| Julian "Cannonball" Adderly: Julian 'Cannonball' Adderley Collection Saxophone Alto [Partition] Hal Leonard
Performed by Julian "Cannonball" Adderly. For alto saxophone. Format: alto saxop...(+)
Performed by Julian
"Cannonball" Adderly. For
alto saxophone. Format:
alto saxophone solo
songbook (solos at
concert pitch). With
chord names, introductory
text and performance
notes. Jazz. Series: Hal
Leonard Artist
Transcriptions. 72 pages.
9x12 inches. Published by
Hal Leonard.
(2)$22.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Berko's Journey Theodore Presser Co.
Orchestra Bass Clarinet, Bass Trombone, Bassoon 1, Bassoon 2, Cello, Clarinet in...(+)
Orchestra Bass Clarinet,
Bass Trombone, Bassoon 1,
Bassoon 2, Cello,
Clarinet in Bb 1,
Clarinet in Bb 2,
Clarinet in Bb 3,
Contrabassoon, Double
Bass, English Horn, Flute
1, Flute 2, Flute 3,
Harp, Horn 1, Horn 3,
Horn 4, Oboe 1, Oboe 2,
Percussion 1 and more.
SKU: PR.11642143L
Composed by Stacy Garrop.
Spiral. Large Score. 68
pages. Duration 20
minutes. Theodore Presser
Company #116-42143L.
Published by Theodore
Presser Company
(PR.11642143L). UPC:
680160693320. 11 x 17
inches. For most of
my life, I never knew
where my father’s
family came from, beyond
a few broad strokes: they
had emigrated in the
early 1900s from Eastern
Europe and altered the
family name along the
way. This radically
changed in the summer of
2021 when my mother and
sister came across a
folder in our family
filing cabinet and made
an astounding discovery
of documents that
revealed when, where, and
how my great-grandfather
came to America. The
information I had been
seeking was at home all
along, waiting over forty
years to be
discovered.Berko
Gorobzoff, my
great-grandfather, left
Ekaterinoslav in 1904. At
that time, this city was
in the southern Russian
area of modern-day
Ukraine; as his family
was Jewish, he and his
siblings were attempting
to escape the ongoing
religious persecution and
pogroms instigated by
Tzar Nicholas II to root
out Jewish people from
Russia. Berko’s older
brother Jakob had already
emigrated to Illinois,
and Berko was traveling
with Chaje, Jakob’s
wife, to join him. Their
timing was fortuitous, as
the following year saw a
series of massive, brutal
pogroms in the region.
After arriving in
Illinois, Berko went on
to Omaha, Nebraska, where
he married my
great-grandmother Anna
about eighteen months
later. They remained in
Omaha for the rest of
their lives.There is one
more intriguing part to
this historical account:
I have a great-aunt in
Texas who, as it turns
out, is the youngest
daughter of Berko and
Anna. Through a series of
phone calls, my
great-aunt and I
discussed what she could
remember: her parents
spoke Yiddish at home,
her mother didn’t learn
to read or write in
English so my great-aunt
was tasked with writing
letters to family
members, Berko ran a
grocery store followed by
a small hotel, and her
parents enjoyed playing
poker with friends. Above
all else, neither of her
parents ever spoke a word
about their past or how
they got to America. This
was a common trait among
Eastern European Jewish
immigrants whose goal was
to “blend in” within
their new communities and
country.To
craft Berko’s
Journey, I melded the
facts I uncovered about
Berko with my own
research into methods of
transportation in the
early 1900s. Also, to
represent his heritage, I
wove two Yiddish songs
and one Klezmer tune into
the work. In movement
1, Leaving
Ekaterinoslav, we hear
Berko packing his
belongings, saying his
goodbyes to family and
friends, and walking to
the train station.
Included in this movement
is a snippet of the
Yiddish song “The
Miller’s Tears” which
references how the Jews
were driven out of their
villages by the Russian
army. In movement 2, In
Transit, we follow Berko
as he boards a train and
then a steamship, sails
across the Atlantic
Ocean, arrives at Ellis
Island and anxiously
waits in line for
immigration, jubilantly
steps foot into New York
City, and finally boards
a train that will take
him to Chicago. While
he’s on the steamship,
we hear a group of fellow
steerage musicians play a
klezmer tune
(“Freylachs in d
minor”). In movement
3, At Home in Omaha, we
hear Berko court and
marry Anna. Their
courtship is represented
by “Tumbalalaika,” a
Yiddish puzzle folksong
in which a man asks a
woman a series of riddles
in order to get better
acquainted with each
other and to test her
intellect.On a final
note, I crafted a musical
motive to represent Berko
throughout the piece.
This motive is heard at
the beginning of the
first movement; its first
pitches are B and E,
which represent the first
two letters of Berko’s
name. I scatter this
theme throughout the
piece as Berko travels
towards a new world and
life. As the piece
concludes, we hear
Berko’s theme
repeatedly and in close
succession, representing
the descendants of the
Garrop line that came
from Berko and
Anna. For most of my
life, I never knew where
my father’s family came
from, beyond a few broad
strokes: they had
emigrated in the early
1900s from Eastern Europe
and altered the family
name along the way. This
radically changed in the
summer of 2021 when my
mother and sister came
across a folder in our
family filing cabinet and
made an astounding
discovery of documents
that revealed when,
where, and how my
great-grandfather came to
America. The information
I had been seeking was at
home all along, waiting
over forty years to be
discovered.Berko
Gorobzoff, my
great-grandfather, left
Ekaterinoslav in 1904. At
that time, this city was
in the southern Russian
area of modern-day
Ukraine; as his family
was Jewish, he and his
siblings were attempting
to escape the ongoing
religious persecution and
pogroms instigated by
Tzar Nicholas II to root
out Jewish people from
Russia. Berko’s older
brother Jakob had already
emigrated to Illinois,
and Berko was traveling
with Chaje, Jakob’s
wife, to join him. Their
timing was fortuitous, as
the following year saw a
series of massive, brutal
pogroms in the region.
After arriving in
Illinois, Berko went on
to Omaha, Nebraska, where
he married my
great-grandmother Anna
about eighteen months
later. They remained in
Omaha for the rest of
their lives.There is one
more intriguing part to
this historical account:
I have a great-aunt in
Texas who, as it turns
out, is the youngest
daughter of Berko and
Anna. Through a series of
phone calls, my
great-aunt and I
discussed what she could
remember: her parents
spoke Yiddish at home,
her mother didn’t learn
to read or write in
English so my great-aunt
was tasked with writing
letters to family
members, Berko ran a
grocery store followed by
a small hotel, and her
parents enjoyed playing
poker with friends. Above
all else, neither of her
parents ever spoke a word
about their past or how
they got to America. This
was a common trait among
Eastern European Jewish
immigrants whose goal was
to “blend in” within
their new communities and
country.To
craftxa0Berko’s
Journey,xa0I melded the
facts I uncovered about
Berko with my own
research into methods of
transportation in the
early 1900s. Also, to
represent his heritage, I
wove two Yiddish songs
and one Klezmer tune into
the work. In movement
1,xa0Leaving
Ekaterinoslav,xa0we hear
Berko packing his
belongings, saying his
goodbyes to family and
friends, and walking to
the train station.
Included in this movement
is a snippet of the
Yiddish song “The
Miller’s Tears” which
references how the Jews
were driven out of their
villages by the Russian
army. In movement 2,xa0In
Transit,xa0we follow
Berko as he boards a
train and then a
steamship, sails across
the Atlantic Ocean,
arrives at Ellis Island
and anxiously waits in
line for immigration,
jubilantly steps foot
into New York City, and
finally boards a train
that will take him to
Chicago. While he’s on
the steamship, we hear a
group of fellow steerage
musicians play a klezmer
tune (“Freylachs in d
minor”). In movement
3,xa0At Home in
Omaha,xa0we hear Berko
court and marry Anna.
Their courtship is
represented by
“Tumbalalaika,” a
Yiddish puzzle folksong
in which a man asks a
woman a series of riddles
in order to get better
acquainted with each
other and to test her
intellect.On a final
note, I crafted a musical
motive to represent Berko
throughout the piece.
This motive is heard at
the beginning of the
first movement; its first
pitches are B and E,
which represent the first
two letters of Berko’s
name. I scatter this
theme throughout the
piece as Berko travels
towards a new world and
life. As the piece
concludes, we hear
Berko’s theme
repeatedly and in close
succession, representing
the descendants of the
Garrop line that came
from Berko and Anna. $71.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Berko's Journey [Conducteur] Theodore Presser Co.
Orchestra Bass Clarinet, Bass Trombone, Bassoon 1, Bassoon 2, Cello, Clarinet in...(+)
Orchestra Bass Clarinet,
Bass Trombone, Bassoon 1,
Bassoon 2, Cello,
Clarinet in Bb 1,
Clarinet in Bb 2,
Clarinet in Bb 3,
Contrabassoon, Double
Bass, English Horn, Flute
1, Flute 2, Flute 3,
Harp, Horn 1, Horn 3,
Horn 4, Oboe 1, Oboe 2,
Percussion 1 and more.
SKU: PR.11642143S
Composed by Stacy Garrop.
Sws. Score. 68 pages.
Duration 20 minutes.
Theodore Presser Company
#116-42143S. Published by
Theodore Presser Company
(PR.11642143S). UPC:
680160693313. 11 x 17
inches. For most of
my life, I never knew
where my father’s
family came from, beyond
a few broad strokes: they
had emigrated in the
early 1900s from Eastern
Europe and altered the
family name along the
way. This radically
changed in the summer of
2021 when my mother and
sister came across a
folder in our family
filing cabinet and made
an astounding discovery
of documents that
revealed when, where, and
how my great-grandfather
came to America. The
information I had been
seeking was at home all
along, waiting over forty
years to be
discovered.Berko
Gorobzoff, my
great-grandfather, left
Ekaterinoslav in 1904. At
that time, this city was
in the southern Russian
area of modern-day
Ukraine; as his family
was Jewish, he and his
siblings were attempting
to escape the ongoing
religious persecution and
pogroms instigated by
Tzar Nicholas II to root
out Jewish people from
Russia. Berko’s older
brother Jakob had already
emigrated to Illinois,
and Berko was traveling
with Chaje, Jakob’s
wife, to join him. Their
timing was fortuitous, as
the following year saw a
series of massive, brutal
pogroms in the region.
After arriving in
Illinois, Berko went on
to Omaha, Nebraska, where
he married my
great-grandmother Anna
about eighteen months
later. They remained in
Omaha for the rest of
their lives.There is one
more intriguing part to
this historical account:
I have a great-aunt in
Texas who, as it turns
out, is the youngest
daughter of Berko and
Anna. Through a series of
phone calls, my
great-aunt and I
discussed what she could
remember: her parents
spoke Yiddish at home,
her mother didn’t learn
to read or write in
English so my great-aunt
was tasked with writing
letters to family
members, Berko ran a
grocery store followed by
a small hotel, and her
parents enjoyed playing
poker with friends. Above
all else, neither of her
parents ever spoke a word
about their past or how
they got to America. This
was a common trait among
Eastern European Jewish
immigrants whose goal was
to “blend in” within
their new communities and
country.To
craft Berko’s
Journey, I melded the
facts I uncovered about
Berko with my own
research into methods of
transportation in the
early 1900s. Also, to
represent his heritage, I
wove two Yiddish songs
and one Klezmer tune into
the work. In movement
1, Leaving
Ekaterinoslav, we hear
Berko packing his
belongings, saying his
goodbyes to family and
friends, and walking to
the train station.
Included in this movement
is a snippet of the
Yiddish song “The
Miller’s Tears” which
references how the Jews
were driven out of their
villages by the Russian
army. In movement 2, In
Transit, we follow Berko
as he boards a train and
then a steamship, sails
across the Atlantic
Ocean, arrives at Ellis
Island and anxiously
waits in line for
immigration, jubilantly
steps foot into New York
City, and finally boards
a train that will take
him to Chicago. While
he’s on the steamship,
we hear a group of fellow
steerage musicians play a
klezmer tune
(“Freylachs in d
minor”). In movement
3, At Home in Omaha, we
hear Berko court and
marry Anna. Their
courtship is represented
by “Tumbalalaika,” a
Yiddish puzzle folksong
in which a man asks a
woman a series of riddles
in order to get better
acquainted with each
other and to test her
intellect.On a final
note, I crafted a musical
motive to represent Berko
throughout the piece.
This motive is heard at
the beginning of the
first movement; its first
pitches are B and E,
which represent the first
two letters of Berko’s
name. I scatter this
theme throughout the
piece as Berko travels
towards a new world and
life. As the piece
concludes, we hear
Berko’s theme
repeatedly and in close
succession, representing
the descendants of the
Garrop line that came
from Berko and
Anna. For most of my
life, I never knew where
my father’s family came
from, beyond a few broad
strokes: they had
emigrated in the early
1900s from Eastern Europe
and altered the family
name along the way. This
radically changed in the
summer of 2021 when my
mother and sister came
across a folder in our
family filing cabinet and
made an astounding
discovery of documents
that revealed when,
where, and how my
great-grandfather came to
America. The information
I had been seeking was at
home all along, waiting
over forty years to be
discovered.Berko
Gorobzoff, my
great-grandfather, left
Ekaterinoslav in 1904. At
that time, this city was
in the southern Russian
area of modern-day
Ukraine; as his family
was Jewish, he and his
siblings were attempting
to escape the ongoing
religious persecution and
pogroms instigated by
Tzar Nicholas II to root
out Jewish people from
Russia. Berko’s older
brother Jakob had already
emigrated to Illinois,
and Berko was traveling
with Chaje, Jakob’s
wife, to join him. Their
timing was fortuitous, as
the following year saw a
series of massive, brutal
pogroms in the region.
After arriving in
Illinois, Berko went on
to Omaha, Nebraska, where
he married my
great-grandmother Anna
about eighteen months
later. They remained in
Omaha for the rest of
their lives.There is one
more intriguing part to
this historical account:
I have a great-aunt in
Texas who, as it turns
out, is the youngest
daughter of Berko and
Anna. Through a series of
phone calls, my
great-aunt and I
discussed what she could
remember: her parents
spoke Yiddish at home,
her mother didn’t learn
to read or write in
English so my great-aunt
was tasked with writing
letters to family
members, Berko ran a
grocery store followed by
a small hotel, and her
parents enjoyed playing
poker with friends. Above
all else, neither of her
parents ever spoke a word
about their past or how
they got to America. This
was a common trait among
Eastern European Jewish
immigrants whose goal was
to “blend in” within
their new communities and
country.To
craftxa0Berko’s
Journey,xa0I melded the
facts I uncovered about
Berko with my own
research into methods of
transportation in the
early 1900s. Also, to
represent his heritage, I
wove two Yiddish songs
and one Klezmer tune into
the work. In movement
1,xa0Leaving
Ekaterinoslav,xa0we hear
Berko packing his
belongings, saying his
goodbyes to family and
friends, and walking to
the train station.
Included in this movement
is a snippet of the
Yiddish song “The
Miller’s Tears” which
references how the Jews
were driven out of their
villages by the Russian
army. In movement 2,xa0In
Transit,xa0we follow
Berko as he boards a
train and then a
steamship, sails across
the Atlantic Ocean,
arrives at Ellis Island
and anxiously waits in
line for immigration,
jubilantly steps foot
into New York City, and
finally boards a train
that will take him to
Chicago. While he’s on
the steamship, we hear a
group of fellow steerage
musicians play a klezmer
tune (“Freylachs in d
minor”). In movement
3,xa0At Home in
Omaha,xa0we hear Berko
court and marry Anna.
Their courtship is
represented by
“Tumbalalaika,” a
Yiddish puzzle folksong
in which a man asks a
woman a series of riddles
in order to get better
acquainted with each
other and to test her
intellect.On a final
note, I crafted a musical
motive to represent Berko
throughout the piece.
This motive is heard at
the beginning of the
first movement; its first
pitches are B and E,
which represent the first
two letters of Berko’s
name. I scatter this
theme throughout the
piece as Berko travels
towards a new world and
life. As the piece
concludes, we hear
Berko’s theme
repeatedly and in close
succession, representing
the descendants of the
Garrop line that came
from Berko and Anna. $40.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Concerto for Trombone with Piano reduction Trombone et Piano [Conducteur et Parties séparées] - Avancé Cherry Classics
Trombone and Piano - Advanced SKU: CY.CC3136 Composed by John W. Ware. Cl...(+)
Trombone and Piano -
Advanced SKU:
CY.CC3136 Composed by
John W. Ware. Classical.
Score and Parts. Cherry
Classics #CC3136.
Published by Cherry
Classics (CY.CC3136).
ISBN 9790530111055.
8.5 x 11 in
inches. This fine
work has sat dormant for
many years and has now
come to light thanks to
the efforts of Charlie
Vernon, Bass Trombonist
of the Chicago Symphony,
who performed this
virtuoso work as a young
performer. The concerto
is in the standard three
movement form: Fast,
slow, fast. This
publication is a
reduction from the
original orchestral
version (to be released
at some point in the
future). Here is a
description of the
Concerto by the composer,
John W. Ware. I started
on the trombone concerto
in my junior year
studying composition at
Indiana University. While
working on it, I learned
of an opportunity to make
it sort of a thesis piece
(though students didn't
write a thesis in
composition while an
undergrad). The original
version was for trombone
with string orchestra,
and it was performed by
the IU String Orchestra,
conducted by Dr. Arthur
Corra, with Robert Priez,
trombone, as part of my
senior composition
recital. I thought the
performance was quite
good (Priez played
extraordinarily well),
and the piece received a
newspaper review in the
Indiana Daily Student, in
which the reviewer wrote
that the work was almost
too exciting. I thought
at the time that he had
given me and my music a
fine compliment. I made a
piano version of the
accompaniment, shortening
and tightening the first
movement, for
performances in 1966; I
made a second revision in
1967 for a performance by
E. J. Eaton, trombonist
at the University of
Tennessee at Martin,
arriving at the form in
which the work exists
now. The first movement
is in fairly normal
sonata-allegro form, in
the key of A minor. It
alternates between
assertive and more
thoughtful moods. There
is no introduction; the
soloist enters
immediately and dominates
much of the movement. The
main theme is--by some
manipulation--a source
for most of the other
themes, and all of the
themes are used in close
proximity to each other,
including contrapuntal
combinations, especially
near the end. Originally
the movement included a
lengthy fugato, now much
shortened and including a
stretto that builds and
subsides before a cadenza
leading to a coda based
on both the principal and
secondary themes. Key
relations in this
movement, as in the other
two, are quite free and
often chromatic, with
frequent third-relations;
but returns to the tonic
at the end are emphatic.
The writing is
challenging for both
soloist and accompanist;
the piece is substantial,
requiring technique and
stamina. The second
movement is in F minor
and is also built on both
contrast and close
relationships between the
main and secondary
themes. The main theme is
heard in the piano part
before the soloist
enters. The mood is more
lyric than in the first
movement, but with
dramatic episodes also.
In this movement are some
definite derivations from
themes in the first
movement. The ending is a
sort of lengthened shadow
of the opening. The
finale returns to A
minor, with themes
slightly related to
polonaise rhythms, but
with strong echoes of
first-movement themes.
Here, too, dramatic and
lyric episodes alternate,
with dotted rhythms
frequently propelling the
music forward. The
introduction is a brief
and simple preparation
for the solo entry. Later
in the movement, a very
brief, slightly slower
section is soon overtaken
by the original tempo.
Toward the end, there is
a second cadenza, again
leading to a swift and
energetic coda. The work
is about 20 minutes in
length and is appropriate
for advanced
performers. $40.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| With Wind and Water Orchestre d'harmonie - Intermédiaire Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon 1, Bassoon 2, Bongos, Chimes, Clarinet 1,...(+)
Band Bass Clarinet, Bass
Drum, Bassoon 1, Bassoon
2, Bongos, Chimes,
Clarinet 1, Clarinet 2,
Clarinet 3, Crash
Cymbals, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Horn 1, Horn 2,
Mallet Percussion,
Marimba, Oboe 1, Oboe 2,
Percussion 1 and more. -
Grade 4 SKU:
CF.SPS80 Composed by
Brant Karrick. Symphonic
Band (SPS). Set of Score
and Parts. With Standard
notation.
8+8+4+4+8+16+16+4+4+4+4+4
+4+4+6+12+12+4+4+6+6+6+6+
8+6+2+4+14+36+4 pages.
Duration 4 minutes, 10
seconds. Carl Fischer
Music #SPS80. Published
by Carl Fischer Music
(CF.SPS80). ISBN
9781491152577. UPC:
680160910076. Key: Bb
major. With Wind
and Water is a musical
portrayal of an adventure
on the high seas during
the sailing age. It was
during the 16th to the
mid-19th century where
large sailing vessels
dominated global
exploration,
international trade, and
naval warfare. The
piece's compound meter
provides the pulse of
movement as it pitches
and rolls with the rhythm
of the waves. The driving
main melodies convey the
determination and courage
of the explorers and
their crew. Dissonant
harmonies suggest rough
seas, turbulent weather,
and other constant
dangers that sailors must
endure. Finally, the
ending sweeping melody
and climax reflects the
joy and triumph at
arriving on a new land at
the apex of a long and
intense voyage. With
evidence of watercraft
dating back to 8000 BC,
travel by water has
remained an important
aspect of life to many
civilizations. From
paddling down a river or
crossing a large lake, to
steaming across an entire
ocean, generations of
humans have traveled on
water to explore foreign
lands, to seek food and
precious materials, to
move and trade cargo, and
to attack and fend off
enemies.With Wind and
Water is a musical
portrayal of an adventure
on the high seas during
the age of sail. It was
during the sixteenth to
the mid-nineteenth
century when large
sailing vessels dominated
global exploration,
international trade, and
naval warfare. Our
ship sets sail!The
compound meter provides
the pulse of movement as
it pitches and rolls with
the rhythm of the waves.
The driving main melodies
convey the determination
and courage of the
explorers and their crew.
Dissonant harmonies
suggest rough seas,
turbulent weather and
other constant dangers
that sailors must endure.
The final sweeping melody
and climax reflect the
joy and triumph at
arriving on a new land at
the apex of a long and
intense voyage. With
Wind and Water was
commissioned by the
Florida Bandmasters
Association for the 2016
Nine Star Honor Band. $125.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| With Wind and Water Orchestre d'harmonie [Conducteur] - Intermédiaire Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon 1, Bassoon 2, Bongos, Chimes, Clarinet 1,...(+)
Band Bass Clarinet, Bass
Drum, Bassoon 1, Bassoon
2, Bongos, Chimes,
Clarinet 1, Clarinet 2,
Clarinet 3, Crash
Cymbals, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Horn 1, Horn 2,
Mallet Percussion,
Marimba, Oboe 1, Oboe 2,
Percussion 1 and more. -
Grade 4 SKU:
CF.SPS80F Composed by
Brant Karrick. Symphonic
Band (SPS). Full score.
With Standard notation.
36 pages. Carl Fischer
Music #SPS80F. Published
by Carl Fischer Music
(CF.SPS80F). ISBN
9781491153253. UPC:
680160910755. With
Wind and Water is a
musical portrayal of an
adventure on the high
seas during the sailing
age. It was during the
16th to the mid-19th
century where large
sailing vessels dominated
global exploration,
international trade, and
naval warfare. The
piece's compound meter
provides the pulse of
movement as it pitches
and rolls with the rhythm
of the waves. The driving
main melodies convey the
determination and courage
of the explorers and
their crew. Dissonant
harmonies suggest rough
seas, turbulent weather,
and other constant
dangers that sailors must
endure. Finally, the
ending sweeping melody
and climax reflects the
joy and triumph at
arriving on a new land at
the apex of a long and
intense voyage. With
evidence of watercraft
dating back to 8000 BC,
travel by water has
remained an important
aspect of life to many
civilizations. From
paddling down a river or
crossing a large lake, to
steaming across an entire
ocean, generations of
humans have traveled on
water to explore foreign
lands, to seek food and
precious materials, to
move and trade cargo, and
to attack and fend off
enemies.With Wind and
Water is a musical
portrayal of an adventure
on the high seas during
the age of sail. It was
during the sixteenth to
the mid-nineteenth
century when large
sailing vessels dominated
global exploration,
international trade, and
naval warfare. Our
ship sets sail!The
compound meter provides
the pulse of movement as
it pitches and rolls with
the rhythm of the waves.
The driving main melodies
convey the determination
and courage of the
explorers and their crew.
Dissonant harmonies
suggest rough seas,
turbulent weather and
other constant dangers
that sailors must endure.
The final sweeping melody
and climax reflect the
joy and triumph at
arriving on a new land at
the apex of a long and
intense voyage. With
Wind and Water was
commissioned by the
Florida Bandmasters
Association for the 2016
Nine Star Honor Band. $14.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| 15 Easy Christmas Carols Basson, Piano (duo) [Partition + CD] - Facile Anglo Music
Bassoon and Piano - easy SKU: BT.AMP-407-400 Arranged by Philip Sparke. A...(+)
Bassoon and Piano - easy
SKU:
BT.AMP-407-400
Arranged by Philip
Sparke. Anglo Music
Play-Along Series. Book
with CD. Composed 2015.
40 pages. Anglo Music
Press #AMP 407-400.
Published by Anglo Music
Press (BT.AMP-407-400).
ISBN 9789043148498.
English-German-French-Dut
ch. Part of the
Anglo Music Play-Along
Series, Philip
Sparke’s 15
Easy Christmas
Carols is aimed
at the young
instrumentalist who can
play just over an octave.
Specifically tailored to
suit the individual
instrument, this book
introducesthe beginning
player to the
world’s most
popular Christmas tunes
by selecting simple yet
attractive melodies that
fit their limited range.
This book will provide
invaluable additional
material to complement
any teaching method and
includes both
pianoaccompaniment and a
demo/play-along
CD.
Philip Sparkes
15 Easy Christmas
Carols sind Teil
der Anglo Music
Play-Along Reihe und
richten sich an junge
Instrumentalisten, die
den Tonumfang von einer
Oktave beherrschen. Auf
jedes Instrument
zugeschnitten, führen
diese Ausgaben,für die
einfache und zugleich
ansprechende Melodien
ausgewählt wurden die
sich für diesen
begrenzten Tonumfang
eignen, den Anfänger
an die weltweit
beliebtesten
Weihnachtslieder heran.
Dieser Band bietet
wertvolles
Ergänzungsmaterial,
das zu
jederInstrumentalschule
passt und sowohl eine
Klavierbegleitung als
auch eine Play-Along-CD
enthält.
Faisan
t partie de
l’Anglo Music
Play-Along Series,
les 15 Easy
Christmas
Carols(15
chants de Noël
faciles) de Philip
Sparke visent les jeunes
instrumentistes qui
arrivent jouer un peu
plus d’une octave.
Adapté pourconvenir
chaque instrument
spécifique, ce recueil
introduit le joueur
débutant aux chants de
Noël les plus
populaires en
sélectionnant des
mélodies simples les
plus intéressantes qui
correspondent leur
registre limité. Ce
recueil fournit
dumatériel
supplémentaire
indispensable qui
complète
n’importe quelle
méthode pédagogique
et inclut un
accompagnement pour piano
ainsi qu’une
version sur CD avec
démos. $22.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| 15 Intermediate Christmas Carols Basson, Piano (duo) [Partition + CD] - Intermédiaire Anglo Music
Bassoon and Piano - intermediate SKU: BT.AMP-430-400 Arranged by Philip S...(+)
Bassoon and Piano -
intermediate SKU:
BT.AMP-430-400
Arranged by Philip
Sparke. Anglo Music
Play-Along Series. Book
with CD. Composed 2015.
40 pages. Anglo Music
Press #AMP 430-400.
Published by Anglo Music
Press (BT.AMP-430-400).
ISBN 9789043148610.
English-German-French-Dut
ch. Part of the
Anglo Music Play-Along
Series, Philip
Sparke’s 15
Intermediate Christmas
Carols is aimed
at the young
instrumentalist who can
play about an octave and
a half and follows on
from Sparke’s
15 Easy
ChristmasCarols.
Specifically tailored to
suit the individual
instrument, this book
introduces the developing
player to the
world’s most
popular Christmas tunes
by selecting simple yet
attractive melodies that
fit their limited range.
The book willprovide
invaluable additional
material to complement
any teaching method and
includes both piano
accompaniment and a
demo/play-along
CD.
Philip Sparkes
15 Intermediate
Christmas Carols
sind Teil der Reihe Anglo
Music Play-Along und
richten sich an junge
Instrumentalisten, die
einen Tonumfang von
ungefähr eineinhalb
Oktaven beherrschen. Die
Ausgabe schließt sich
anSparkes 15 Easy
Christmas Carols
an. Für diesen Band
wurden einfache und
zugleich ansprechende
Melodien ausgewählt,
die genau auf das
jeweilige Instrument
zugeschnitten sind, sich
für dessen begrenzten
Tonumfang eignen, und den
soSchüler an die
weltweit beliebtesten
Weihnachtslieder
heranführen. 15
Intermediate Christmas
Carols bietet
damit wertvolles
Ergänzungsmaterial,
das zu jeder
Instrumentalschulepasst
und sowohl eine
Klavierbegleitung als
auch einePlay-Along-CD
enthält.
Faisan
t partie de
l’Anglo Music
Play-Along Series,
les 15
Intermediate Christmas
Carols(15
chants de Noël de
niveau
intermédiaire) de
Philip Sparke visent les
instrumentistes qui
arrivent jouer environ
une octave etdemi.
Adapté pour convenir
chaque instrument
spécifique, ce recueil
introduit le musicien de
niveau moyen aux chants
de Noël les plus
populaires en
sélectionnant les
mélodies simples les
plus intéressantes qui
correspondent leur
registre limité.Ce
livre fournit du
matériel
supplémentaire
indispensable qui
complète
n’importe quelle
méthode pédagogique
et inclut un
accompagnement pour piano
ainsi qu’une
version sur CD avec
démos. $22.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
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