| Daniel Gottlob Turk: Sixty Pieces for Aspiring Players, Book I Piano seul - Facile ABRSM Publishing
By Daniel Gottlob Turk. Edited by Howard Ferguson. For Piano solo Harpsichord ...(+)
By Daniel Gottlob Turk.
Edited by Howard
Ferguson. For Piano solo
Harpsichord Keyboard.
Level: 1, 2, 3, 4, 5. 40
pages. Published by ABRSM
(Associated Board of the
Royal Schools of Music).
$11.99 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Nutcracker Suite Selections - Facile Carl Fischer
Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade ...(+)
Orchestra Cello,
Contrabass, Piano, Viola,
Violin 1, Violin 2,
Violin 3 - Grade 3.5
SKU: CF.CAS110
Composed by Peter Ilyich
Tchaikovsky. Arranged by
Bud Caputo. Concert
String Orchestra (CAS).
Set of Score and Parts.
With Standard notation.
24+24+6+15+15+15+7+24
pages. Duration 5:57.
Carl Fischer Music
#CAS110. Published by
Carl Fischer Music
(CF.CAS110). ISBN
9781491151297. UPC:
680160908790. 9 x 12
inches. Key: E
minor. Bud Caputo
presents Nutcracker Suite
Selections for string
orchestra featuring three
abridged movements
of?Tchaikovsky's
Nutcracker Suite:?Dance
of the Sugar Plum Fairy,
March, and Trepak. These
abridged movements are
sure to be crowd-pleasers
around the?winter
holidays or a favorite
for?any time of the
year. This arrangement
will challenge students,
while fostering rhythmic
independence, execution
of bowing and pizzicato,
and the ability to
balance the melody with
the accompaniment
throughout the
arrangement. However,
ranges remain primarily
in first position with
some optional
8va<
span class=s4> passages,
allowing intermediate
groups to perform this in
time for the winter
holiday concert. Suitable
for Grades 3 through
5. To the
Director:
Dance
of the Sugar Plum
Fairy: A steady tempo
is critical when
performing this movement,
as students may have a
tendency to rush during
the pizzicato sections.
There is a
regularly occurring
descending sixteenth-note
rhythmic figure that is
transcribed form the bass
clarinet part in the
original.
It
is important to maintain
clarity and
balance in performing
these passages as seen
in
mm. 16-19, in the Basses
and m. 34 in the
Cello and Bass.
The
balancing of the chords
will be a challenge
in
the execution of the many
sforzandos
em> in this
movement.
March: Measures 2 and
4, and similar melodic
patterns that follow,
require the performers to
carefully balance their
forte/pianos
on beats 3 and 4,
along with the rapid
diminuendo. The contrasting
rhythmic patterns in mm.
5-8, and later throughout
this movement must line
up precisely. Strings
playing the pizzicato
eight note, walking bass
line, must not rush,
and the upper strings
playing the
eighth-note/eight-rest
figure must
follow their section
leaders in executing this
in a unified manner.
While there is
no formal tempo change
from mm. 40 to 41,
directors may need to
relax the tempo at the
beginning of the
movement to
accommodate the
technical challenge of
the double time feel that
happens in m. 41.
Trepak:
Tchaikovsky was careful
to notate the
p,
f
and
sf,
requiring the performers
to recognize the
difference between all
three markings that frame
the chief melody. The
upper strings must be
careful to support the
melody in the lower
strings that begins in m.
33. Directors will
challenge their students
to have fun in the last
twelve measures with the
accelerando
passage to the
end. Care must
be taken to use
an
accelerando
that works for
all
the players in the
particular
ensemble.. This
arrangement will
challenge students, while
fostering rhythmic
independence, execution
of bowing and pizzicato,
and the ability to
balance the melody with
the accompaniment
throughout the
arrangement. However,
ranges remain primarily
in first position with
some optional
8va<
span class=s4> passages,
allowing intermediate
groups to perform this in
time for the winter
holiday concert.A
Suitable for Grades 3
through 5. To the
Director:
Dance
of the Sugar Plum
Fairy: A steady tempo
is critical when
performing this movement,
as students may have a
tendency to rush during
the pizzicato sections.
There is a
regularly occurring
descending sixteenth-note
rhythmic figure that is
transcribed form the bass
clarinet part in the
original.
It
is important to maintain
clarity and
balance in performing
these passages as seen
in
mm.A 16-19, in the Basses
and m.A 34A in the
Cello and Bass.
The
balancing of the chords
will be a challenge
in
the execution of the many
sforzandos
em>A in this
movement.
March: A Measures 2 and
4, and similar melodic
patterns that follow,
require the performers to
carefully balance their
forte/pianos
on beats 3 and 4,
along with the rapid
diminuendo. The contrasting
rhythmic patterns in mm.
5-8, and later throughout
this movement must line
up precisely. Strings
playing the pizzicato
eight note, walking bass
line, must not rush,
and the upper strings
playing the
eighth-note/eight-restA
figure must
follow their section
leaders in executing this
in a unified manner.
While there is
no formal tempo change
from mm. 40 to 41,
directors may need to
relax the tempo at the
beginning of the
movement toA
accommodate the
technical challenge of
the double time feel that
happens in m. 41.
Trepak:
A
Tchaikovsky was careful
to notate the
p,
f
and
sf,
requiring the performers
to recognize the
difference between all
three markings that frame
the chief melody. The
upper strings must be
careful to support the
melody in the lower
strings that begins in m.
33. Directors will
challenge their students
to have fun in the last
twelve measures with the
accelerando
passage to the
end. Care must
be taken to use
an
accelerando
that works for
all
the players in the
particular
ensemble.. This
arrangement will
challenge students, while
fostering rhythmic
independence, execution
of bowing and pizzicato,
and the ability to
balance the melody with
the accompaniment
throughout the
arrangement. However,
ranges remain primarily
in first position with
some optional
8va<
span class=s4> passages,
allowing intermediate
groups to perform this in
time for the winter
holiday concert.A
Suitable for Grades 3
through 5. To the
Director:
Dance
of the Sugar Plum
Fairy: A steady tempo
is critical when
performing this movement,
as students may have a
tendency to rush during
the pizzicato sections.
There is a
regularly occurring
descending sixteenth-note
rhythmic figure that is
transcribed form the bass
clarinet part in the
original.
It
is important to maintain
clarity and
balance in performing
these passages as seen
in
mm.A 16-19, in the Basses
and m.A 34A in the
Cello and Bass.
The
balancing of the chords
will be a challenge
in
the execution of the many
sforzandos
em>A in this
movement.
March: A Measures 2 and
4, and similar melodic
patterns that follow,
require the performers to
carefully balance their
forte/pianos
on beats 3 and 4,
along with the rapid
diminuendo. The contrasting
rhythmic patterns in mm.
5-8, and later throughout
this movement must line
up precisely. Strings
playing the pizzicato
eight note, walking bass
line, must not rush,
and the upper strings
playing the
eighth-note/eight-restA
figure must
follow their section
leaders in executing this
in a unified manner.
While there is
no formal tempo change
from mm. 40 to 41,
directors may need to
relax the tempo at the
beginning of the
movement toA
accommodate the
technical challenge of
the double time feel that
happens in m. 41.
Trepak:
A
Tchaikovsky was careful
to notate the
p,
f
and
sf,
requiring the performers
to recognize the
difference between all
three markings that frame
the chief melody. The
upper strings must be
careful to support the
melody in the lower
strings that begins in m.
33. Directors will
challenge their students
to have fun in the last
twelve measures with the
accelerando
passage to the
end. Care must
be taken to use
an
accelerando
that works for
all
the players in the
particular
ensemble.. This
arrangement will
challenge students, while
fostering rhythmic
independence, execution
of bowing and pizzicato,
and the ability to
balance the melody with
the accompaniment
throughout the
arrangement. However,
ranges remain primarily
in first position with
some optional
8va<
span class=s4> passages,
allowing intermediate
groups to perform this in
time for the winter
holiday concert. Suitable
for Grades 3 through
5. To the
Director:
Dance
of the Sugar Plum
Fairy: A steady tempo
is critical when
performing this movement,
as students may have a
tendency to rush during
the pizzicato sections.
There is a
regularly occurring
descending sixteenth-note
rhythmic figure that is
transcribed form the bass
clarinet part in the
original.
It
is important to maintain
clarity and
balance in performing
these passages as seen
in
mm. 16-19, in the Basses
and m. 34 in the
Cello and Bass.
The
balancing of the chords
will be a challenge
in
the execution of the many
sforzandos
em> in this
movement.
March: Measures 2 and
4, and similar melodic
patterns that follow,
require the performers to
carefully balance their
forte/pianos
on beats 3 and 4,
along with the rapid
diminuendo. The contrasting
rhythmic patterns in mm.
5-8, and later throughout
this movement must line
up precisely. Strings
playing the pizzicato
eight note, walking bass
line, must not rush,
and the upper strings
playing the
eighth-note/eight-rest
figure must
follow their section
leaders in executing this
in a unified manner.
While there is
no formal tempo change
from mm. 40 to 41,
directors may need to
relax the tempo at the
beginning of the
movement to
accommodate the
technical challenge of
the double time feel that
happens in m. 41.
Trepak:
Tchaikovsky was careful
to notate the
p,
f
and
sf,
requiring the performers
to recognize the
difference between all
three markings that frame
the chief melody. The
upper strings must be
careful to support the
melody in the lower
strings that begins in m.
33. Directors will
challenge their students
to have fun in the last
twelve measures with the
accelerando
passage to the
end. Care must
be taken to use
an
accelerando
that works for
all
the players in the
particular
ensemble.. This
arrangement will
challenge students, while
fostering rhythmic
independence, execution
of bowing and pizzicato,
and the ability to
balance the melody with
the accompaniment
throughout the
arrangement. However,
ranges remain primarily
in first position with
some optional 8va
passages, allowing
intermediate groups to
perform this in time for
the winter holiday
concert. Suitable for
Grades 3 through 5. To
the Director: Dance of
the Sugar Plum Fairy: A
steady tempo is critical
when performing this
movement, as students may
have a tendency to rush
during the pizzicato
sections. There is a
regularly occurring
descending sixteenth-note
rhythmic figure that is
transcribed form the bass
clarinet part in the
original. It is important
to maintain clarity and
balance in performing
these passages as seen in
mm. 16-19, in the Basses
and m. 34 in the Cello
and Bass. The balancing
of the chords will be a
challenge in the
execution of the many
sforzandos in this
movement. March: Measures
2 and 4, and similar
melodic patterns that
follow, require the
performers to carefully
balance their
forte/pianos on beats 3
and 4, along with the
rapid diminuendo. The
contrasting rhythmic
patterns in mm. 5-8, and
later throughout this
movement must line up
precisely. Strings
playing the pizzicato
eight note, walking bass
line, must not rush, and
the upper strings playing
the
eighth-note/eight-rest
figure must follow their
section leaders in
executing this in a
unified manner. While
there is no formal tempo
change from mm. 40 to 41,
directors may need to
relax the tempo at the
beginning of the movement
to accommodate the
technical challenge of
the double time feel that
happens in m. 41. Trepak:
Tchaikovsky was careful
to notate the p, f and
sf, requiring the
performers to recognize
the difference between
all three markings that
frame the chief melody.
The upper strings must be
careful to support the
melody in the lower
strings that begins in m.
33. Directors will
challenge their students
to have fun in the last
twelve measures with the
accelerando passage to
the end. Care must be
taken to use an
accelerando that works
for all the players in
the particular
ensemble. This
arrangement will
challenge students, while
fostering rhythmic
independence, execution
of bowing and pizzicato,
and the ability to
balance the melody with
the accompaniment
throughout the
arrangement. However,
ranges remain primarily
in first position with
some optional 8va
passages, allowing
intermediate groups to
perform this in time for
the winter holiday
concert. Suitable for
Grades 3 through 5.To the
Director:Dance of the
Sugar Plum Fairy: A
steady tempo is critical
when performing this
movement, as students may
have a tendency to rush
during the pizzicato
sections. There is a
regularly occurring
descending sixteenth-note
rhythmic figure that is
transcribed form the bass
clarinet part in the
original. It is important
to maintain clarity and
balance in performing
these passages as seen in
mm. 16-19, in the
Basses and m. 34 in
the Cello and Bass. The
balancing of the chords
will be a challenge in
the execution of the many
sforzandos in this
movement. March:
 Measures 2 and 4, and
similar melodic patterns
that follow, require the
performers to carefully
balance their
forte/pianos on beats 3
and 4, along with the
rapid diminuendo. The
contrasting rhythmic
patterns in mm. 5-8, and
later throughout this
movement must line up
precisely. Strings
playing the pizzicato
eight note, walking bass
line, must not rush, and
the upper strings playing
the
eighth-note/eight-restÂÂ
figure must follow their
section leaders in
executing this in a
unified manner. While
there is no formal tempo
change from mm. 40 to 41,
directors may need to
relax the tempo at the
beginning of the movement
to accommodate the
technical challenge of
the double time feel that
happens in m. 41. Trepak:
 Tchaikovsky was
careful to notate the p,
f and sf, requiring the
performers to recognize
the difference between
all three markings that
frame the chief melody.
The upper strings must be
careful to support the
melody in the lower
strings that begins in m.
33. Directors will
challenge their students
to have fun in the last
twelve measures with the
accelerando passage to
the end. Care must be
taken to use an
accelerando that works
for all the players in
the particular
ensemble.
About Carl
Fischer Concert String
Orchestra
Series Thi
s series of pieces (Grade
3 and higher) is designed
for advancing ensembles.
The pieces in this series
are characterized
by: - Expanded use
of rhythms, ranges and
keys but technical
demands are still
carefully
considered
- More
comprehensive bowing
techniques
- Viola
T.C.
included
- Careful
selection of keys and
degree of difficulty for
advancing
musicians
$60.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| 7 Klavierstucke fur Fortgeschrittene Piano seul Doblinger
Piano SKU: DB.01-00674 7 piano pieces for advanced players. Compos...(+)
Piano SKU:
DB.01-00674 7
piano pieces for advanced
players. Composed by
Erich Urbanner. Keyboard
music. Collection. 16
pages pages. Doblinger
Music Publishers
#01-00674. Published by
Doblinger Music
Publishers (DB.01-00674).
ISBN
9790012198352. Wie
die
Charakterbezeichnungen
der sieben Satze
verraten, soll dem
Lernenden eine Reihe von
musikalischen Aufgaben
angeboten werden, sich
sowohl technisch als auch
im lyrischen Bereich
durch Anschlagskultur den
Anforderungen zu stellen.
Die Komposition soll in
kurzen ubersichtlichen
Formmodellen
unterschiedliche
Charaktere vermitteln.
Sie ist in erster Linie
als Beitrag fur junge
Lernende an Musikschulen
gedacht. Da im Ablauf der
einzelnen Satze
zunehmende Anforderungen
gestellt werden, sollten
diese auf Spieler
aufgeteilt werden, die
den jeweiligen Anspruchen
gewachsen sind, wobei im
Sinne eines Teamworks bei
einem Konzert etwa auch
der Lehrer sich mit dem
Abschlussstuck (Nr. 7)
beteiligen kann.
Selbstverstandlich konnen
die sieben Satze auch von
einem Schuler dargeboten
werden. (E.
Urbanner) 1.
Cantabile, 2. Marcato, 3.
Andante con moto, 4.
Giusto, 5. Scherzando, 6.
Con spirito, 7.
Espressivo e rubato. $23.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Basic Music Theory for Banjo Players Banjo [Partition + Accès audio] - Facile Mel Bay
Illustrated with Playing Examples for the 5-String Banjo. Composed by Rick Mc...(+)
Illustrated with Playing
Examples for the 5-String
Banjo. Composed by Rick
McKeon. Banjo: 5-
String,Banjo:
Clawhammer,Technique,
Theory
and Reference,Technique,
Theory and Reference.
Book
and Online Audio/Video.
160
pages. Published by Mel
Bay
Publications, Inc
$19.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Syncopated Clock Ensemble de Percussions Alfred Publishing
For Mallet Ensemble (For 7--9 Players). Composed by Leroy Anderson (1908-...(+)
For Mallet Ensemble
(For 7--9 Players).
Composed by Leroy
Anderson (1908-1975).
Arranged by Justin
Koszarek. Part(s);
Percussion - Ensemble;
Score. Alfred's Pop
Mallet Ensemble Series.
22 pages. Published by
Alfred Music (AP.44639).
$17.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Church Sonatas Nos 7 - 9 [Conducteur et Parties séparées] - Intermédiaire Forton Music
Flexible flute quartet - Intermediate SKU: FT.FM097 Composed by Wolfgang ...(+)
Flexible flute quartet -
Intermediate SKU:
FT.FM097 Composed by
Wolfgang Amadeus Mozart.
Arranged by Robert
Rainford. Score and
parts. Forton Music
#FM097. Published by
Forton Music (FT.FM097).
ISBN
9790708085966. Flex
ible Flute Quartet - 4
flutes, alternate parts
for alto and bass flutes
included. These three
short works make a great
addition to the flute
quartet repertoire.
Lively and exciting, all
parts share in driving
the music forward. Tutti
sections lead by the
first flute alternate
with contrapuntal
sections where all
players take an equal
role. The first is in B
flat major, the second in
C and the third and final
one in the set is also in
B flat major. All are
fast, and require some
neat tonguing
particularly from flute
one. Players of grade 4/5
standard should be able
to tackle these.
Alternate parts are
included so the alto
flute may be replaced by
a concert flute, and the
bass flute may be
replaced by an alto
flute. $29.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Church Sonatas 7-9 [Conducteur et Parties séparées] - Intermédiaire Forton Music
Ebcl/Bbcl. Bbcl. Bbcl/Alto Cl. Bbcl/Alto cl/Bass Cl. (Eb clarinet/Bb clarinet, B...(+)
Ebcl/Bbcl. Bbcl.
Bbcl/Alto Cl. Bbcl/Alto
cl/Bass Cl. (Eb
clarinet/Bb clarinet, Bb
clarinet, Bb
clarinet/alto clarinet,
Bb clarinet/alto
clarinet/bass clarinet) -
Intermediate SKU:
FT.FM587 Composed by
Wolfgang Amadeus Mozart.
Arranged by Robert
Rainford. Arranged for
flexible clarinet
quartet/ensemble. Score
and parts. Forton Music
#FM587. Published by
Forton Music (FT.FM587).
ISBN
9790570484867. Thes
e three short works make
a great addition to
the clarinet quartet
repertoire. Lively and
exciting, all parts share
in driving the music
forward. Tutti sections
lead by the
first clarinet alternate
with contrapuntal
sections where all
players take an equal
role. The first is in F
major, the second in G
and the third and final
one in the set is also
in F major. All are
fast, and require some
neat articulation
particularly
from clarinet one.
Players of grade 4/5
standard should be able
to tackle these. $29.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
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