America's All-Time Favorite Songs for God and Country (Library of Series). Arran...(+)
America's All-Time
Favorite Songs for God
and Country (Library of
Series). Arranged by Amy
Appleby. Music Sales
America. Gospel, Sacred,
Sacred. Softcover. 320
pages. Music Sales
#AM985314. Published by
Music Sales
(1st Bb Trumpet). By Johann Sebastian Bach (1685-1750). Arranged by Richard S. T...(+)
(1st Bb Trumpet). By
Johann Sebastian Bach
(1685-1750). Arranged by
Richard S. Thurston. For
Concert Band. Band - Band
Collection. Southern
Music. Grade 2. 16 pages.
Southern Music Company
#B474TPT1. Published by
Southern Music Company
(2nd Bb Trumpet). By Johann Sebastian Bach (1685-1750). Arranged by Richard S. T...(+)
(2nd Bb Trumpet). By
Johann Sebastian Bach
(1685-1750). Arranged by
Richard S. Thurston. For
Concert Band. Band - Band
Collection. Southern
Music. Grade 2. 16 pages.
Southern Music Company
#B474TPT2. Published by
Southern Music Company
Bach Chorales for Band Orchestre d'harmonie [Partie séparée] - Facile Southern Music Ltd
(1st Trombone). By Johann Sebastian Bach (1685-1750). Arranged by Richard S. Thu...(+)
(1st Trombone). By Johann
Sebastian Bach
(1685-1750). Arranged by
Richard S. Thurston. For
Concert Band. Band - Band
Collection. Southern
Music. Grade 2. 16 pages.
Southern Music Company
#B474TBN1. Published by
Southern Music Company
Bach Chorales for Band Orchestre d'harmonie [Partie séparée] - Facile Southern Music Ltd
(2nd Eb Alto Saxophone). By Johann Sebastian Bach (1685-1750). Arranged by Richa...(+)
(2nd Eb Alto Saxophone).
By Johann Sebastian Bach
(1685-1750). Arranged by
Richard S. Thurston. For
Concert Band. Band - Band
Collection. Southern
Music. Grade 2. 16 pages.
Southern Music Company
#B474SAXA2. Published by
Southern Music Company
(2nd Horn in F). By Johann Sebastian Bach (1685-1750). Arranged by Richard S. Th...(+)
(2nd Horn in F). By
Johann Sebastian Bach
(1685-1750). Arranged by
Richard S. Thurston. For
Concert Band. Band - Band
Collection. Southern
Music. Grade 2. 16 pages.
Southern Music Company
#B474HN2. Published by
Southern Music Company
(1st Bb Clarinet). By Johann Sebastian Bach (1685-1750). Arranged by Richard S. ...(+)
(1st Bb Clarinet). By
Johann Sebastian Bach
(1685-1750). Arranged by
Richard S. Thurston. For
Concert Band. Band - Band
Collection. Southern
Music. Grade 2. 16 pages.
Southern Music Company
#B474CL1. Published by
Southern Music Company
(3rd (Bass) Trombone). By Johann Sebastian Bach (1685-1750). Arranged by Richard...(+)
(3rd (Bass) Trombone). By
Johann Sebastian Bach
(1685-1750). Arranged by
Richard S. Thurston. For
Concert Band. Southern
Music. Grade 2. 16 pages.
Hal Leonard
#B474TBN3/TBN. Published
by Hal Leonard
Piano Solo - Intermediate-Advanced SKU: FP.FSC05 Composed by Cyril Scott....(+)
Piano Solo -
Intermediate-Advanced
SKU: FP.FSC05
Composed by Cyril Scott.
Sheet Music and Books.
Three pieces for piano by
Cyril Scott, one of the
most influential
composers of the early
20th century. Classical.
Collection. Forsyths
Publications #FSC05.
Published by Forsyths
Publications (FP.FSC05).
ISBN
9790570504169.
Cyri
l Scott’s music is
currently the subject of
major revival, having
lain largely ignored for
much of the 20th Century.
Once described as 'the
father of modern British
music' by Eugene
Goossens, and admired by
Claude Debussy, Richard
Strauss, Igor Stravinsky
and his lifelong friend
Percy Grainger, he
composed four hundred
works including: four
Symphonies, three Operas,
two Piano Concertos, four
Oratorios, Concertos for
Violin, Cello, Oboe and
Harpsichord, several
Overtures, Tone Poems,
many Chamber works and
innumerable
songs.
There is a
story that when Bernard
Shaw commented to Elgar
on the (then) daring
harmonies of his Second
Symphony Elgar replied
'You mustn’t
forget, it was Cyril
Scott started all
that!'.
'a pioneer
of British piano music,
producing more piano
works in the period
1903-1914 than any other
British composer and any
other international one,
with the exception of
Scriabin... (He) was a
key figure before World
War I in helping Britain
to break away from
musical conservatism and
the prevailing Germanic
influences.' (Lisa Hardy,
The British Piano Sonata
1870-1945).
(A Fresh Approach to Sight-Reading). By Alan Bullard / Richard Wright. For guita...(+)
(A Fresh Approach to
Sight-Reading). By Alan
Bullard / Richard Wright.
For guitar. Joining The
Dots offers guitarists
lots of material to help
build confidence and
skill in sight- building.
The series brings
together a range of
activities to help
students
(A Fresh Approach to Sight-Reading). By Alan Bullard / Richard Wright. For guita...(+)
(A Fresh Approach to
Sight-Reading). By Alan
Bullard / Richard Wright.
For guitar. Joining The
Dots offers guitarists
lots of material to help
build confidence and
skill in sight- building.
The series brings
together a range of
activities to help
students
The Anthology of Baroque Keyboard Music is paired with the DVD Performance Pract...(+)
The Anthology of Baroque
Keyboard Music is paired
with the DVD Performance
Practices in Baroque
Keyboard Music for a
comprehensive look at the
literature and performing
conventions of the
Baroque era. On the DVD,
Dr. Hinson performs music
from the Anthology, and
relates invaluable
information on basic
touches, articulations,
dynamics and
ornamentation that will
help the performer create
a more
historically-informed
performance. Also on this
DVD is a lecture on the
history of Baroque dance
and the relationship
between dance and music,
with nine of the most
popular court dances
performed to Dr. Hinson's
keyboard accompaniment by
dancers in Baroque
costume
Chamber Music trombone SKU: CF.WF231 20 Original Etudes in a Variety o...(+)
Chamber Music trombone
SKU: CF.WF231
20 Original Etudes in
a Variety of Styles.
Composed by Tom Brantley.
Collection - Performance.
With Standard notation.
48 pages. Carl Fischer
Music #WF231. Published
by Carl Fischer Music
(CF.WF231).
ISBN
9781491153314. UPC:
680160910816.
Styli
stic Etudes for Trombone
was written for
intermediateto advanced
level trombonists,
seeking to meet
thedemands of the modern
marketplace for
performers. AsI often
tell my students,
it’s simply not
enough to mastera single
style and fake the rest.
To make a living as
aperformer, trombonists
are expected to play
many, manydifferent
styles authentically.
Classical performers
studyhard and devote
themselves to mastering
the stylisticnuances of
various eras, various
composers, variousforms;
jazz musicians seek to
accurately reflect the
stylesof everything from
bar-room burlesque to
Coltrane; hornbands in
the funk, rock, ska and
hip-hop idioms
mustreflect attention to
the details of their
influences even asthey
create new paths through
popular music.This etude
collection is an attempt
to help studentsand their
teachers work on the
details associated
withmastering each of
these various styles.In
order to perform with the
correct feel,
articulationand sound,
trombonists must first
get these concepts
intheir head through
diligent listening and
then disciplinedpractice
playing in every single
style. The same
wayorchestral players
study the symphonic
literature andexcerpts,
or the way a professional
jazz musician mightwork
on chord changes in
excruciating detail, a
wellroundedtrombone
player must master styles
by listeningto and
playing with great
recordings. Most of the
etudesin this book are
based on styles from
specific
orchestralliterature,
jazz standards and other
styles such as
NewOrleans’ funk
music (Meters) or the
music of JamesBrown and
Tower of Power.One final
note: some of these are
hard. On purpose.
Theseare not warm-ups
that you can play through
mindlesslyto get your
face going. These are
“study
pieces†in the
oldfashionedsense. They
are designed to challenge
you asa player, to make
you a little
uncomfortable. Some
aretougher than others,
of course, but none of
them are easy.If you can
play through each of
these well, with
greatmusicianship and
impeccable technique, you
will be anincredibly
versatile instrumentalist
and be able to
secureperformance
opportunities that are
outside the comfortzone
of many
trombonists.Thanks for
buying this book. I hope
you enjoy workingthrough
these, whether
you’re a teacher,
student,performer, or
weekend warrior. I
learned a lot by
puttingthese together and
I hope you find them
useful and
helpful. Stylistic
Etudes for Trombone was
written for intermediate
to advanced level
trombonists, seeking to
meet the demands of the
modern marketplace for
performers. As I often
tell my students,
it’s simply not
enough to master a single
style and fake the rest.
To make a living as a
performer, trombonists
are expected to play
many, many different
styles authentically.
Classical performers
study hard and devote
themselves to mastering
the stylistic nuances of
various eras, various
composers, various forms;
jazz musicians seek to
accurately reflect the
styles of everything from
bar-room burlesque to
Coltrane; horn bands in
the funk, rock, ska and
hip-hop idioms must
reflect attention to the
details of their
influences even as they
create new paths through
popular music.This etude
collection is an attempt
to help students and
their teachers work on
the details associated
with mastering each of
these various styles.In
order to perform with the
correct feel,
articulation and sound,
trombonists must first
get these concepts in
their head through
diligent listening and
then disciplined practice
playing in every single
style. The same way
orchestral players study
the symphonic literature
and excerpts, or the way
a professional jazz
musician might work on
chord changes in
excruciating detail, a
well-rounded trombone
player must master styles
by listening to and
playing with great
recordings. Most of the
etudes in this book are
based on styles from
specific orchestral
literature, jazz
standards and other
styles such as New
Orleans’ funk
music (Meters) or the
music of James Brown and
Tower of Power.How these
etudes were conceived,
composed and transcribed:
The style or concept of
the etude was thought out
in my head and ear. I
then improvised in that
style and concept on my
trombone, recording my
efforts until I was
satisfied with the etude.
All along, my goal was to
play the range of the
instrument while
emphasizing certain
articulations, rhythms,
range and, fundamentally,
the intended style of the
etude. The resulting
etude was then
transcribed by a terrific
graduate student named
Zach Bornheimer, who also
works with many other
classical and jazz
composers as a
copyist/arranger.Tips for
working on the etudes:
Seek out professional
recordings that match the
style of each etude to
get a good idea of what
the etude should sound
like musically. My
recording of each of
these etudes is available
for download and can be
purchased online for a
modest fee. Search for
“Brantley
Etudes†at either
iTunes or CDBaby.
Practice each etude very
slowly and in segments as
needed, using a
metronome. Record
yourself and listen for
good technique,
musicianship and
authenticity of style
with your sound, feel and
articulations. Compare
your own efforts to the
sounds you’ve
heard on recordings.
Would you fit in that
ensemble or band? If
range is an issue, take
certain notes or passages
down or up an octave.
Work on your fundamentals
every day, including the
techniques and skills
needed for these etudes.
Be patient! Small
improvements every day
result in big success
over time. Always play
with a wide dynamic
range. Always play with
line and direction.
Always play with
impeccable time as well
as rhythm. Use a
metronome to help with
this. Always play in
tune. You can work on
this with a tuner as well
as with drones. Play
these for teachers,
friends, peers and
colleagues not only for
their feedback but also
for the experience of
informal performance. An
audience changes
everything. Make music,
listen to music, record
yourself, play in public
and have fun!One final
note: some of these are
hard. On purpose. These
are not warm-ups that you
can play through
mindlessly to get your
face going. These are
“study
pieces†in the
old-fashioned sense. They
are designed to challenge
you as a player, to make
you a little
uncomfortable. Some are
tougher than others, of
course, but none of them
are easy. If you can play
through each of these
well, with great
musicianship and
impeccable technique, you
will be an incredibly
versatile instrumentalist
and be able to secure
performance opportunities
that are outside the
comfort zone of many
trombonists.Thanks for
buying this book. I hope
you enjoy working through
these, whether
you’re a teacher,
student, performer, or
weekend warrior. I
learned a lot by putting
these together and I hope
you find them useful and
helpful.Best
wishes,—Tom
Brantley.
By Janet Coles. For Cello. A New Tune A Day. Level: Beginner. Sheet Music, Audio...(+)
By Janet Coles. For
Cello. A New Tune A Day.
Level: Beginner. Sheet
Music, Audio CD and DVD
(Region 0), Instrumental
Tutor. 48 pages.
Published by Boston
Music.
Lyrics/Chords Ukulele SKU: HL.232108 By The Beatles. Ukulele. Pop. Softco...(+)
Lyrics/Chords Ukulele
SKU: HL.232108
By
The Beatles. Ukulele.
Pop. Softcover. Composed
2014. 384 pages. Hal
Leonard #NO91894.
Published by Hal Leonard
(HL.232108).
ISBN
9781783052738. UPC:
888680677329.
4.5x7.5x0.899
inches.
Complete
lyrics and chords to 195
Beatles songs, including:
Across the Universe
• All My Loving
• All You Need Is
Love • And I Love
Her • Back in the
U.S.S.R. • The
Ballad of John and Yoko
• Birthday •
Blackbird • A Day
in the Life • Day
Tripper • Dear
Prudence • Drive My
Car • Eight Days a
Week • Eleanor
Rigby • Good Day
Sunshine • Got to
Get You into My Life
• A Hard Day's
Night • Help!
• Helter Skelter
• Here Comes the
Sun • Hey Jude
• I Saw Her
Standing There • I
Want to Hold Your Hand
• In My Life
• Let It Be •
The Long and Winding Road
• Lucy in the Sky
with Diamonds •
Penny Lane •
Revolution •
Something • Ticket
to Ride • Twist and
Shout • When I'm
Sixty-Four • While
My Guitar Gently Weeps
• Yellow Submarine
• Yesterday •
and more. 4-1/2 inches x
7-1/2 inches.
(32 Trios That Can Be Played by Any Combination of Wind Instruments). By Larry C...(+)
(32 Trios That Can Be
Played by Any Combination
of Wind Instruments). By
Larry Clark. Arranged by
Larry Clark. For Trombone
/ Euphonium B.C. /
Bassoon. Compatible Trios
for Winds. Part book. 48
pages. Published by Carl
Fischer
(32 Trios That Can Be Played by Any Combination of Wind Instruments). By Larry C...(+)
(32 Trios That Can Be
Played by Any Combination
of Wind Instruments). By
Larry Clark. Arranged by
Larry Clark. For Clarinet
/ Trumpet / Euphonium
T.C. / Tenor Saxophone in
Bb. Compatible Trios for
Winds. Part book. 48
pages. Published by Carl
Fischer
(32 Trios That Can Be Played by Any Combination of Wind Instruments). By Larry C...(+)
(32 Trios That Can Be
Played by Any Combination
of Wind Instruments). By
Larry Clark. Arranged by
Larry Clark. For Flute /
Oboe. Compatible Trios
for Winds. Part book. 48
pages. Published by Carl
Fischer
(32 Trios That Can Be Played by Any Combination of Wind Instruments). By Larry C...(+)
(32 Trios That Can Be
Played by Any Combination
of Wind Instruments). By
Larry Clark. Arranged by
Larry Clark. For Tuba.
Compatible Trios for
Winds. Part book. 48
pages. Published by Carl
Fischer
(32 Trios That Can Be Played by Any Combination of Wind Instruments). By Larry C...(+)
(32 Trios That Can Be
Played by Any Combination
of Wind Instruments). By
Larry Clark. Arranged by
Larry Clark. For Alto /
Baritone Saxophone.
Compatible Trios for
Winds. Part book. 48
pages. Published by Carl
Fischer