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I Could Write a Book: Drums
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You've selected:
I Could Write a Book: Drums
Sheetmusic to print
4 sheet music found
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1
I Could Write a Book: Drums
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Drum (band part)
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Instructional
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Richard Rodgers
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Darmon Meader
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I Could Write a Book: Drums
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
(Drums). Composed by Richard Rodgers. Arranged by Darmon Meader. For Jazz Ensemble. Instructional. Part. 2 pages. Published by Alfred Music - Digital Sheet Musi...
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(Drums). Composed by Richard Rodgers. Arranged by Darmon Meader. For Jazz Ensemble. Instructional. Part. 2 pages. Published by Alfred Music - Digital Sheet Music
$3.00
I Could Write a Book: Drums
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Drum (band part)
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Instructional
#
Richard Rodgers
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Darmon Meader
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I Could Write a Book: Drums
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
(Drums). Composed by Richard Rodgers. Arranged by Darmon Meader. For Choral Pax. Instructional. Part. 4 pages. Published by Alfred Music - Digital Sheet Music ...
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(Drums). Composed by Richard Rodgers. Arranged by Darmon Meader. For Choral Pax. Instructional. Part. 4 pages. Published by Alfred Music - Digital Sheet Music
$5.00
The Dead Shall be Raised (I Thessalonians 4)
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Choral SATB
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INTERMEDIATE/ADVANCED
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Carol Taylor
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Carol Taylor
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The Dead Shall be Raised
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C.Taylor
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SheetMusicPlus
Choral Choir (SATB) - Level 4 - Digital Download SKU: A0.934048 Composed by Carol Taylor. Arranged by Carol Taylor. Christian,Sacred,Spiritual. Octavo. 1...
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Choral Choir (SATB) - Level 4 - Digital Download SKU: A0.934048 Composed by Carol Taylor. Arranged by Carol Taylor. Christian,Sacred,Spiritual. Octavo. 13 pages. C.Taylor #3111381. Published by C.Taylor (A0.934048). This is a big piece with much emotion about the Resurrection. Words are directly taken from I Thessalonians 4It is inspirational and the focal point of all Christian religion--the ResurrectionBecause it is scripture set to music it is appropriate for all Christian organizationsBrass and Timpani/Drums could be added for emphasis (though I have not specifically written those parts--they are rather obvious!)Please excuse the MP3 quality. I did not have a choir to record my piece and cannot sing bass or tenor properly. This is just to give you an idea of the sound and really needs a full size choir to perform. It takes about 6 minutes to perform and ends on a very big high! I have extensive contacts on many Facebook sites both secular and religiousI am part of a worldwide Church organization and this piece has been used privately in one service for a special High day we celebrate each yearI am not part of any Performing Rights groupsMy contact information is: Caroltaylor27@yahoo.com please contact me with questions or if you would like the music in individual parts or if you would like me to write a brass or Timpani parts.SATB with the melody shifting from soprano to bass to tenor. MUST have a strong bass section to handle this piece
$2.99
Rhythm Only - Book 1 - Eighths and Sixteenths - Assorted Meters (Sight Reading Exercise Book)
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Instructional
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Nathan Petitpas - Dots and Bea
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Rhythm Only - Book 1 - Eighths
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Dots and Beams
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SheetMusicPlus
Large Ensemble Alto Recorder,Alto Saxophone,Banjo,Baritone Recorder,Baritone Saxophone,Bass Guitar,Bassoon,Cello,Clarinet,Double Bass,Drum Set,Drums,English Hor...
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Large Ensemble Alto Recorder,Alto Saxophone,Banjo,Baritone Recorder,Baritone Saxophone,Bass Guitar,Bassoon,Cello,Clarinet,Double Bass,Drum Set,Drums,English Horn,Euphonium,Flute,Hand Percussion,Handbell,Harmonica,Harpsichord,Marimba,Multi-Percussion,Oboe,Orff Instrument,Organ,Piano,Soprano Recorder,Soprano Saxophone,Tenor Recorder,Tenor Saxophone,Timpani,Trombone,Trumpet,Tuba,Ukulele,Vibraphone,Viola,Violin,Voice,Xylophone - Level 1 - Digital Download SKU: A0.931835 Composed by Nathan Petitpas - Dots and Beams. Instructional. Score and parts. 137 pages. Dots and Beams #4776185. Published by Dots and Beams (A0.931835). This collection presents its user with a series of increasingly difficult rhythms on a single pitch. The rhythmic material in this series is organized into 10 difficulty levels. Each difficulty level contains four exercises in each of the following time signatures: 2/4, 3/4, 4/4, 6/8, 9/8, and 12/8. This gives exercises in 2, 3, and 4 beats per bar in both simple and compound meters. The first two exercises of each time signature have no ties while the remaining two exercises in each time signature include ties. In Book 1 of this series you’ll find difficulty levels 1 to 5, while Book 2 completes the set with levels 6 to 10. The exercises in this collection are intentionally random and difficult to internalize. They don’t follow any predictable or standard groove pattern, but instead are random successions of eighth- and sixteenth-note groupings within the prescribed difficulty level. In keeping the rhythmic material as unpredictable as possible the door is left open for the materials to be used in conjunction with any number of exercises, while forcing the user to process every rhythm as its own event without relying on pattern recognition to help in identifying the rhythms. To curate the difficulty of rhythm in as objective a way as possible I looked at all of the possible eighth-note and sixteenth-note groupings within the basic unit of one beat. Each difficulty level builds on the exercises of the previous by adding groupings that are slightly more conceptually challenging. Difficulty Level 9 contains all possible groupings, while Level 10 focuses on the more challenging groupings by omitting easy ones. Some suggestions for how to use this book include: Practice sight-reading. When doing so it is encouraged to cycle through the exercises quickly rather than dwelling on a particular exercise for a long period of time. The goal in practising sight-reading is not to learn the material but to develop the skill of reading new material. Use a metronome! The most important thing you can do with this material is learn how to read these rhythms and play them in time. Advanced metronome work: Place the metronome click on weak beats. With the metronome clicking only on the beat you run the risk of relying on the metronome to give you the time. Placing the metronome click on non-strong beats forces you to take responsibility for the time. For example, instead of putting the metronome click on each quarter-note in 4/4, play the exercise with the metronome giving the second eighth note of each beat, or the last sixteenth note, or beats 2 and 4, or only the downbeat of each bar. Be creative with this one! The possibilities are limitless. Develop independence between hands by playing a repeating pattern in one hand while reading an exercise in the other. Expand on this by adding patterns in hands and feet while reading a rhythm with a remaining limb. This is a great exercise for drummers and percussionists but any instrumentalist could benefit from coordination practice. Use these rhythms to practice scales. Instead of playing scales in straight sixteenth-notes, try playing them in the rhythms given in these exercises. Write in sticking patterns, dynamics, accents, phrase marks, or other articulations for you or your students to practice. If you’re not happy with the ties I included, feel free to add some of your own. Combine the above exercises in any way that you think will be beneficial to your practice. As with any of the Dots and Beams books, the uses for this particular collection are limited only by the imagination of the musician using it. I encourage anybody using this book to find as many uses for these exerci.
$10.00
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