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You've selected:
Somewhere Out There - Trombone 2
Sheetmusic to print
4 sheet music found
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1
Somewhere Out There
Alto Saxophone,Tenor Saxophone - Level 2 - Digital Download SKU: A0.1405752 By Lind…
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Alto Saxophone,Tenor Saxophone - Level 2 - Digital Download SKU: A0.1405752 By Linda Ronstadt & James Ingram. By Barry Mann, Cynthia Weil, and James Horner. Arranged by P. R. Frederick. Film/TV,Pop. Saxophone Duet. 2 pages. P. R. Frederick #988818. Published by P. R. Frederick (A0.1405752). Fall in love with the magic of An American Tail all over again with this arrangement of Somewhere Out There for two like saxophones - a true musical delight!See my other saxophone duets here
$8.00
7.33 €
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Linda Ronstadt & James Ingram
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Somewhere Out There
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P. R. Frederick
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SheetMusicPlus
Somewhere Out There
Large Ensemble Bass Voice,Cello,Double Bass,Drums,Flute,Piano,Viola,Violin - Level 2 - Dig…
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Large Ensemble Bass Voice,Cello,Double Bass,Drums,Flute,Piano,Viola,Violin - Level 2 - Digital Download SKU: A0.887506 By Linda Ronstadt & James Ingram. By Barry Mann and James Horner. Arranged by Boni de Souza (De Souza et Cie). Film/TV. Score and parts. 18 pages. De Souza et Music LLP #3460471. Published by De Souza et Music LLP (A0.887506). Somewhere Out There is arranged for an Octet comprising Strings - Violins 1 and 2 plus Viola, Cello, Bass, Piano, Drums and Flute. Its arranged for instrumentalists at intermediate level and would be ideal for Schools and Colleges as well as for events like cocktails and weddings where easy listening music is required. Selected parts of the arrangement could also be used for smaller ensembles like Trios or Quartet eg Piano, Flute, Cello or Piano Violin, Flute, Cello or String Quartet plus Flute or Piano & String Quartet.
$21.99
20.14 €
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Linda Ronstadt & James Ingram
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String Quartet.
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Somewhere Out There
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De Souza et Music LLP
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SheetMusicPlus
Next Level Bassoon: Etudes, Exercises & Engaging Songs For The Emerging Bassoonist
Bassoon - Level 1 - Digital Download SKU: A0.1474103 Composed by James Smith. Class…
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Bassoon - Level 1 - Digital Download SKU: A0.1474103 Composed by James Smith. Classical,Contest,Festival,Instructional,Multicultural,Traditional,World. Educational Method. 44 pages. Ensemble Llama Music #1051737. Published by Ensemble Llama Music (A0.1474103). I’m a bassoonist, and I don’t like the teaching materials for bassoon that are out there. There’s not enough depth and engagement in them, and nothing that supports the everyday music teacher. So I set out to create something that I would feel comfortable giving to my private students to help them grow as musicians. There are many types of music in the book: etudes, exercises, warm-ups, backwards and upside down duets (one person plays normally, the other person reads the music in an unusual way), improvised music, and composition. Musical styles range across a variety of cultures and genres such as classical, blues, fiddle tunes, marches, contemporary, musicals, and more. Using carefully crafted etudes, exercises, and songs in a variety of styles, your bassoon students are going to to find immediate success. The bite-sized examples encourage students to focus on tone, as they extend their technique and range on this wonderful instrument. Examples from the book:1.1 - Memories1.2 - Can-Can1.3 - Baby-Back Blues1.4 - Somewhere Nice1.5 - Go Down, Moses1.6 - Magenta Sky (A Backwards Duet)1.7 - Cakewalk1.8 - Red River Valley1.9 - Symphony No. 6, Mvt. 2 (Tchaikovsky)1.10 - Arkansas Traveler1.11 - Give My Regards to Broadway (key of B Flat Major)1.12 - In The Hall of the Mountain King1.13 - Landlord Fill The Flowing Bowl1.14 - It Ain't Gonna Rain No Mo'1.15 - Shalom Chaverim1.16 - Londonderry Air1.17 - Theme & Variations, Für Elise1.18 - Ominous (A Backwards Duet)Create & Improvise: St. Louis Blues (W.C. Handy)1.19 - Interlude1.20 - L'Adieu Des Bergers1.21 - Washington Post March1.22 - The Sea Monster - A Short Improvised Piece1.23 - Give My Regards to Broadway (key of G Major)1.24 - Anna Lisle (The Alma Mater Song)Critical Hit - Bassoon Concert Piece2.1 - More Memories2.2 & 2.3 - Ten Little Indians2.4 - Parliament (An Upside-Down Duet)2.5 - Bassoon Warm-Up2.6 - F Major Studies2.7 - Airang2.8 - Arpeggio In Blue2.9 - C Major Studies2.10 - Mazurka in A-flat Major2.11 - Etudes With Flats2.12 - Take Me Out To The Ball Game2.13 - Arpeggios (Part 1)2.14 - Etudes With Arpeggios2.15 - The Sar Spangled Banner2.16 - Arpeggios (Part 2)2.17 - More Arpeggio Studies2.18 - Battle Hymn of the Republic2.19 - Arpeggios (Part 3)2.20 - Kolme Varista2.21 - Swallowtail Jig2.22 - Jesu, Joy of Man's Desiring2.23 - St. Anne's Reel2.24 - Dear Old Stockholm2.25 - Esprit De CorpsSketch On a Theme From The Sorceror's Apprentice - Bassoon Concert Piece.
$29.99
27.47 €
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James Smith
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Variations, Für Elise
1
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Next Level Bassoon: Etudes, Exercises & Engaging Songs For The Emerging Bassoonist
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Ensemble Llama Music
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SheetMusicPlus
Playing with Scales
Guitar - Level 2 - Digital Download SKU: A0.1314698 Composed by Richard Hirsch. Ins…
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Guitar - Level 2 - Digital Download SKU: A0.1314698 Composed by Richard Hirsch. Instructional. Educational Exercises. 8 pages. Richard Hirsch #903442. Published by Richard Hirsch (A0.1314698). Many amateur guitarists and beginning students of guitar are ‘stuck in the first position’. The rest of the fretboard is ‘terra incognita’. They don’t know where the notes are and they don’t know how to get to them and use them in playing melodies. To help remedy this situation, I offer a collection of scales and exercises I have developed over the years that have helped me master the fretboard of the guitar and that I have used to warm up my left and right hands before practicing or playing proper pieces. Guitarists afraid to move up the fretboard miss out on all the tonal nuances that the guitar has to offer. They also often have undeveloped left hand technique with a little finger that flies around helplessly and uselessly. These scales and exercises will, if played regularly, put the little finger to good use and guide the left hand to orient to the fretboard properly, staying close to the fretboard with fingers that move as little and as efficiently as possible. They are also relaxing and fun to play around with. I read somewhere a while back that medical science had found that pianists were less likely to develop brain diseases. The scientists attributed this to the many hours pianists spend playing scales, as this is like a gentle brain massage. So scales are not only good warm up exercises for the fingers but also good warm-ups for the brain.The scale exercises written here in the keys of G and C should be played in different keys in higher positions on the fretboard. Students can try to see just how far up the neck they can go to reach the highest notes. After a while, what seemed challenging and strange will start to feel comfortable and familiar. Don’t hesitate to develop new variants of the scales when you grow tired of playing them as I propose here. Have fun playing and playing with the scales!The exercises often start in one position and move toward other higher or lower positions on the fretboard. When moving from one position to another, follow the suggested fingerings to utilise what is called a lead finger to move the hand to the next position. This will make the movement smooth and not interrupt the flow of the scale. In the end all movement should look and feel seamless and effortless.I have chosen scales in major keys I think are particularly good to play on the guitar. To practice a scale in a minor key, start the exercise in the related major key from the fundamental of the minor key, for example, to play an E minor scale start the G major exercise on an E and play from there. This is one way of creating new variants of these scales. Another way to vary the exercises is to play the scales in different time signatures or rhythms.I believe these exercises are particularly helpful for amateur guitarists who play in ensembles of different kinds, duos, trios, quartets, where the guitarist often only has one melodic line to play. Such melodies often sound much better played in higher positions where the guitar can be made to sing, rather than in the first position where the same tones, especially on open strings, often sound rather dull. From my own experience, I find that when I play a melody in a higher position using all the fingers of the left hand, the melody not only sounds better, the fingers remember the melody better.Â
$4.99
4.57 €
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Richard Hirsch
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Playing with Scales
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Richard Hirsch
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SheetMusicPlus
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