, smaller bands can
play this composition
without having to look
for a flex-band
arrangement. Use this to
develop the essential
skills of syncopation and
counting while also
offering the security of
only having one part for
each instrument voice. An
exciting contrasting
selection for bands
looking for a
harmonically interesting
composition, this also
works well as a contest
selection. . $90.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| School of Bluegrass Guitar - Bluegrass Classics Guitare notes et tablatures - Facile Mel Bay
Composed by Joe Carr. Saddle- stitched. School Of. Solos. Book and online aud...(+)
Composed by Joe Carr.
Saddle-
stitched. School Of.
Solos.
Book and online audio. 32
pages. Mel Bay
Publications,
Inc #21740M. Published by
Mel
Bay Publications, Inc
$14.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Serious Jazz Practice Book (for All Instruments) Instruments Sib, Mib, Do et Bass clef [Livre + CD] Sher Music Company
Written by Barry Finerty. Instructional book and accompaniment CD for all instru...(+)
Written by Barry Finerty.
Instructional book and
accompaniment CD for all
instruments. The Seriuos
Jazz Practice Book
provides a unique and
comprehensive plan for
mastering these basic
building blocks of jazz,
on any instrument. 162
pages. Published by Sher
Music Company.
(1)$34.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Overture for a Small Town [Conducteur] - Intermédiaire Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon 1, Bassoon 2, Chimes, Clarinet 1, Clarine...(+)
Band Bass Clarinet, Bass
Drum, Bassoon 1, Bassoon
2, Chimes, Clarinet 1,
Clarinet 2, Clarinet 3,
Crotales, English Horn,
Euphonium, Euphonium
T.C., Flute 1, Flute 2,
Glockenspiel, Horn 1,
Horn 2, Horn 3, Horn 4,
Mallet Percussion 1 and
more. - Grade 4 SKU:
CF.SPS94F Composed by
Cooper Minnis. Sps. Full
score. 24 pages. Duration
7:48. Carl Fischer Music
#SPS94F. Published by
Carl Fischer Music
(CF.SPS94F). ISBN
9781491161838. UPC:
680160920518. On
November 5th, 2017, a
mass shooting took place
at the First Baptist
Church in Sutherland
Springs, Texas.
Twenty-six innocent
people lost their lives
that day, including an
unborn child. Overture to
a Small Town is dedicated
to these victims and the
loved ones they left
behind. From the biggest
cities to the smallest
towns, the senseless
bloodshed must end.
Despite the darkness of
this tragedy, it is my
intent through this music
to portray a sense of
hope, dignity, and
innocence deserved by all
America's cities and
towns. The opening
moments of this piece
should be treated
delicately, ensuring that
the brass section moves
together in one unified
voice, and that the
crotales evoke distant
flickers of light.
Similarly, in mm.
120-127, articulations in
the flutes, trumpets and
mallets should be strong
enough to be heard, but
without being aggressive.
The textural layering in
mm. 48-53 should be
executed with
machine-like precision of
both rhythm and
articulation. This
passage should evoke the
sound of many voices
rising together. There
should be a great
contrast between the
opening Piano dynamic and
the final Forte dynamic.
In mm. 65-69, both mallet
percussionists may play
the indicated notes in
any octave they choose.
Both players should move
rapidly between notes in
any order. This passage
should sound fluid and
ethereal. In mm. 69-73:
If there is no English
Horn available to the
ensemble, the Trumpet
should play this passage
solo. If there is an
English Horn, both
instruments should play
the passage
together. On November
5th, 2017, a mass
shooting took place at
the First Baptist Church
in Sutherland Springs,
Texas. Twenty-six
innocent people lost
their lives that day,
including an unborn
child. Overture to a
Small Town is dedicated
to these victims and the
loved ones they left
behind. From the biggest
cities to the smallest
towns, the senseless
bloodshed must end.
Despite the darkness of
this tragedy, it is my
intent through this music
to portray a sense of
hope, dignity, and
innocence deserved by all
America’s cities
and towns.  The
opening moments of this
piece should be treated
delicately, ensuring that
the brass section moves
together in one unified
voice, and that the
crotales evoke distant
flickers of light.
Similarly, in mm.
120-127, articulations in
the flutes, trumpets and
mallets should be strong
enough to be heard, but
without being
aggressive.  The
textural layering in mm.
48-53 should be executed
with machine-like
precision of both rhythm
and articulation. This
passage should evoke the
sound of many voices
rising together. There
should be a great
contrast between the
opening Piano dynamic and
the final Forte
dynamic.  In mm.
65-69, both mallet
percussionists may play
the indicated notes in
any octave they choose.
Both players should move
rapidly between notes in
any order. This passage
should sound fluid and
ethereal.  In mm.
69-73: If there is no
English Horn available to
the ensemble, the Trumpet
should play this passage
solo. If there is an
English Horn, both
instruments should play
the passage together. $13.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Tsunami [Conducteur] Theodore Presser Co.
Chamber Music SKU: PR.16400213S Composed by Dan Welcher. Spiral. Full sco...(+)
Chamber Music SKU:
PR.16400213S Composed
by Dan Welcher. Spiral.
Full score. With Standard
notation. 1+37 pages.
Duration 11 minutes.
Theodore Presser Company
#164-00213S. Published by
Theodore Presser Company
(PR.16400213S). UPC:
680160037636. 8.5 x 11
Landscape
inches. The unusual
combination of cello,
percussion and piano
seems more incongruous
than it actually sounds.
When I first heard the
ensemble Aequalis, in a
full evening program I
was absolutely astonished
at the combination of
lyricism, pulse, and
color. Something about
the mix causes the cello
to sound marimba-like,
the vibraphone to imitate
the cello's harmonics,
and the piano to become a
kind of proto-orchestra
of colors and effects.
Tsunami was
written for Aequalis in
the summer and fall of
1991 with the assistance
of a grant from Chamber
Music America. The title,
the Japanese word for
tidal wave (which is a
misnomer -- tsunamis have
nothing to do with the
tides), refers to the
phenomenon of an undersea
disturbance causing a
huge wall of water to
flood the first land in
its path. The initial
earthquake or volcanic
eruption that sends a
seismic shock through the
water is invisible --
it's only when that shock
wave hits land, recoils,
and takes ocean swells
back with it, that the
wave begins to form. In
successive landings,
recoilings, and
re-landings, this force
finally spends itself,
usually inundating
anything in its path,
sometimes to a depth of
one hundred feet or more.
My piece does not
attempt to depict this
natural cataclysm -- how
could it, with three
instruments? -- but the
form of the first half of
the work is based on it.
The initial percussive
shock that opens the
piece creates a stir in
the form of a cello
motive marked swelling
and employing long
portamenti pushing
upwards. After a second
shock, the cello motive
begins an undersea
journey -- very slow and
lyrical at first --
accompanied by
non-pitched percussion
only. Eventually the
piano joins, first with
echoing bass notes, then
with a rather mechanical
motive high on the
keyboard. This force
grows, the cello line
climbs higher and higher
until another
double-shock is heard --
perhaps the energy has
hit land? Following this,
the percussion becomes
melodic (marimba), and we
now have two lines in
canon accompanied by a
separate line in the
piano. This, too, builds
to a climax, and an even
louder and more vigorous
shock results. Now the
texture is a three-way
canon with cello,
vibraphone, and piano
chasing each other in
ever faster cycles of
sound. The height of this
is a triple cadenza in
which all three players
spend their pent-up
energy, one at a time.
The second part of
the piece follows after a
settling-down, and is
marked Dancing. This is a
rondo, with a recurring
theme (heard first in the
marimba) followed by
three contrasting
sections heard between
reiterations of the main
tune (the form could be
diagrammed A-A-B-A-C-A).
The mood is one of joyous
kinetic energy, with
elements of Eastern or
Balinese gamelan sounds,
and employing several
pentatonic scales (as
does the first half of
the work). It ends in a
vigorous, stomping dance.
--Dan Welcher
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| Great American Gospel for Guitar Guitare notes et tablatures - Facile Hal Leonard
Easy Guitar (Simplified arrangements for guitar). Size 9x12 inches. 104 pages. P...(+)
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A Pentatonic Modal Approach to Improvisation. By Ronald Lemos. Guitar Educationa...(+)
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| Symphony No. 2 Orchestre d'harmonie [Conducteur] - Intermédiaire/avancé Manhattan Beach Music
By Frank Ticheli. Concert band. Suitable for the most advanced high school bands...(+)
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