| Greatest Japanese Songs of All Time Piano seul Yamaha
Piano Solo with Beautiful Piano Sounds. Composed by Various. J-Pop. J-Pop, Tr...(+)
Piano Solo with Beautiful
Piano Sounds. Composed by
Various. J-Pop. J-Pop,
Traditional Japanese
Song,
Kayo, Enka. Book. Yamaha
Music
Media #GTP01100241.
Published
by Yamaha Music Media
$13.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Studio Ghibli - Kalimba J-POP & Japanese Standard Melodies Yamaha
Kalimba SKU: YM.GTL01101093 Easy-Intermediate Kalimba Book. Compos...(+)
Kalimba SKU:
YM.GTL01101093
Easy-Intermediate
Kalimba Book.
Composed by Joe Hisaishi.
Kalimba Collection. Anime
Song; J-Pop, Studio
Ghibli. Book. Yamaha
Music Media #GTL01101093.
Published by Yamaha Music
Media (YM.GTL01101093).
ISBN 9784636107678. 9
x 12 inches. Enjoy
Popular J-POP Melodies in
Chord Arrangements with
Kalimba! The book has 20
songs from popular
standard melodies, mainly
J-Pop, in melody and
accompaniment chord
arrangements that sound
gorgeous even when played
alone. Compatible with
17-note kalimba. All the
songs are accompanied by
the note numbers engraved
on the instruments. The
music can be easily
played by comparing it
with the instrument. This
book explains how to play
the basic kalimba, shows
the correspondence
between kalimba note
names and staff lines,
and easy musical rules.
This book suits beginner
players and those who
have difficulty adding
their chords. Includes
chord arrangements for
17-note kalimba to enjoy
the gorgeous sounding
melody and accompaniment
chord arrangements by
just one player; the song
Suzume feat. Toaka
requires tuning one note.
The tuning method is
described in the book.
17-note kalimba numbers
written for all songs.
Features visual
indication of where to
play chords with one
hand! The key notations
for two chords played
simultaneously with one
hand, and arpeggio
notation for three or
more chords, are included
in the sheet music and
the note numbers. The
book is designed to be
easy to read and play
visually. $12.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Nitutschca Piano seul Wilhelm Hansen
Piano SKU: BT.WHND00495 Composed by Heinz Binder. Book Only. Edition Wilh...(+)
Piano SKU:
BT.WHND00495 Composed
by Heinz Binder. Book
Only. Edition Wilhelm
Hansen #WHND00495.
Published by Edition
Wilhelm Hansen
(BT.WHND00495).
$8.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Folk and More for Violin Violon [Partition + CD] De Haske Publications
By Iwan Michailov. For Violin. De Haske Play-Along Book. Play Along. Softcover w...(+)
By Iwan Michailov. For
Violin. De Haske
Play-Along Book. Play
Along. Softcover with CD.
24 pages. De Haske
Publications #1043760.
Published by De Haske
Publications . Sheet
music CD. Play Along.
$22.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Sahara - Facile Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bongos, Clarinet 1, Clarinet 2, Clarinet...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bongos,
Clarinet 1, Clarinet 2,
Clarinet 3, Dumbek,
Euphonium, Euphonium
T.C., Finger Cymbals,
Flute 1, Flute 2,
Glockenspiel, Gong, Horn
1, Horn 2, Mallet
Percussion 1, Mallet
Percussion 2, Mallet
Percussion 3 and more. -
Grade 3 SKU:
CF.CPS261 Composed by
Patrick Glenn Harper.
Cps. Set of Score and
Parts.
8+8+4+8+8+8+4+4+4+4+4+4+4
+4+4+4+4+8+8+6+4+8+1+2+2+
2+4+8+4+32 pages.
Duration 5:22. Carl
Fischer Music #CPS261.
Published by Carl Fischer
Music (CF.CPS261).
ISBN 9781491161272.
UPC:
680160919864. Sahar
a is an exciting
programmatic work for
concert band that
musically paints a
picture of a fantastical
desert crossing in three
contrasting sections. The
first section depicts a
large caravan moving
across the giant dunes.
The second section
describes a visit to a
palace in a mystical
oasis city. The third
section brings the piece
to an epic close as the
caravan outruns a
sandstorm to reach their
final destination.
Performance Notes You may
use a set of congas in
addition to or in lieu of
the dumbek part to bring
out that pitched drum
sound. At m. 4, emphasize
the accented quarter
notes in the horns and
euphonium. Measures
17-26, make sure that the
sixteenth note marimba
part is heard clearly. In
measures 48-92, this
entire middle section may
be played in a rubato
style at the director's
discretion to achieve
maximum musical
expression. Be sure to
emphasize the
crescendo-decrescendo
dynamics in this entire
section. In measures
56-61, be sure that the
syncopated flute and
clarinet parts are heard
clearly. and the flute
and oboe are heard as
well mm. 76-81. The
descending eighth notes
in the bass clarinet and
tuba part should be
brought out in mm. 76-81.
Measures 109-112, make
sure to bring out the
trills in the Flute and
oboe parts and sustain
them all the way through
the measure with a
release immediately on
beat 1 of the following
measure. And finally, mm.
125-126, emphasize the F
Horn and Alto Saxophone
parts. Sahara is an
exciting programmatic
work for concert band
that musically paints a
picture of a fantastical
desert crossing in three
contrasting sections. The
first section depicts a
large caravan moving
across the giant dunes.
The second section
describes a visit to a
palace in a mystical
oasis city. The third
section brings the piece
to an epic close as the
caravan outruns a
sandstorm to reach their
final
destination.Performance
NotesYou may use a set of
congas in addition to or
in lieu of the dumbek
part to bring out that
pitched drum sound. At m.
4, emphasize the accented
quarter notes in the
horns and euphonium.
Measures 17-26, make sure
that the sixteenth note
marimba part is heard
clearly. In measures
48-92, this entire middle
section may be played in
a rubato style at the
director’s
discretion to achieve
maximum musical
expression. Be sure to
emphasize the
crescendo-decrescendo
dynamics in this entire
section. In measures
56-61, be sure that the
syncopated flute and
clarinet parts are heard
clearly. and the flute
and oboe are heard as
well mm. 76-81. The
descending eighth notes
in the bass clarinet and
tuba part should be
brought out in mm.
76-81.Measures 109-112,
make sure to bring out
the trills in the Flute
and oboe parts and
sustain them all the way
through the measure with
a release immediately on
beat 1 of the following
measure. And finally, mm.
125-126, emphasize the F
Horn and Alto Saxophone
parts. $85.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Sonate da camera for Violin, Violoncello or Harpsichord (Bologna 1710) Ut Orpheus
Violin, Early Music SKU: UT.HS-116 Composed by Ippolito Marotti. Edited b...(+)
Violin, Early Music
SKU: UT.HS-116
Composed by Ippolito
Marotti. Edited by
Natascia Mariotti.
Paperback (Soft Cover).
Classical. Ut Orpheus #HS
116. Published by Ut
Orpheus (UT.HS-116).
ISBN 9790215308381. 9
x 12 inches. $49.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Future of Tomorrow - Facile Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Cornet, Cornet 2...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Clarinet
1, Clarinet 2, Cornet,
Cornet 2, Crash Cymbals,
Euphonium, Euphonium
T.C., Flute,
Glockenspiel, Horn 1,
Horn 2, Mallet
Percussion, Oboe,
Percussion 1, Percussion
2, Percussion 3, Snare
Drum and more. - Grade 3
SKU: CF.CPS245
Composed by Benjamin Yeo.
Folio. Cps. Set of Score
and Parts.
8+2+8+8+2+4+4+4+4+2+4+4+4
+4+6+6+4+4+8+2+2+1+4+1+2+
24 pages. Duration 2
minutes, 42 seconds. Carl
Fischer Music #CPS245.
Published by Carl Fischer
Music (CF.CPS245).
ISBN 9781491158128.
UPC: 680160916726. 9 x 12
inches. ABOUT THE
MUSIC Future of Tomorrow
(Concert March) was
commissioned by the Arts
Education Branch,
Ministry of Education as
the set piece for the
Singapore Youth Festival
2016 Arts Presentation
for Concert and Brass
Bands (Primary Level).
This march uses brief
excerpts from the
well-known Malay folk
songs Katak Lompat and
Rasa Sayang. Our youths
are indeed our future of
tomorrow. This
joyful-themed march aims
to bring out the best in
each of your young
players. I hope that
students, band directors
and audiences will enjoy
preparing, performing and
listening to this work.
EDUCATIONAL NOTES Key: Eb
Major SECTION BARS EVENT
/ SCORING / SUGGESTIONS
Introduction 1-4 Opens in
Eb major with dotted
rhythm motif. 1st Strain
5-20 Take note of melodic
phrasing above the
(light) oom-pah ostinato;
melody repeats at m. 13
with the addition of
countermelody in the
inner lines; although
written at mf dynamic,
this anew ideaa needs to
be heard clearly for
contrast with the
previous statement. 2nd
Strain 21-36 C minor
(relative minor); excerpt
from Katak Lompat; melody
in the lower brass/wind
from m. 21 with a
contrasting
attitude/style from 1st
strain; back to a more
lyrical treatment from m.
29. Trio 37-56 Stays
unmodulated in the same
key; opens with a
percussion solo feature
before the start of the
softer Trio theme; keep
this section controlled
and be sensitive to the
balance; the metallic
timbre of the muted
trumpet/cornet needs to
be heard clearly (might
suggest to bring the
dynamic level up to mf
when muted); if
cued-notes are played,
make sure they are played
throughout the melodic
phrase as written to
avoid awkward leaps.
Break Strain 57-62
Excerpt from Rasa Sayang
with some play in
tonality and instrumental
dialogue; quasi
grandioso-style before
the final strain. Final
Strain 63-82 Back to Eb
major with the reprise of
the Trio theme;
festive-like style with
fuller orchestration and
new countermelodies;
dotted rhythm motif from
the introduction
concludes the march in a
codetta-like section from
m. 79. NOTE TO THE
CONDUCTOR This march has
been carefully written
with reasonable
technicalities and range
in mind for younger
players. Generally,
optional cued notes in
parenthesis are given for
less experienced players
who have yet to develop
their range on the
instrument. However, they
should never be taken as
an easy alternative for
all players in the
section; otherwise, this
may result in a less than
ideal flow of the musical
lines. Marches are good
tools to train tempo
consistency, articulation
and rhythmic precision as
well as musical phrasing.
I hope that there will be
great learning
opportunities for your
students as they learn
this piece. This march is
separately orchestrated
for both wind and brass
bands to maximize the
instrumental colors
within each ensemble. The
parts are therefore not
exchangeable between the
wind band and brass band
sets. I wish you the best
in the performance of
this work. - Benjamin
Yeo. ABOUT THE MUSIC
Future of Tomorrow
(Concert March) was
commissioned by the Arts
Education Branch,
Ministry of Education as
the set piece for the
Singapore Youth Festival
2016 Arts Presentation
for Concert and Brass
Bands (Primary Level).
This march uses brief
excerpts from the
well-known Malay folk
songs Katak Lompat and
Rasa Sayang. Our youths
are indeed our future of
tomorrow. This
joyful-themed march aims
to bring out the best in
each of your young
players. I hope that
students, band directors
and audiences will enjoy
preparing, performing and
listening to this work.
EDUCATIONAL NOTES Key: Eb
Major SECTION BARS EVENT
/ SCORING / SUGGESTIONS
Introduction 1-4 Opens in
Eb major with dotted
rhythm motif. 1st Strain
5-20 Take note of melodic
phrasing above the
(light) oom-pah ostinato;
melody repeats at m. 13
with the addition of
countermelody in the
inner lines; although
written at mf dynamic,
this 'new idea' needs to
be heard clearly for
contrast with the
previous statement. 2nd
Strain 21-36 C minor
(relative minor); excerpt
from Katak Lompat; melody
in the lower brass/wind
from m. 21 with a
contrasting
attitude/style from 1st
strain; back to a more
lyrical treatment from m.
29. Trio 37-56 Stays
unmodulated in the same
key; opens with a
percussion solo feature
before the start of the
softer Trio theme; keep
this section controlled
and be sensitive to the
balance; the metallic
timbre of the muted
trumpet/cornet needs to
be heard clearly (might
suggest to bring the
dynamic level up to mf
when muted); if
cued-notes are played,
make sure they are played
throughout the melodic
phrase as written to
avoid awkward leaps.
Break Strain 57-62
Excerpt from Rasa Sayang
with some play in
tonality and instrumental
dialogue; quasi
grandioso-style before
the final strain. Final
Strain 63-82 Back to Eb
major with the reprise of
the Trio theme;
festive-like style with
fuller orchestration and
new countermelodies;
dotted rhythm motif from
the introduction
concludes the march in a
codetta-like section from
m. 79. NOTE TO THE
CONDUCTOR This march has
been carefully written
with reasonable
technicalities and range
in mind for younger
players. Generally,
optional cued notes in
parenthesis are given for
less experienced players
who have yet to develop
their range on the
instrument. However, they
should never be taken as
an easy alternative for
all players in the
section; otherwise, this
may result in a less than
ideal flow of the musical
lines. Marches are good
tools to train tempo
consistency, articulation
and rhythmic precision as
well as musical phrasing.
I hope that there will be
great learning
opportunities for your
students as they learn
this piece. This march is
separately orchestrated
for both wind and brass
bands to maximize the
instrumental colors
within each ensemble. The
parts are therefore not
exchangeable between the
wind band and brass band
sets. I wish you the best
in the performance of
this work. - Benjamin
Yeo. ABOUT THE
MUSICFuture of Tomorrow
(Concert March) was
commissioned by the Arts
Education Branch,
Ministry of Education as
the set piece for the
Singapore Youth Festival
2016 Arts Presentation
for Concert and Brass
Bands (Primary Level).
This march uses brief
excerpts from the
well-known Malay folk
songs Katak Lompat and
Rasa Sayang.Our youths
are indeed our future of
tomorrow. This
joyful-themed march aims
to bring out the best in
each of your young
players. I hope that
students, band directors
and audiences will enjoy
preparing, performing and
listening to this
work.EDUCATIONAL
NOTESKey: Eb
MajorSECTIONBARSEVENT /
SCORING /
SUGGESTIONSIntroduction1-
4Opens in Eb major with
dotted rhythm motif.1st
Strain5-20Take note of
melodic phrasing above
the (light) oom-pah
ostinato;melody repeats
at m. 13 with the
addition of countermelody
in the inner lines;
although written at mf
dynamic, this ‘new
idea’ needs to be
heard clearly for
contrast with the
previous statement.2nd
Strain21-36C minor
(relative minor); excerpt
from Katak Lompat; melody
in the lower brass/wind
from m. 21 with a
contrasting
attitude/style from 1st
strain; back to a more
lyrical treatment from m.
29.Trio37-56Stays
unmodulated in the same
key; opens with a
percussion solo feature
before the start of the
softer Trio theme; keep
this section controlled
and be sensitive to the
balance; the metallic
timbre of the muted
trumpet/cornet needs to
be heard clearly (might
suggest to bring the
dynamic level up to mf
when muted); if
cued-notes are played,
make sure they are played
throughout the melodic
phrase as written to
avoid awkward leaps.Break
Strain57-62Excerpt from
Rasa Sayang with some
play in tonality and
instrumental dialogue;
quasi grandioso-style
before the final
strain.Final
Strain63-82Back to Eb
major with the reprise of
the Trio theme;
festive-like style with
fuller orchestration and
new countermelodies;
dotted rhythm motif from
the introduction
concludes the march in a
codetta-like section from
m. 79.NOTE TO THE
CONDUCTORThis march has
been carefully written
with reasonable
technicalities and range
in mind for younger
players. Generally,
optional cued notes in
parenthesis are given for
less experienced players
who have yet to develop
their range on the
instrument. However, they
should never be taken as
an easy alternative for
all players in the
section; otherwise, this
may result in a less than
ideal flow of the musical
lines. Marches are good
tools to train tempo
consistency, articulation
and rhythmic precision as
well as musical phrasing.
I hope that there will be
great learning
opportunities for your
students as they learn
this piece.This march is
separately orchestrated
for both wind and brass
bands to maximize the
instrumental colors
within each ensemble. The
parts are therefore not
exchangeable between the
wind band and brass band
sets.I wish you the best
in the performance of
this work.- Benjamin
Yeo. $85.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Hanns Eisler Complete Edition (HEGA) Breitkopf & Härtel
SKU: BR.SON-501 Die Rundkopfe u.die Spitzkopfe. Composed by Hanns ...(+)
SKU: BR.SON-501
Die Rundkopfe u.die
Spitzkopfe. Composed
by Hanns Eisler. Edited
by Th. und A. Dumling
Ahrend. Hardback.
Complete Works.
Awarded the German
Music Edition Prize
2003 Early modern;
Music post-1945. Complete
Works. 184 pages.
Breitkopf and Haertel
#SON 501. Published by
Breitkopf and Haertel
(BR.SON-501). ISBN
9790004802236. 10 x 12.5
inches. Editorial
BoardThomas Phleps
(Music), Georg Witte
(Writings)Editorial
MembersMusic: Oliver
Dahin / Johannes C. Gall,
Writings: Maren
KosterEditorial
CommitteeMusic: Hartmut
Fladt, Werner Grunzweig,
Elmar Juchem, Roland
Kluttig, Giselher
SchubertWritings:
Albrecht Betz, Albrecht
Riethmuller, Jurgen
Schebera, Friederike
WissmannThe editorial
works are supported by
the Deutsche
Forschungsgemeinschaft.Sp
ecial volumes are made
possible with the support
of the following
foundations:Klockner-Stif
tung, Lotto-Stiftung,
Hanns und Steffy Eisler
StiftungThe goal of the
Hanns Eisler Complete
Edition (HEGA) is to
present to the public all
available compositions,
writings and letters in
an appropriately
scholarly form. It takes
a historico-critical
approach and seeks to
document the history of
the works and writings by
shedding light on their
transformations, thus
identifying the various
versions as witnesses of
evolving aesthetic and
historical positions.
Eislers complete oeuvre
(only a limited number of
his works had penetrated
the publics awareness up
until the 1990s) first
became the object of an
editorial undertaking
when the Eisler -
Gesammelte Werke (EGW)
was founded by Nathan
Notowicz. It was later
placed under the
direction of Manfred
Grabs and Eberhardt
Klemm, and began issuing
its publications in 1968
through the intermediary
of the Deutscher Verlag
fur Musik in Leipzig.
However, only four
volumes of music and five
volumes of writings were
published. The Hanns
Eisler Complete Edition
pursues the work begun at
that time, although it
has had to fundamentally
revise its editorial
principles. In this
respect, the Hanns Eisler
Complete Edition can be
considered as a
completely new editorial
undertaking. It became
necessary to reconceive
the organization of the
volumes and series as
well as the editorial
guidelines in order to
adapt the standards of
historico-critical
editing generally
applicable today to the
specific and sometimes
singular circumstances of
Eislers works.The
Critical Commentaries
pertaining to the main
volumes follow the music
section or, whenever they
are too extensive, appear
in a special
volume.Series I: Choral
MusicSeries II: Music for
Voice and Instrumental
Ensemble or
OrchestraSeries III:
Music for Voice and
PianoSeries IV:
Instrumental MusicSeries
V: Incidental MusicSeries
VI: Film MusicSeries VII:
Sketches and
FragmentsSeries VIII:
Arrangements of works by
other composersSeries IX:
Writings, Letters and
InterviewsSON 501 has
been awarded the German
Music Edition Prize
2003.SON 502 has been
awarded the German Music
Edition Prize
2007.
The major
upheavals that
transformed society and
musical aesthetics during
the first half of the
20th century also
profoundly affected the
life of Hanns Eisler, as
well as his compositions
and writings. The
importance and scope of
Eislers oeuvre are reason
enough to make his works
accessible to musical
scholarship and practice
in a comprehensive
fashion. Price reduction
for a subscription. $248.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
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