Download Digital Sheet Music of Ain't Got Time to Die

Ain't Got Time to Die

Weihnachtliche Melodien: German Christmas Songs (Vol. 2)

Small Ensemble Alto Saxophone,Flute,Oboe,Piano Accompaniment,Violin - Level 2 - Digital Do…(+)

Small Ensemble Alto Saxophone,Flute,Oboe,Piano Accompaniment,Violin - Level 2 - Digital Download SKU: A0.596515 Composed by Traditional. Arranged by Juan Maria Solare. Christian,Christmas,Praise & Worship. Score and parts. 21 pages. Juan Maria Solare #3409109. Published by Juan Maria Solare (A0.596515). Weihnachtliche Melodien: German Christmas Songs Compiled and harmonised by Juan MarÃa Solare All these melodies are written as they sound (i.e. in C) but also come with a second version for Alto Saxophone (in E flat). The keys were chosen so that the Gemeinde can sing them without huge problems (middle voice, highest note: C). A possible structure is: - As INTRO: the piano (or any other accompaniment instrument) plays the last 2 or 4 bars of the melody- The soloist (flute, violin, alto saxophone) plays the main melody as many times as wished (as is or also one octave higher for variety)- The piano plays the melody once- The soloist plays the main melody for the last time. Volume 2: Zu Bethlehem geboren [Born in Bethlehem] Im Walde steht ein Tannenbaum [There is a fir-tree in the forest] Lobt Gott, ihr Christen [Praise God, Christians] Macht hoch die TÃ¼r [Make high the doors] Still, still, still, weil's Kindlein schlafen will [Hush, hush, hush, for the little child wants to sleep!] Vom Himmel hoch, da komm ich her [From Heaven Above to Earth I Come] Kommet, ihr Hirten [Come, ye shepherds] Morgen kommt der Weihnachtsmann [Tomorrow Father Christmas Comes] FrÃ¶hliche Weihnacht Ã¼berall [Merry Christmas Everywhere]ï»¿
$3.00 2.76 € #Traditional #Weihnachtliche Melodien: German Christmas Songs #Juan Maria Solare #SheetMusicPlus

Small Ensemble - Level 3 - Digital Download SKU: A0.784334 Composed by Joshua Hauser. Instructional. Score and parts. 38 pages. Slide Ride #5288661. Published by Slide Ride (A0.784334). 1 Octave Scale Studies in 15+ keys for 4-part ensembles of like or mixed instruments If this is your first exposure to these scale studies, you are in for a treat! Donuts, if you make a mistake!The initial incarnation of these studies were written for trombone quartet and we would play them in the Tennessee Tech Trombone Choir with the challenge that whomever made the first mistake had to buy donuts for the rest of the ensemble. Since then I have brought that version to several clinics and warm up sessions. One time before I got to explain the title, a fellow trombone professor said, Oh, I get it! Donâ€™t step in the holes!I only wish I had thought of that myself... Since we have one of the best donut shops in TN here in Cookeville, treating the studio to sugar coated goodies was always my intent.As with those initial exercises, you can vary these as much as youâ€™d like.Â· Choose a tempo.Â· Choose a dynamic.Â· Choose an articulation/style.One way I like to play these is to have one person be the model, playing the entire scale over and over while everyone else plays the fragmented versions. That helps everyone to keep on track and stay in time. Double or triple up the parts for ensemble cohesion with a larger group.Practice one key, gradually speeding it up to improve fluidity, or choose a variation and take it through all keys, playing version A, B, C, or D then skipping to play the same set in a new key.If you want an additional challenge, play them in different octaves or change the key. Play the F Major set in f minor (all forms), different modes, etc. Players really have to be on their toes to remember if they are playing melodic minor in the ascending or descending form! For jazz players, try swinging them in dorian or mixolydian modes.The variations are endless!If you are using these with transposing instruments, 1) is F Major in Concert Pitch, 2) is Bb Major in Concert pitch, and so on. When you reach a scale that is enharmonic for another key (Db/C#, Gb/F#, or Cb/B), they are presented in both keys for each instrument so Trumpets can play in Eb while the Flutes are playing in C# with similar examples for all keys.All Donut Etudes with the same volume number are compatible so you can play them in mixed quartets or large ensembles with one or more instruments/people on part 1 and a different instrument on part 2, etc. Since the quartets are all identical, conductors/coaches can use any of the scores to tell which part should be playing at what time. Once you have played a scale with one set of parts, everyone can rotate to a different part and play the same scales again!Enjoy!

Small Ensemble - Level 3 - Digital Download SKU: A0.784348 Composed by Joshua Hauser. Instructional. Score and parts. 74 pages. Slide Ride #5288731. Published by Slide Ride (A0.784348). 1 Octave Scale Studies in 15+ keys for 4-part ensembles of like or mixed instrumentsIf this is your first exposure to these scale studies, you are in for a treat! Donuts, if you make a mistake!The initial incarnation of these studies were written for trombone quartet and we would play them in the Tennessee Tech Trombone Choir with the challenge that whomever made the first mistake had to buy donuts for the rest of the ensemble. Since then I have brought that version to several clinics and warm up sessions. One time before I got to explain the title, a fellow trombone professor said, Oh, I get it! Donâ€™t step in the holes!I only wish I had thought of that myself... Since we have one of the best donut shops in TN here in Cookeville, treating the studio to sugar coated goodies was always my intent.As with those initial exercises, you can vary these as much as youâ€™d like.Â· Choose a tempo.Â· Choose a dynamic.Â· Choose an articulation/style.One way I like to play these is to have one person be the model, playing the entire scale over and over while everyone else plays the fragmented versions. That helps everyone to keep on track and stay in time. Double or triple up the parts for ensemble cohesion with a larger group.Practice one key, gradually speeding it up to improve fluidity, or choose a variation and take it through all keys, playing version A, B, C, or D then skipping to play the same set in a new key.If you want an additional challenge, play them in different octaves or change the key. Play the F Major set in f minor (all forms), different modes, etc. Players really have to be on their toes to remember if they are playing melodic minor in the ascending or descending form! For jazz players, try swinging them in dorian or mixolydian modes.The variations are endless!If you are using these with transposing instruments, 1) is F Major in Concert Pitch, 2) is Bb Major in Concert pitch, and so on. When you reach a scale that is enharmonic for another key (Db/C#, Gb/F#, or Cb/B), they are presented in both keys for each instrument so Trumpets can play in Eb while the Flutes are playing in C# with similar examples for all keys.All Donut Etudes with the same volume number are compatible so you can play them in mixed quartets or large ensembles with one or more instruments/people on part 1 and a different instrument on part 2, etc. Since the quartets are all identical, conductors/coaches can use any of the scores to tell which part should be playing at what time. Once you have played a scale with one set of parts, everyone can rotate to a different part and play the same scales again!Enjoy!

Small Ensemble Trombone/Baritone B.C. - Level 3 - Digital Download SKU: A0.784336 Composed by Joshua Hauser. Instructional. Score and parts. 38 pages. Slide Ride #5288665. Published by Slide Ride (A0.784336). 1 Octave Scale Studies in 15+ keys for 4-part ensembles of like or mixed instruments If this is your first exposure to these scale studies, you are in for a treat! Donuts, if you make a mistake!The initial incarnation of these studies were written for trombone quartet and we would play them in the Tennessee Tech Trombone Choir with the challenge that whomever made the first mistake had to buy donuts for the rest of the ensemble. Since then I have brought that version to several clinics and warm up sessions. One time before I got to explain the title, a fellow trombone professor said, Oh, I get it! Donâ€™t step in the holes!I only wish I had thought of that myself... Since we have one of the best donut shops in TN here in Cookeville, treating the studio to sugar coated goodies was always my intent.As with those initial exercises, you can vary these as much as youâ€™d like.Â· Choose a tempo.Â· Choose a dynamic.Â· Choose an articulation/style.One way I like to play these is to have one person be the model, playing the entire scale over and over while everyone else plays the fragmented versions. That helps everyone to keep on track and stay in time. Double or triple up the parts for ensemble cohesion with a larger group.Practice one key, gradually speeding it up to improve fluidity, or choose a variation and take it through all keys, playing version A, B, C, or D then skipping to play the same set in a new key.If you want an additional challenge, play them in different octaves or change the key. Play the F Major set in f minor (all forms), different modes, etc. Players really have to be on their toes to remember if they are playing melodic minor in the ascending or descending form! For jazz players, try swinging them in dorian or mixolydian modes.The variations are endless!If you are using these with transposing instruments, 1) is F Major in Concert Pitch, 2) is Bb Major in Concert pitch, and so on. When you reach a scale that is enharmonic for another key (Db/C#, Gb/F#, or Cb/B), they are presented in both keys for each instrument so Trumpets can play in Eb while the Flutes are playing in C# with similar examples for all keys.All Donut Etudes with the same volume number are compatible so you can play them in mixed quartets or large ensembles with one or more instruments/people on part 1 and a different instrument on part 2, etc. Since the quartets are all identical, conductors/coaches can use any of the scores to tell which part should be playing at what time. Once you have played a scale with one set of parts, everyone can rotate to a different part and play the same scales again!Enjoy!

Small Ensemble Double Bass - Level 3 - Digital Download SKU: A0.784342 Composed by Joshua Hauser. Instructional. Score and parts. 38 pages. Slide Ride #5288689. Published by Slide Ride (A0.784342). 1 Octave Scale Studies in 15+ keys for 4-part ensembles of like or mixed instruments If this is your first exposure to these scale studies, you are in for a treat! Donuts, if you make a mistake!The initial incarnation of these studies were written for trombone quartet and we would play them in the Tennessee Tech Trombone Choir with the challenge that whomever made the first mistake had to buy donuts for the rest of the ensemble. Since then I have brought that version to several clinics and warm up sessions. One time before I got to explain the title, a fellow trombone professor said, Oh, I get it! Donâ€™t step in the holes!I only wish I had thought of that myself... Since we have one of the best donut shops in TN here in Cookeville, treating the studio to sugar coated goodies was always my intent.As with those initial exercises, you can vary these as much as youâ€™d like.Â· Choose a tempo.Â· Choose a dynamic.Â· Choose an articulation/style.One way I like to play these is to have one person be the model, playing the entire scale over and over while everyone else plays the fragmented versions. That helps everyone to keep on track and stay in time. Double or triple up the parts for ensemble cohesion with a larger group.Practice one key, gradually speeding it up to improve fluidity, or choose a variation and take it through all keys, playing version A, B, C, or D then skipping to play the same set in a new key.If you want an additional challenge, play them in different octaves or change the key. Play the F Major set in f minor (all forms), different modes, etc. Players really have to be on their toes to remember if they are playing melodic minor in the ascending or descending form! For jazz players, try swinging them in dorian or mixolydian modes.The variations are endless!If you are using these with transposing instruments, 1) is F Major in Concert Pitch, 2) is Bb Major in Concert pitch, and so on. When you reach a scale that is enharmonic for another key (Db/C#, Gb/F#, or Cb/B), they are presented in both keys for each instrument so Trumpets can play in Eb while the Flutes are playing in C# with similar examples for all keys.All Donut Etudes with the same volume number are compatible so you can play them in mixed quartets or large ensembles with one or more instruments/people on part 1 and a different instrument on part 2, etc. Since the quartets are all identical, conductors/coaches can use any of the scores to tell which part should be playing at what time. Once you have played a scale with one set of parts, everyone can rotate to a different part and play the same scales again!Enjoy!

Small Ensemble Viola - Level 4 - Digital Download SKU: A0.592547 By Daniel Kelley. By Various. Arranged by Daniel Kelley. Broadway,Celtic,Irish,Musical/Show,Wedding. Score and parts. 44 pages. Last Resort Music Publishing #201338. Published by Last Resort Music Publishing (A0.592547). Volume 7 - Irish Music, Fiddle Tunes & Traditional Pop Favorites 50722 Part 2 - Viola Ain't We Got Fun, Alexander's Ragtime Band, Irish Reels, When Irish Eyes Are Smiling and more! An incredible collection of 35 arrangements for strings, woodwinds and piano â€“ these mix and match trios allow the performer to pick the instrumentation. A versatile must-have for any musician, Music for Three is perfect for weddings, recitals, concerts, and any chamber music gatherings. Parts are available separately or may be purchased for specific instrumentation. The Keyboard/Guitar part encompasses both Parts 2 and 3. Arrangements for String Trio, Wind Trio, Piano Trio, Mixed Trio & more Interchangeable Parts for Strings or Winds ~ Optional Keyboard/Guitar Part Simply choose the instrumentation that you need and play! The parts available for this volume are listed here! 50711 Part 1 Flute or Oboe or Violin 50713 Part 1 Clarinet in Bb 50721 Part 2 Flute or Oboe or Violin 50722 Part 2 Viola 50723 Part 2 Clarinet in Bb 50731 Part 3 Cello or Bassoon 50740 Keyboard or Guitar 50799 Score (Parts 1-3 in C) Table of Contents Ain't We Got Fun (Whiting, Kahn & Egan) Alexander's Ragtime Band (Irving Berlin) Arkansas Traveler (American Fiddle Tune) Band Played On, The (Ward & Palmer) Believe Me, If All Those Endearing Young Charms (Moore) Bill Cheatham (American Fiddle Tune) Blackberry Blossom (American Fiddle Tune) By the Light of the Silvery Moon (Edwards & Madden) Chicken Reel (American Fiddle Tune) Coleraine (Irish Jig) Devile's Dream (American Fiddle Tune) Drowsy Maggie (Irish Reel) Dusty Miller (American Fiddle Tune) Fisher's Hornpipe (American Fiddle Tune) Flowers of Edinburgh (Irish Reel) For Me and My Gal (Meyer, Leslie & Goetz) Garry Owen (Irish Jig) Give My Regards to Broadway from Little Johnny Jones (Cohan) Glow Worm from The Girl Behind the Counter (Cohan) Good Old Summertime, In the (Lincke & Robinson) Irish Washerwoman, The (Irish Jig) Kerry Dance, The (Molloy) Kesh Jig (Irish Jig) Let Me Call You Sweetheart (Friedman & Whitson) Londonderry Air (Traditional Irish Melody) Nola (Arndt) Old Joe Clark (American Fiddle Tune) Si Bheag, Si Mhor (Irish Air) Soldier's Joy (American Fiddle Tune) Swallowtail Jig (Irish Jig) Sweetie Mine from Sinbad (Jolson, Mitchell & Hess) Toot, Toot, Tootsie from Bombo (Kahn, Erdman & Russo) Toyland from Babes in Toyland (Herbert & MacDonough) Wearing of the Green, The (Irish Air) When Irish Eyes Are Smiling (Ball, Olcott & Graf) Published by lastresortmusic.com.

Small Ensemble - Level 4 - Digital Download SKU: A0.592550 By Daniel Kelley. By Daniel Kelley. Arranged by Daniel Kelley. Broadway,Celtic,Irish,Musical/Show,Pop,Wedding. Score and parts. 93 pages. Last Resort Music Publishing #201340. Published by Last Resort Music Publishing (A0.592550). Volume 7 - Irish Music, Fiddle Tunes & Traditional Pop Favorites 50740 Keyboard or Guitar Ain't We Got Fun, Alexander's Ragtime Band, Irish Reels, When Irish Eyes Are Smiling and more! An incredible collection of 35 arrangements for strings, woodwinds and piano â€“ these mix and match trios allow the performer to pick the instrumentation. A versatile must-have for any musician, Music for Three is perfect for weddings, recitals, concerts, and any chamber music gatherings. Parts are available separately or may be purchased for specific instrumentation. The Keyboard/Guitar part encompasses both Parts 2 and 3. Arrangements for String Trio, Wind Trio, Piano Trio, Mixed Trio & more Interchangeable Parts for Strings or Winds ~ Optional Keyboard/Guitar Part Simply choose the instrumentation that you need and play! The parts available for this volume are listed here! 50711 Part 1 Flute or Oboe or Violin 50713 Part 1 Clarinet in Bb 50721 Part 2 Flute or Oboe or Violin 50722 Part 2 Viola 50723 Part 2 Clarinet in Bb 50731 Part 3 Cello or Bassoon 50740 Keyboard or Guitar 50799 Score (Parts 1-3 in C) Table of Contents Ain't We Got Fun (Whiting, Kahn & Egan) Alexander's Ragtime Band (Irving Berlin) Arkansas Traveler (American Fiddle Tune) Band Played On, The (Ward & Palmer) Believe Me, If All Those Endearing Young Charms (Moore) Bill Cheatham (American Fiddle Tune) Blackberry Blossom (American Fiddle Tune) By the Light of the Silvery Moon (Edwards & Madden) Chicken Reel (American Fiddle Tune) Coleraine (Irish Jig) Devile's Dream (American Fiddle Tune) Drowsy Maggie (Irish Reel) Dusty Miller (American Fiddle Tune) Fisher's Hornpipe (American Fiddle Tune) Flowers of Edinburgh (Irish Reel) For Me and My Gal (Meyer, Leslie & Goetz) Garry Owen (Irish Jig) Give My Regards to Broadway from Little Johnny Jones (Cohan) Glow Worm from The Girl Behind the Counter (Cohan) Good Old Summertime, In the (Lincke & Robinson) Irish Washerwoman, The (Irish Jig) Kerry Dance, The (Molloy) Kesh Jig (Irish Jig) Let Me Call You Sweetheart (Friedman & Whitson) Londonderry Air (Traditional Irish Melody) Nola (Arndt) Old Joe Clark (American Fiddle Tune) Si Bheag, Si Mhor (Irish Air) Soldier's Joy (American Fiddle Tune) Swallowtail Jig (Irish Jig) Sweetie Mine from Sinbad (Jolson, Mitchell & Hess) Toot, Toot, Tootsie from Bombo (Kahn, Erdman & Russo) Toyland from Babes in Toyland (Herbert & MacDonough) Wearing of the Green, The (Irish Air) When Irish Eyes Are Smiling (Ball, Olcott & Graf) Published by lastresortmusic.com.

Small Ensemble - Level 4 - Digital Download SKU: A0.592549 Composed by Various. Arranged by Daniel Kelley. Broadway,Celtic,Irish,Musical/Show,Pop,Wedding. Score and parts. 44 pages. Last Resort Music Publishing #201339. Published by Last Resort Music Publishing (A0.592549). Volume 7 - Irish Music, Fiddle Tunes & Traditional Pop Favorites 50731 Part 3 - Cello or Bassoon Ain't We Got Fun, Alexander's Ragtime Band, Irish Reels, When Irish Eyes Are Smiling and more! An incredible collection of 35 arrangements for strings, woodwinds and piano â€“ these mix and match trios allow the performer to pick the instrumentation. A versatile must-have for any musician, Music for Three is perfect for weddings, recitals, concerts, and any chamber music gatherings. Parts are available separately or may be purchased for specific instrumentation. The Keyboard/Guitar part encompasses both Parts 2 and 3. Arrangements for String Trio, Wind Trio, Piano Trio, Mixed Trio & more Interchangeable Parts for Strings or Winds ~ Optional Keyboard/Guitar Part Simply choose the instrumentation that you need and play! The parts available for this volume are listed here! 50711 Part 1 Flute or Oboe or Violin 50713 Part 1 Clarinet in Bb 50721 Part 2 Flute or Oboe or Violin 50722 Part 2 Viola 50723 Part 2 Clarinet in Bb 50731 Part 3 Cello or Bassoon 50740 Keyboard or Guitar 50799 Score (Parts 1-3 in C) Table of Contents Ain't We Got Fun (Whiting, Kahn & Egan) Alexander's Ragtime Band (Irving Berlin) Arkansas Traveler (American Fiddle Tune) Band Played On, The (Ward & Palmer) Believe Me, If All Those Endearing Young Charms (Moore) Bill Cheatham (American Fiddle Tune) Blackberry Blossom (American Fiddle Tune) By the Light of the Silvery Moon (Edwards & Madden) Chicken Reel (American Fiddle Tune) Coleraine (Irish Jig) Devile's Dream (American Fiddle Tune) Drowsy Maggie (Irish Reel) Dusty Miller (American Fiddle Tune) Fisher's Hornpipe (American Fiddle Tune) Flowers of Edinburgh (Irish Reel) For Me and My Gal (Meyer, Leslie & Goetz) Garry Owen (Irish Jig) Give My Regards to Broadway from Little Johnny Jones (Cohan) Glow Worm from The Girl Behind the Counter (Cohan) Good Old Summertime, In the (Lincke & Robinson) Irish Washerwoman, The (Irish Jig) Kerry Dance, The (Molloy) Kesh Jig (Irish Jig) Let Me Call You Sweetheart (Friedman & Whitson) Londonderry Air (Traditional Irish Melody) Nola (Arndt) Old Joe Clark (American Fiddle Tune) Si Bheag, Si Mhor (Irish Air) Soldier's Joy (American Fiddle Tune) Swallowtail Jig (Irish Jig) Sweetie Mine from Sinbad (Jolson, Mitchell & Hess) Toot, Toot, Tootsie from Bombo (Kahn, Erdman & Russo) Toyland from Babes in Toyland (Herbert & MacDonough) Wearing of the Green, The (Irish Air) When Irish Eyes Are Smiling (Ball, Olcott & Graf) Published by lastresortmusic.com.

Small Ensemble - Level 4 - Digital Download SKU: A0.592546 Composed by Various. Arranged by Daniel Kelley. Baroque,Broadway,Celtic,Irish,Musical/Show,Pop,Wedding. Score and parts. 44 pages. Last Resort Music Publishing #201337. Published by Last Resort Music Publishing (A0.592546). Volume 7 - Irish Music, Fiddle Tunes & Traditional Pop Favorites 50722 Part 2 - Flute or Oboe or Violin Ain't We Got Fun, Alexander's Ragtime Band, Irish Reels, When Irish Eyes Are Smiling and more! An incredible collection of 35 arrangements for strings, woodwinds and piano â€“ these mix and match trios allow the performer to pick the instrumentation. A versatile must-have for any musician, Music for Three is perfect for weddings, recitals, concerts, and any chamber music gatherings. Parts are available separately or may be purchased for specific instrumentation. The Keyboard/Guitar part encompasses both Parts 2 and 3. Arrangements for String Trio, Wind Trio, Piano Trio, Mixed Trio & more Interchangeable Parts for Strings or Winds ~ Optional Keyboard/Guitar Part Simply choose the instrumentation that you need and play! The parts available for this volume are listed here! 50711 Part 1 Flute or Oboe or Violin 50713 Part 1 Clarinet in Bb 50721 Part 2 Flute or Oboe or Violin 50722 Part 2 Viola 50723 Part 2 Clarinet in Bb 50731 Part 3 Cello or Bassoon 50740 Keyboard or Guitar 50799 Score (Parts 1-3 in C) Table of Contents Ain't We Got Fun (Whiting, Kahn & Egan) Alexander's Ragtime Band (Irving Berlin) Arkansas Traveler (American Fiddle Tune) Band Played On, The (Ward & Palmer) Believe Me, If All Those Endearing Young Charms (Moore) Bill Cheatham (American Fiddle Tune) Blackberry Blossom (American Fiddle Tune) By the Light of the Silvery Moon (Edwards & Madden) Chicken Reel (American Fiddle Tune) Coleraine (Irish Jig) Devile's Dream (American Fiddle Tune) Drowsy Maggie (Irish Reel) Dusty Miller (American Fiddle Tune) Fisher's Hornpipe (American Fiddle Tune) Flowers of Edinburgh (Irish Reel) For Me and My Gal (Meyer, Leslie & Goetz) Garry Owen (Irish Jig) Give My Regards to Broadway from Little Johnny Jones (Cohan) Glow Worm from The Girl Behind the Counter (Cohan) Good Old Summertime, In the (Lincke & Robinson) Irish Washerwoman, The (Irish Jig) Kerry Dance, The (Molloy) Kesh Jig (Irish Jig) Let Me Call You Sweetheart (Friedman & Whitson) Londonderry Air (Traditional Irish Melody) Nola (Arndt) Old Joe Clark (American Fiddle Tune) Si Bheag, Si Mhor (Irish Air) Soldier's Joy (American Fiddle Tune) Swallowtail Jig (Irish Jig) Sweetie Mine from Sinbad (Jolson, Mitchell & Hess) Toot, Toot, Tootsie from Bombo (Kahn, Erdman & Russo) Toyland from Babes in Toyland (Herbert & MacDonough) Wearing of the Green, The (Irish Air) When Irish Eyes Are Smiling (Ball, Olcott & Graf) Published by lastresortmusic.com.

Donut Etudes v5 - Scale Duets for 2 Trombones in Bb/F, 2 Euphoniums in Bass Clef, or 2 Bassoons

Instrumental Duet Bassoon,Euphonium,Instrumental Duet,Trombone - Digital Download SKU: …(+)

Instrumental Duet Bassoon,Euphonium,Instrumental Duet,Trombone - Digital Download SKU: A0.784312 Composed by Joshua Hauser. Instructional. Score and parts. 41 pages. Slide Ride #3570005. Published by Slide Ride (A0.784312). â€ƒIf this is your first exposure to these scale studies, you are in for a treat! Donuts, if you make a mistake! â€ƒThe initial incarnation of these studies were written for trombone quartet and we would play them in the Tennessee Tech Trombone Choir with the challenge that whomever made the first mistake had to buy donuts for the rest of the ensemble. Since then I have brought that version to several clinics and warm up sessions. One time before I got to explain the title, a fellow trombone professor said, Oh, I get it! Donâ€™t step in the holes!â€ƒI only wish I had thought of that myself... Since we have one of the best donut shops in TN here in Cookeville, treating the studio to sugar coated goodies was always my intent. â€ƒAs with those exercises, you can vary these as much as youâ€™d like.â€¢â€ƒChoose a tempoâ€¢â€ƒChoose a dynamic. â€¢â€ƒChoose an articulation/style. â€ƒOne way I like to play these is to have one person be the model, playing the entire scale over and over while everyone else plays the fragmented versions. That helps everyone to keep on track and stay in time. Double or triple up the parts for ensemble cohesion with a larger group. â€ƒPractice one key, gradually speeding it up to improve fluidity or choose a variation and take it through all keys, playing version A, B, C, or D then skipping 5 lines to play the same set in a new key. â€ƒIf you want an additional challenge in terms of range, play them in different octaves or change the clef and key signature to expand the set. For example, if you play the F Major example in Tenor Clef, change the key signature to C Major and you have a version that is based an octave higher than the C Major version as written later.â€ƒAdditionally, you can change the Key. Play them in f minor (all forms), different modes, etc. For jazz players, try swinging them in dorian or mixolydian modes. â€ƒThe variations are endless! â€ƒAll Donut Etudes with the same version number are compatible so you can play them in mixed duets with one person on part 1 and a different instrument on part 2. â€ƒEnjoy!
$10.00 9.22 € #Joshua Hauser #Donut Etudes v5 - Scale Duets for 2 Trombones in Bb/F, 2 Euphoniums in Bass Clef, or 2 Bassoons #Slide Ride #SheetMusicPlus

Donut Etudes v5 - Scale Duets for 2 Euphoniums or Baritones in Treble Clef

Instrumental Duet Euphonium,Instrumental Duet - Digital Download SKU: A0.784315 Com…(+)

Instrumental Duet Euphonium,Instrumental Duet - Digital Download SKU: A0.784315 Composed by Joshua Hauser. Instructional. Score and parts. 41 pages. Slide Ride #3570015. Published by Slide Ride (A0.784315). â€ƒIf this is your first exposure to these scale studies, you are in for a treat! Donuts, if you make a mistake! â€ƒThe initial incarnation of these studies were written for trombone quartet and we would play them in the Tennessee Tech Trombone Choir with the challenge that whomever made the first mistake had to buy donuts for the rest of the ensemble. Since then I have brought that version to several clinics and warm up sessions. One time before I got to explain the title, a fellow trombone professor said, Oh, I get it! Donâ€™t step in the holes! â€ƒI only wish I had thought of that myself... Since we have one of the best donut shops in TN here in Cookeville, treating the studio to sugar coated goodies was always my intent. â€ƒAs with those exercises, you can vary these as much as youâ€™d like. â€¢â€ƒChoose a tempo â€¢â€ƒChoose a dynamic. â€¢â€ƒChoose an articulation/style. â€ƒOne way I like to play these is to have one person be the model, playing the entire scale over and over while everyone else plays the fragmented versions. That helps everyone to keep on track and stay in time. Double or triple up the parts for ensemble cohesion with a larger group. â€ƒPractice one key, gradually speeding it up to improve fluidity or choose a variation and take it through all keys, playing version A, B, C, or D then skipping 5 lines to play the same set in a new key. â€ƒIf you want an additional challenge in terms of range, play them in different octaves to expand the set. â€ƒAdditionally, you can change the Key. Play them in f minor (all forms), different modes, etc. For jazz players, try swinging them in dorian or mixolydian modes. â€ƒThe variations are endless! â€ƒAll Donut Etudes with the same version number are compatible so you can play them in mixed duets with one person on part 1 and a different instrument on part 2. â€ƒEnjoy!
$10.00 9.22 € #Joshua Hauser #Donut Etudes v5 - Scale Duets for 2 Euphoniums or Baritones in Treble Clef #Slide Ride #SheetMusicPlus

Accordion,Double Bass,Guitar - Digital Download SKU: A0.1068894 Composed by Lars Ek. Folk,World. Full Performance. Duration 225. Lars Ek Cosmos Music c/o Musik & UnderhÃ¥llningsskrÃ¤dderiet AB #1921499. Published by Lars Ek Cosmos Music c/o Musik & UnderhÃ¥llningsskrÃ¤dderiet AB (A0.1068894). Something quite astonishing has happened in the Swedish accordion world during the last couple of years, weÂ´ve got a new idol. ItÂ´s astonishing in two different ways: for us who know the accordion world itÂ´s a fact that Lars Ek has been around as a professional accordionist for almost 20 years, since he finished school, second: he has become an idol playing music and in a style that has itÂ´s roots 50 years back in the accordion music history. One could say that Lars Ek, today 35 years old, should have been 85, active in the 30Â´s. Himself, he confess that he feels kind of secret longing back to a time when accordionists were equilibrists, when accordionists played in a brilliant way, the golden age it was for all accordion music all over the world, an age that we will never meet again. ItÂ´s a type of music which is historical but not belonging to the museums, not dead, itÂ´s a typical of music filled with life. Very much so thanks to Lars Ek. ItÂ´s a quite notable situation. Lars Ek has been playing the accordion for a long time, he has been playing all types of music that can be played on an accordion. Just some few years ago he met, via phonograph records, the music of Nils Lind and Ragge Sundquist (two legendary Swedish performers from the 30Â´s and the 40Â´s, both dead since long ago - they both founded a school and a style) and, of course, also Frosini. And then, finally, Lars Ek felt that it was exactly here, in this style where he belonged. Lars Ek finally came home. Some sloppy listeners say that Lars Ek is copying the music of Nils Lind. Those are listeners who donÂ´t listen. Others say that Lars is a maniac - he plays on an accordion of the Raggie Sundquist brand from 1937 and since a couple of years he also owns and plays an accordion once owned by Pietro Frosini, manufactured in 1927. ThatÂ´s not mania. The style asks for such instruments. ItÂ´s most correct that way. Lars Ek has become incredibly popular. There are many reasons. He has lots of personality, he is a stage personality, he shows enthusiasm and joy while performing, he knows how to attract an audience (and the girls say heÂ´s very handsome). One other reason is that the music Lars performs finds lots of response from the audience. And, please, donÂ´t think itÂ´s only those old ones who were around in the 30Â´s who love the music - so do even the young ones! Lars Ek x 2 is the name of the record. The explanation is simple. Lars wasnÂ´t able to find a second accordionist to assist him. So, thanks to the technique he is his own second accordionist himself in five of the tunes performed. There is one more explanation. Lars performs melodies linked to the names of Nils Lind, Ragge Sundquist and Frosini, but he also plays five compositions of hes own. Just to show how he wants accordion music to be composed. Lars Ek does not need any recommendation, his records sell anyway. But youÂ´re going to get some final words. This records is, regarding style, very rare to be recorded in 1982, itÂ´s a matter of looking back and to do so with lots of skill, a look back that golden age of the accordion. ItÂ´s also a very personal record. The inspiration may very well be Nils Lind, Ragge Sundquist and Pietro Frosini. But itÂ´s Lars Ek who plays. In his personal way. Which means that this is a record played in a very personal way.

Accordion,Double Bass,Guitar - Digital Download SKU: A0.1068893 Composed by Lars Ek. Folk,World. Full Performance. Duration 154. Lars Ek Cosmos Music c/o Musik & UnderhÃ¥llningsskrÃ¤dderiet AB #1921497. Published by Lars Ek Cosmos Music c/o Musik & UnderhÃ¥llningsskrÃ¤dderiet AB (A0.1068893). Something quite astonishing has happened in the Swedish accordion world during the last couple of years, weÂ´ve got a new idol. ItÂ´s astonishing in two different ways: for us who know the accordion world itÂ´s a fact that Lars Ek has been around as a professional accordionist for almost 20 years, since he finished school, second: he has become an idol playing music and in a style that has itÂ´s roots 50 years back in the accordion music history. One could say that Lars Ek, today 35 years old, should have been 85, active in the 30Â´s. Himself, he confess that he feels kind of secret longing back to a time when accordionists were equilibrists, when accordionists played in a brilliant way, the golden age it was for all accordion music all over the world, an age that we will never meet again. ItÂ´s a type of music which is historical but not belonging to the museums, not dead, itÂ´s a typical of music filled with life. Very much so thanks to Lars Ek. ItÂ´s a quite notable situation. Lars Ek has been playing the accordion for a long time, he has been playing all types of music that can be played on an accordion. Just some few years ago he met, via phonograph records, the music of Nils Lind and Ragge Sundquist (two legendary Swedish performers from the 30Â´s and the 40Â´s, both dead since long ago - they both founded a school and a style) and, of course, also Frosini. And then, finally, Lars Ek felt that it was exactly here, in this style where he belonged. Lars Ek finally came home. Some sloppy listeners say that Lars Ek is copying the music of Nils Lind. Those are listeners who donÂ´t listen. Others say that Lars is a maniac - he plays on an accordion of the Raggie Sundquist brand from 1937 and since a couple of years he also owns and plays an accordion once owned by Pietro Frosini, manufactured in 1927. ThatÂ´s not mania. The style asks for such instruments. ItÂ´s most correct that way. Lars Ek has become incredibly popular. There are many reasons. He has lots of personality, he is a stage personality, he shows enthusiasm and joy while performing, he knows how to attract an audience (and the girls say heÂ´s very handsome). One other reason is that the music Lars performs finds lots of response from the audience. And, please, donÂ´t think itÂ´s only those old ones who were around in the 30Â´s who love the music - so do even the young ones! Lars Ek x 2 is the name of the record. The explanation is simple. Lars wasnÂ´t able to find a second accordionist to assist him. So, thanks to the technique he is his own second accordionist himself in five of the tunes performed. There is one more explanation. Lars performs melodies linked to the names of Nils Lind, Ragge Sundquist and Frosini, but he also plays five compositions of hes own. Just to show how he wants accordion music to be composed. Lars Ek does not need any recommendation, his records sell anyway. But youÂ´re going to get some final words. This records is, regarding style, very rare to be recorded in 1982, itÂ´s a matter of looking back and to do so with lots of skill, a look back that golden age of the accordion. ItÂ´s also a very personal record. The inspiration may very well be Nils Lind, Ragge Sundquist and Pietro Frosini. But itÂ´s Lars Ek who plays. In his personal way. Which means that this is a record played in a very personal way.

Accordion,Double Bass,Guitar - Digital Download SKU: A0.1068890 Composed by Lars Ek. Folk,World. Full Performance. Duration 259. Lars Ek Cosmos Music c/o Musik & UnderhÃ¥llningsskrÃ¤dderiet AB #1921479. Published by Lars Ek Cosmos Music c/o Musik & UnderhÃ¥llningsskrÃ¤dderiet AB (A0.1068890). Something quite astonishing has happened in the Swedish accordion world during the last couple of years, weÂ´ve got a new idol. ItÂ´s astonishing in two different ways: for us who know the accordion world itÂ´s a fact that Lars Ek has been around as a professional accordionist for almost 20 years, since he finished school, second: he has become an idol playing music and in a style that has itÂ´s roots 50 years back in the accordion music history. One could say that Lars Ek, today 35 years old, should have been 85, active in the 30Â´s. Himself, he confess that he feels kind of secret longing back to a time when accordionists were equilibrists, when accordionists played in a brilliant way, the golden age it was for all accordion music all over the world, an age that we will never meet again. ItÂ´s a type of music which is historical but not belonging to the museums, not dead, itÂ´s a typical of music filled with life. Very much so thanks to Lars Ek. ItÂ´s a quite notable situation. Lars Ek has been playing the accordion for a long time, he has been playing all types of music that can be played on an accordion. Just some few years ago he met, via phonograph records, the music of Nils Lind and Ragge Sundquist (two legendary Swedish performers from the 30Â´s and the 40Â´s, both dead since long ago - they both founded a school and a style) and, of course, also Frosini. And then, finally, Lars Ek felt that it was exactly here, in this style where he belonged. Lars Ek finally came home. Some sloppy listeners say that Lars Ek is copying the music of Nils Lind. Those are listeners who donÂ´t listen. Others say that Lars is a maniac - he plays on an accordion of the Raggie Sundquist brand from 1937 and since a couple of years he also owns and plays an accordion once owned by Pietro Frosini, manufactured in 1927. ThatÂ´s not mania. The style asks for such instruments. ItÂ´s most correct that way. Lars Ek has become incredibly popular. There are many reasons. He has lots of personality, he is a stage personality, he shows enthusiasm and joy while performing, he knows how to attract an audience (and the girls say heÂ´s very handsome). One other reason is that the music Lars performs finds lots of response from the audience. And, please, donÂ´t think itÂ´s only those old ones who were around in the 30Â´s who love the music - so do even the young ones! Lars Ek x 2 is the name of the record. The explanation is simple. Lars wasnÂ´t able to find a second accordionist to assist him. So, thanks to the technique he is his own second accordionist himself in five of the tunes performed. There is one more explanation. Lars performs melodies linked to the names of Nils Lind, Ragge Sundquist and Frosini, but he also plays five compositions of hes own. Just to show how he wants accordion music to be composed. Lars Ek does not need any recommendation, his records sell anyway. But youÂ´re going to get some final words. This records is, regarding style, very rare to be recorded in 1982, itÂ´s a matter of looking back and to do so with lots of skill, a look back that golden age of the accordion. ItÂ´s also a very personal record. The inspiration may very well be Nils Lind, Ragge Sundquist and Pietro Frosini. But itÂ´s Lars Ek who plays. In his personal way. Which means that this is a record played in a very personal way.

Accordion,Double Bass,Guitar - Digital Download SKU: A0.1068892 Composed by Lars Ek. Folk,World. Full Performance. Duration 233. Lars Ek Cosmos Music c/o Musik & UnderhÃ¥llningsskrÃ¤dderiet AB #1921495. Published by Lars Ek Cosmos Music c/o Musik & UnderhÃ¥llningsskrÃ¤dderiet AB (A0.1068892). Something quite astonishing has happened in the Swedish accordion world during the last couple of years, weÂ´ve got a new idol. ItÂ´s astonishing in two different ways: for us who know the accordion world itÂ´s a fact that Lars Ek has been around as a professional accordionist for almost 20 years, since he finished school, second: he has become an idol playing music and in a style that has itÂ´s roots 50 years back in the accordion music history. One could say that Lars Ek, today 35 years old, should have been 85, active in the 30Â´s. Himself, he confess that he feels kind of secret longing back to a time when accordionists were equilibrists, when accordionists played in a brilliant way, the golden age it was for all accordion music all over the world, an age that we will never meet again. ItÂ´s a type of music which is historical but not belonging to the museums, not dead, itÂ´s a typical of music filled with life. Very much so thanks to Lars Ek. ItÂ´s a quite notable situation. Lars Ek has been playing the accordion for a long time, he has been playing all types of music that can be played on an accordion. Just some few years ago he met, via phonograph records, the music of Nils Lind and Ragge Sundquist (two legendary Swedish performers from the 30Â´s and the 40Â´s, both dead since long ago - they both founded a school and a style) and, of course, also Frosini. And then, finally, Lars Ek felt that it was exactly here, in this style where he belonged. Lars Ek finally came home. Some sloppy listeners say that Lars Ek is copying the music of Nils Lind. Those are listeners who donÂ´t listen. Others say that Lars is a maniac - he plays on an accordion of the Raggie Sundquist brand from 1937 and since a couple of years he also owns and plays an accordion once owned by Pietro Frosini, manufactured in 1927. ThatÂ´s not mania. The style asks for such instruments. ItÂ´s most correct that way. Lars Ek has become incredibly popular. There are many reasons. He has lots of personality, he is a stage personality, he shows enthusiasm and joy while performing, he knows how to attract an audience (and the girls say heÂ´s very handsome). One other reason is that the music Lars performs finds lots of response from the audience. And, please, donÂ´t think itÂ´s only those old ones who were around in the 30Â´s who love the music - so do even the young ones! Lars Ek x 2 is the name of the record. The explanation is simple. Lars wasnÂ´t able to find a second accordionist to assist him. So, thanks to the technique he is his own second accordionist himself in five of the tunes performed. There is one more explanation. Lars performs melodies linked to the names of Nils Lind, Ragge Sundquist and Frosini, but he also plays five compositions of hes own. Just to show how he wants accordion music to be composed. Lars Ek does not need any recommendation, his records sell anyway. But youÂ´re going to get some final words. This records is, regarding style, very rare to be recorded in 1982, itÂ´s a matter of looking back and to do so with lots of skill, a look back that golden age of the accordion. ItÂ´s also a very personal record. The inspiration may very well be Nils Lind, Ragge Sundquist and Pietro Frosini. But itÂ´s Lars Ek who plays. In his personal way. Which means that this is a record played in a very personal way.

Accordion,Double Bass,Guitar - Digital Download SKU: A0.1068889 Composed by Lars Ek. Folk,World. Full Performance. Duration 206. Lars Ek Cosmos Music c/o Musik & UnderhÃ¥llningsskrÃ¤dderiet AB #1921477. Published by Lars Ek Cosmos Music c/o Musik & UnderhÃ¥llningsskrÃ¤dderiet AB (A0.1068889). Something quite astonishing has happened in the Swedish accordion world during the last couple of years, weÂ´ve got a new idol. ItÂ´s astonishing in two different ways: for us who know the accordion world itÂ´s a fact that Lars Ek has been around as a professional accordionist for almost 20 years, since he finished school, second: he has become an idol playing music and in a style that has itÂ´s roots 50 years back in the accordion music history. One could say that Lars Ek, today 35 years old, should have been 85, active in the 30Â´s. Himself, he confess that he feels kind of secret longing back to a time when accordionists were equilibrists, when accordionists played in a brilliant way, the golden age it was for all accordion music all over the world, an age that we will never meet again. ItÂ´s a type of music which is historical but not belonging to the museums, not dead, itÂ´s a typical of music filled with life. Very much so thanks to Lars Ek. ItÂ´s a quite notable situation. Lars Ek has been playing the accordion for a long time, he has been playing all types of music that can be played on an accordion. Just some few years ago he met, via phonograph records, the music of Nils Lind and Ragge Sundquist (two legendary Swedish performers from the 30Â´s and the 40Â´s, both dead since long ago - they both founded a school and a style) and, of course, also Frosini. And then, finally, Lars Ek felt that it was exactly here, in this style where he belonged. Lars Ek finally came home. Some sloppy listeners say that Lars Ek is copying the music of Nils Lind. Those are listeners who donÂ´t listen. Others say that Lars is a maniac - he plays on an accordion of the Raggie Sundquist brand from 1937 and since a couple of years he also owns and plays an accordion once owned by Pietro Frosini, manufactured in 1927. ThatÂ´s not mania. The style asks for such instruments. ItÂ´s most correct that way. Lars Ek has become incredibly popular. There are many reasons. He has lots of personality, he is a stage personality, he shows enthusiasm and joy while performing, he knows how to attract an audience (and the girls say heÂ´s very handsome). One other reason is that the music Lars performs finds lots of response from the audience. And, please, donÂ´t think itÂ´s only those old ones who were around in the 30Â´s who love the music - so do even the young ones! Lars Ek x 2 is the name of the record. The explanation is simple. Lars wasnÂ´t able to find a second accordionist to assist him. So, thanks to the technique he is his own second accordionist himself in five of the tunes performed. There is one more explanation. Lars performs melodies linked to the names of Nils Lind, Ragge Sundquist and Frosini, but he also plays five compositions of hes own. Just to show how he wants accordion music to be composed. Lars Ek does not need any recommendation, his records sell anyway. But youÂ´re going to get some final words. This records is, regarding style, very rare to be recorded in 1982, itÂ´s a matter of looking back and to do so with lots of skill, a look back that golden age of the accordion. ItÂ´s also a very personal record. The inspiration may very well be Nils Lind, Ragge Sundquist and Pietro Frosini. But itÂ´s Lars Ek who plays. In his personal way. Which means that this is a record played in a very personal way.