| The Hymn Fake Book - C Edition
Ligne De Mélodie, Paroles et Accords [Fake Book] - Facile Hal Leonard
For voice and C instrument. Format: fakebook (spiral bound). With vocal melody, ...(+)
For voice and C
instrument. Format:
fakebook (spiral bound).
With vocal melody,
lyrics, piano
accompaniment, chord
names and leadsheet
notation. Hymn. Series:
Hal Leonard Fake Books.
494 pages. 9x12 inches.
Published by Hal Leonard.
(3)$39.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Victorious First Orchestre d'harmonie [Conducteur] - Intermédiaire Carl Fischer
Band Bass Clarinet in Bb, Bassoon, Clarinet 1 in Bb, Clarinet 2 in Bb, Clarinet ...(+)
Band Bass Clarinet in Bb,
Bassoon, Clarinet 1 in
Bb, Clarinet 2 in Bb,
Clarinet 3 in Bb,
Euphonium B.C., Euphonium
T.C. in Bb, Flute 1,
Flute 2, Horn 1 in F,
Horn 2 in F, Horn 3 in F,
Horn 4 in F, Oboe,
Percussion 1, Percussion
2, Piccolo, Trombone 1
and more - Grade 4
SKU: CF.CB138F
March. Composed by
Henry Fillmore. Edited by
Robert E. Foster. SWS.
Henry Fillmore Band
Series (An Authentic
Fillmore Edition). Full
score. With Standard
notation. 24 pages.
Duration 2:40. Carl
Fischer Music #CB138F.
Published by Carl Fischer
Music (CF.CB138F).
ISBN 9780825874505.
UPC: 798408074500. 9x12
inches. The
Victorious First is one
of Henry Fillmore's early
marches, originally
published in 1907. It has
all of the essential
elements that have made
Fillmore's music so
enduring. Robert Foster
now makes this march
available to all again in
a modern edition, exactly
as Fillmore intended. A
brilliant new addition to
the Authentic Fillmore
Edition series. $18.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Marche fatale Orchestre [Conducteur] Breitkopf & Härtel
Orchestra SKU: BR.PB-5432 Composed by Helmut Lachenmann. Orchestra; stapl...(+)
Orchestra SKU:
BR.PB-5432 Composed
by Helmut Lachenmann.
Orchestra; stapled.
Partitur-Bibliothek
(Score Library). World
premiere of the
orchestral version:
Stuttgart, January 1,
2018World premiere of the
piano version: Mito, June
17, 2017 Have a
look into EB
9283. New music
(post-2000). Full score.
Composed 2016/17/20. 48
pages. Duration 8'.
Breitkopf and Haertel #PB
5432. Published by
Breitkopf and Haertel
(BR.PB-5432). ISBN
9790004212790. 10 x 12.5
inches. Marche
fatale is an incautiously
daring escapade that may
annoy the fans of my
compositions more than my
earlier works, many of
which have prevailed only
after scandals at their
world premieres. My
Marche fatale has,
though, little
stylistically to do with
my previous compositional
path; it presents itself
without restraint, if not
as a regression, then
still as a recourse to
those empty phrases to
which modern civilization
still clings in its daily
utility music, whereas
music in the 20th and
21st centuries has long
since advanced to new,
unfamiliar soundscapes
and expressive
possibilities. The key
term is banality. As
creators we despise it,
we try to avoid it -
though we are not safe
from the cheap banal even
within new aesthetic
achievements.Many
composers have
incidentally accepted the
banal. Mozart wrote Ein
musikalischer Spass [A
Musical Jape], a
deliberately amateurishly
miscarried sextet.
Beethoven's Bagatellen
op. 119 were rejected by
the publisher on the
grounds that few will
believe that this minor
work is by the famous
Beethoven. Mauricio Kagel
wrote, tongue in cheek,
so to speak, Marsche, um
den Sieg zu verfehlen
[Marches for being
Unvictorious], Ligeti
wrote Hungarian Rock; in
his Circus Polka
Stravinsky quoted and
distorted the famous, all
too popular Schubert
military march, composed
at the time for piano
duet. I myself do not
know, though, whether I
ought to rank my Marche
fatale alongside these
examples: I accept the
humor in daily life, the
more so as this daily
life for some of us is
not otherwise to be
borne. In music, I
mistrust it, considering
myself all the closer to
the profounder idea of
cheerfulness having
little to do with humor.
However: Isn't a march
with its compelling claim
to a collectively martial
or festive mood absurd, a
priori? Is it even music
at all? Can one march and
at the same time listen?
Eventually, I resolved to
take the absurd seriously
- perhaps bitterly
seriously - as a
debunking emblem of our
civilization that is
standing on the brink.
The way - seemingly
unstoppable - into the
black hole of all
debilitating demons: that
can become serene. My old
request of myself and my
music-creating
surroundings is to write
a non-music, whence the
familiar concept of music
is repeatedly re-defined
anew and differently, so
that derailed here -
perhaps? - in a
treacherous way, the
concert hall becomes the
place of mind-opening
adventures instead of a
refuge in illusory
security. How could that
happen? The rest is -
thinking.(Helmut
Lachenmann, 2017)CD
(Version for
Piano):Nicolas Hodges CD
Wergo WER 7393 2
Bibliography:Ich bin
nicht ,,pietistisch
verformt. Ein Gesprach
[von Jan Brachmann] mit
dem Komponisten Helmut
Lachenmann, in: FAZ vom
7. Juni 2018, p.
15.
World premiere
of the piano version:
Mito/Japan, June 17,
2017, World premiere of
the orchestral version:
Stuttgart, January 1,
2018, World premiere of
the ensemble version:
Frankfurt, December 9,
2020. $63.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Marche fatale Piano seul [Conducteur] Breitkopf & Härtel
Piano SKU: BR.EB-9253 Composed by Helmut Lachenmann. Solo instruments; st...(+)
Piano SKU:
BR.EB-9253 Composed
by Helmut Lachenmann.
Solo instruments;
stapled. Edition
Breitkopf. World
premiere of the
orchestral version:
Stuttgart, January 1,
2018World premiere of the
piano version: Mito, June
17, 2017 Have a
look into EB
9283. New music
(post-2000). Score.
Composed 2016/17/20. 12
pages. Duration 8'.
Breitkopf and Haertel #EB
9253. Published by
Breitkopf and Haertel
(BR.EB-9253). ISBN
9790004185537. 9 x 12
inches. Marche
fatale is an incautiously
daring escapade that may
annoy the fans of my
compositions more than my
earlier works, many of
which have prevailed only
after scandals at their
world premieres. My
Marche fatale has,
though, little
stylistically to do with
my previous compositional
path; it presents itself
without restraint, if not
as a regression, then
still as a recourse to
those empty phrases to
which modern civilization
still clings in its daily
utility music, whereas
music in the 20th and
21st centuries has long
since advanced to new,
unfamiliar soundscapes
and expressive
possibilities. The key
term is banality. As
creators we despise it,
we try to avoid it -
though we are not safe
from the cheap banal even
within new aesthetic
achievements.Many
composers have
incidentally accepted the
banal. Mozart wrote Ein
musikalischer Spass [A
Musical Jape], a
deliberately amateurishly
miscarried sextet.
Beethoven's Bagatellen
op. 119 were rejected by
the publisher on the
grounds that few will
believe that this minor
work is by the famous
Beethoven. Mauricio Kagel
wrote, tongue in cheek,
so to speak, Marsche, um
den Sieg zu verfehlen
[Marches for being
Unvictorious], Ligeti
wrote Hungarian Rock; in
his Circus Polka
Stravinsky quoted and
distorted the famous, all
too popular Schubert
military march, composed
at the time for piano
duet. I myself do not
know, though, whether I
ought to rank my Marche
fatale alongside these
examples: I accept the
humor in daily life, the
more so as this daily
life for some of us is
not otherwise to be
borne. In music, I
mistrust it, considering
myself all the closer to
the profounder idea of
cheerfulness having
little to do with humor.
However: Isn't a march
with its compelling claim
to a collectively martial
or festive mood absurd, a
priori? Is it even music
at all? Can one march and
at the same time listen?
Eventually, I resolved to
take the absurd seriously
- perhaps bitterly
seriously - as a
debunking emblem of our
civilization that is
standing on the brink.
The way - seemingly
unstoppable - into the
black hole of all
debilitating demons: that
can become serene. My old
request of myself and my
music-creating
surroundings is to write
a non-music, whence the
familiar concept of music
is repeatedly re-defined
anew and differently, so
that derailed here -
perhaps? - in a
treacherous way, the
concert hall becomes the
place of mind-opening
adventures instead of a
refuge in illusory
security. How could that
happen? The rest is -
thinking.(Helmut
Lachenmann, 2017)CD
(Version for
Piano):Nicolas Hodges CD
Wergo WER 7393 2
Bibliography:Ich bin
nicht ,,pietistisch
verformt. Ein Gesprach
[von Jan Brachmann] mit
dem Komponisten Helmut
Lachenmann, in: FAZ vom
7. Juni 2018, p.
15.
World premiere
of the piano version:
Mito/Japan, June 17,
2017, World premiere of
the orchestral version:
Stuttgart, January 1,
2018, World premiere of
the ensemble version:
Frankfurt, December 9,
2020. $30.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Panic! at the Disc : Victorious Fanfare [Conducteur et Parties séparées] - Intermédiaire Hal Leonard
By Panic! at the Disco. Arranged by Jack Holt and Matt Conaway. Contemporary ...(+)
By Panic! at the Disco.
Arranged by Jack Holt and
Matt Conaway.
Contemporary
Marching Band. Softcover.
Published by Hal Leonard
$60.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Annie’s Gone Home - Débutant 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 1.5
SKU: CF.FAS108
Composed by Bud Woodruff.
First-Plus String
Orchestra (FAS). Set of
Score and Parts. With
Standard notation.
8+8+5+5+2+5+2+8 pages.
Duration 3 minutes, 21
seconds. Carl Fischer
Music #FAS108. Published
by Carl Fischer Music
(CF.FAS108). ISBN
9781491151396. UPC:
680160908899. 9 x 12
inches. Key: D
major. Annie's Gone
Home, composed in the
style of a spiritual, was
written as a tribute to
composer Bud Woodruff's
mother. The tune is built
on phrases of easily
understandable material,
but the poignant nature
of the piece is marked
with profundity. From the
subtle bass solo to the
emotional high points,
the piece is inspired by
this strong woman in the
life of the
composer.
Annies Gone
Home is a tribute to
my Mother, Annette Fenner
Hains (19232017). Her
siblings and cousins
always called her Annie.
She loved music, and her
influence was the primary
inspiration for me to go
into music. Her tastes
were wildly diverse,
loving everything from
symphonic music to
Country/Western, to
various styles of folk
music, to pop, to
marches, but she had a
very tender spot for
hymns and spirituals.
While it is
easy to interpret grief
in this music, and its
presence is undeniable,
it is really intended
more as a song of the
ultimate triumph of
goodness. In her wisdom,
she was able to capture
deep thoughts within
simple phrases, which I
have also tried to
capture. Her life was one
of frequent struggles,
yet she was inspiring to
many. She emerged from
every difficulty, never
unscathed, but always
victorious, with clear
eyes and head held high,
until her last battle,
which brought about her
greatest victory. This
sentiment is what I tried
to capture. If too slow a
tempo is taken, that
feeling is lost and a
sense of grief takes
over. That may be what a
conductor wants to
convey, but is not what I
intended. . Annieas Gone
HomeA is a tribute
to my Mother, Annette
Fenner Hains (1923a2017).
Her siblings and cousins
always called her
aAnnie.a She loved music,
and her influence was the
primary inspiration for
me to go into music. Her
tastes were wildly
diverse, loving
everything from symphonic
music to Country/Western,
to various styles of folk
music, to pop, to
marches, but she had a
very tender spot for
hymns and spirituals.
While it is
easy to interpret grief
in this music, and its
presence is undeniable,
it is really intended
more as a song of the
ultimate triumph of
goodness. In her wisdom,
she was able to capture
deep thoughts within
simple phrases, which I
have also tried to
capture. Her life was one
of frequent struggles,
yet she was inspiring to
many. She emerged from
every difficulty, never
unscathed, but always
victorious, with clear
eyes and head held high,
until her last battle,
which brought about her
greatest victory. This
sentiment is what I tried
to capture. If too slow a
tempo is taken, that
feeling is lost and a
sense of grief takes
over. That may be what a
conductor wants to
convey, but is not what I
intended. . Annieas Gone
HomeA is a tribute
to my Mother, Annette
Fenner Hains (1923a2017).
Her siblings and cousins
always called her
aAnnie.a She loved music,
and her influence was the
primary inspiration for
me to go into music. Her
tastes were wildly
diverse, loving
everything from symphonic
music to Country/Western,
to various styles of folk
music, to pop, to
marches, but she had a
very tender spot for
hymns and spirituals.
While it is
easy to interpret grief
in this music, and its
presence is undeniable,
it is really intended
more as a song of the
ultimate triumph of
goodness. In her wisdom,
she was able to capture
deep thoughts within
simple phrases, which I
have also tried to
capture. Her life was one
of frequent struggles,
yet she was inspiring to
many. She emerged from
every difficulty, never
unscathed, but always
victorious, with clear
eyes and head held high,
until her last battle,
which brought about her
greatest victory. This
sentiment is what I tried
to capture. If too slow a
tempo is taken, that
feeling is lost and a
sense of grief takes
over. That may be what a
conductor wants to
convey, but is not what I
intended. . Annie's Gone
Home is a tribute to
my Mother, Annette Fenner
Hains (1923-2017). Her
siblings and cousins
always called her Annie.
She loved music, and her
influence was the primary
inspiration for me to go
into music. Her tastes
were wildly diverse,
loving everything from
symphonic music to
Country/Western, to
various styles of folk
music, to pop, to
marches, but she had a
very tender spot for
hymns and spirituals.
While it is
easy to interpret grief
in this music, and its
presence is undeniable,
it is really intended
more as a song of the
ultimate triumph of
goodness. In her wisdom,
she was able to capture
deep thoughts within
simple phrases, which I
have also tried to
capture. Her life was one
of frequent struggles,
yet she was inspiring to
many. She emerged from
every difficulty, never
unscathed, but always
victorious, with clear
eyes and head held high,
until her last battle,
which brought about her
greatest victory. This
sentiment is what I tried
to capture. If too slow a
tempo is taken, that
feeling is lost and a
sense of grief takes
over. That may be what a
conductor wants to
convey, but is not what I
intended. . Annie's
Gone Home is a tribute to
my Mother, Annette Fenner
Hains (1923-2017). Her
siblings and cousins
always called her Annie.
She loved music, and her
influence was the primary
inspiration for me to go
into music. Her tastes
were wildly diverse,
loving everything from
symphonic music to
Country/Western, to
various styles of folk
music, to pop, to
marches, but she had a
very tender spot for
hymns and spirituals.
While it is easy to
interpret grief in this
music, and its presence
is undeniable, it is
really intended more as a
song of the ultimate
triumph of goodness. In
her wisdom, she was able
to capture deep thoughts
within simple phrases,
which I have also tried
to capture. Her life was
one of frequent
struggles, yet she was
inspiring to many. She
emerged from every
difficulty, never
unscathed, but always
victorious, with clear
eyes and head held high,
until her last battle,
which brought about her
greatest victory. This
sentiment is what I tried
to capture. If too slow a
tempo is taken, that
feeling is lost and a
sense of grief takes
over. That may be what a
conductor wants to
convey, but is not what I
intended. Annieâ€
s Gone Home is a
tribute to my Mother,
Annette Fenner Hains
(1923–2017). Her
siblings and cousins
always called her
“Annie.†She
loved music, and her
influence was the primary
inspiration for me to go
into music. Her tastes
were wildly diverse,
loving everything from
symphonic music to
Country/Western, to
various styles of folk
music, to pop, to
marches, but she had a
very tender spot for
hymns and
spirituals.While it is
easy to interpret grief
in this music, and its
presence is undeniable,
it is really intended
more as a song of the
ultimate triumph of
goodness. In her wisdom,
she was able to capture
deep thoughts within
simple phrases, which I
have also tried to
capture. Her life was one
of frequent struggles,
yet she was inspiring to
many. She emerged from
every difficulty, never
unscathed, but always
victorious, with clear
eyes and head held high,
until her last battle,
which brought about her
greatest victory. This
sentiment is what I tried
to capture. If too slow a
tempo is taken, that
feeling is lost and a
sense of grief takes
over. That may be what a
conductor wants to
convey, but is not what I
intended. $53.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
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