| Third Position for the Violin, Book One Violon C. Harvey Publications
Third Position for the Violin, Book One by Cassia Harvey. For violin. Instructio...(+)
Third Position for the
Violin, Book One by
Cassia Harvey. For
violin. Instructional;
string techniques. Method
book. 43 pages. Published
by C. Harvey Publications
(1)$9.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Modern Course Third Grade Book/CD Piano seul [Partition + CD] Willis Music
Book/CD Pack. Piano and Keyboard, Instructional, Methods. John Thompson's Modern...(+)
Book/CD Pack. Piano and
Keyboard, Instructional,
Methods. John Thompson's
Modern Course for the
Piano. John Thompson's
Modern Course for the
Piano - Third Grade.
Softcover Book and CD. 96
pages. Willis Music
#WMR101112. Published by
Willis Music
$19.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Fanfare for the Third Planet Orchestre d'harmonie - Facile Hal Leonard
Score Only Concert Band (Score) - Grade 2-3 SKU: HL.4003283 Composed by R...(+)
Score Only Concert Band
(Score) - Grade 2-3
SKU: HL.4003283
Composed by Richard L.
Saucedo. Flex-Band Grade
2. 20 pages. Published by
Hal Leonard (HL.4003283).
UPC: 884088676100.
9.0x12.0x0.039
inches. Adapted
from his popular work for
concert band, Richard
Saucedo has created a
great-sounding version
for flexible
instrumentation. Written
completely in one tempo,
Fanfare for the Third
Planet features fresh
harmonies, powerful
fanfare-like phrases,
varied ensemble textures,
and a driving rhythmic
vitality throughout. $10.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Third Service (Magnificat & Nunc Dimittis) Chorale SATB SATB, Orgue Chester
Chorus; Organ Accompaniment (SATB, Organ) SKU: HL.14048130 For SATB Ch...(+)
Chorus; Organ
Accompaniment (SATB,
Organ) SKU:
HL.14048130 For
SATB Choir and Organ.
Composed by Nico Muhly.
Choral. Classical.
Octavo. Composed 2016. 24
pages. Chester Music
#SRO100131. Published by
Chester Music
(HL.14048130). UPC:
888680660802.
6.75x10.5x0.099
inches. Nico
Muhly's Third Service
(Magnificat & Nunc
Dimittis) is a work for
SATB Choir and Organ
Accompaniment.
Commissioned by the
Master and Fellows of St
John's College,
Cambridge, it was first
performed by St John's
College Choir on 29th May
2016. A full performance
lasts around 7.5
minutes. $3.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Georg Philipp Telemann : Fantasias (Third Dozen) Piano seul - Intermédiaire ABRSM Publishing
By Georg Philipp Telemann. For piano. Published by ABRSM (Associated Board of th...(+)
By Georg Philipp
Telemann. For piano.
Published by ABRSM
(Associated Board of the
Royal Schools of Music).
$11.99 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Various Arrangements on a Theme [Conducteur] Yamaha
Piano Duet, 2 Pianos SKU: YM.GTP01100072 Lupin the Third Main Theme(+)
Piano Duet, 2 Pianos
SKU:
YM.GTP01100072
Lupin the Third Main
Theme. Composed by
Yuji Ohno. Various
Arrangements on a Theme.
Anime. Score. Yamaha
Music Media #GTP01100072.
Published by Yamaha Music
Media (YM.GTP01100072).
ISBN 9784636100532.
8.5 x 12 inches. In
the Various Arrangements
on a Theme series,
various piano
arrangements of one song
with various levels of
difficulty and
composition are compiled
in one book to suit any
desired level and
performance situation.
Each book includes from
simpler arrangements to
more stylish arrangements
in intermediate and
advanced levels that are
sure to impress
listerners and online
viewers on SNS.
Enjoy! $9.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| As If [Conducteur] Carl Fischer
Chamber Music Cello, Recording, Viola, Violin SKU: CF.BE10F For String...(+)
Chamber Music Cello,
Recording, Viola, Violin
SKU: CF.BE10F
For String Trio and
Recording. Composed
by Paul Lansky. Full
score. With Standard
notation. 32 pages.
Duration 19:37. Carl
Fischer Music #BE10F.
Published by Carl Fischer
Music (CF.BE10F). ISBN
9780825891175. UPC:
798408091170. 8.5 x 11
inches. Key: G
major. Commissioned
by the Princeton-Columbia
Electronic Music Center
for Speculum Musicae in
1981. The first movement,
In Preparation, is a
study in tuning and
intonation and is based
on the open strings in
perfectly tuned fifths,
with the violins D string
tuned 294 hertz. The
first moments of the
piece provide opportunity
to tune to the tape part.
(This tuning probably
differs imperceptibly
from a tempered tuning
since the E string of the
violin is only 1/33 of a
semitone sharper then in
a tempered system and the
C strings of the viola
and cello 1/33 of a
semitone flatter.) Most
subsequent pitches in the
movement are either the
open strings or major and
minor thirds above and
below the open strings.
The minor thirds will be
slightly sharp with
respect to equal tempered
tuning about 15 cents or
1/6 of a semitone and the
major thirds will be
slightly flat about 14
cents, or one seventh of
a semitone. Listen to the
tape part as a guide. All
harmonics in this
movement are to be played
as natural harmonics and
open strings are to be
used whenever possible.
In the second movement,
At a Distance, the tape
part largely doubles
selected pitches in the
string parts and should
be thought of as a
backdrop rather then
counterpart. In this and
the remaining movements
equal tempered tuning is
used though it will
probably not be necessary
to retune the instruments
for this reason alone.
The third movement, In
Practice, is a study in
modes of performance
particularly with respect
to rhythmic rigidity and
flexibility. While the
tape part may seem to
bend and sway a great
deal, the string parts
are to be played with as
much rhythmic precision
as possible. At many
points it may be
necessary to delay or
anticipate beats in order
to coincide with the
arrival of beats in the
tape part, though in
general the quarter
equals 120 is accurate.
In the fourth movement,
In Distinction, different
kinds of musical
conceptions are
counter-pointed and
counter-posed. Here the
beat is quite accurate
although the notation of
the synthetic saxophone
part is only approximate.
All the tape parts are
based on computer
reprocessed violin except
for parts of the fourth
movement in which
synthetic saxophone is
used. The tape part was
synthesized on the IBM
3033 and 3081 computers
at Princeton University
and converted at the
Winham Laboratory. The
violin source was
performed by Cyrus
Stevens. Commissioned
by the Princeton-Columbia
Electronic Music Center
for Speculum Musicae in
1981. The first movement,
In Preparation, is a
study in tuning and
intonation and is based
on the open strings in
perfectly tuned fifths,
with the violinas D
string tuned 294 hertz.
The first moments of the
piece provide opportunity
to tune to the tape part.
(This tuning probably
differs imperceptibly
from a tempered tuning
since the E string of the
violin is only 1/33 of a
semitone sharper then in
a tempered system and the
C strings of the viola
and acello 1/33 of a
semitone flatter.) Most
subsequent pitches in the
movement are either the
open strings or major and
minor thirds above and
below the open strings.
The minor thirds will be
slightly sharp with
respect to equal tempered
tuning about 15 cents or
1/6 of a semitone and the
major thirds will be
slightly flat about 14
cents, or one seventh of
a semitone. Listen to the
tape part as a guide. All
harmonics in this
movement are to be played
as natural harmonics and
open strings are to be
used whenever possible.
In the second movement,
At a Distance, the tape
part largely doubles
selected pitches in the
string parts and should
be thought of as a
backdrop rather then
counterpart. In this and
the remaining movements
equal tempered tuning is
used though it will
probably not be necessary
to retune the instruments
for this reason alone.
The third movement, In
Practice, is a study in
modes of performance
particularly with respect
to rhythmic rigidity and
flexibility. While the
tape part may seem to
bend and sway a great
deal, the string parts
are to be played with as
much rhythmic precision
as possible. At many
points it may be
necessary to delay or
anticipate beats in order
to coincide with the
arrival of beats in the
tape part, though in
general the quarter
equals 120 is accurate.
In the fourth movement,
In Distinction, different
kinds of musical
conceptions are
counter-pointed and
counter-posed. Here the
beat is quite accurate
although the notation of
the synthetic saxophone
part is only approximate.
All the tape parts are
based on computer
reprocessed violin except
for parts of the fourth
movement in which
synthetic saxophone is
used. The tape part was
synthesized on the IBM
3033 and 3081 computers
at Princeton University
and converted at the
Winham Laboratory. The
violin source was
performed by Cyrus
Stevens. Commissioned
by the Princeton-Columbia
Electronic Music Center
for Speculum Musicae in
1981. The first movement,
In Preparation, is a
study in tuning and
intonation and is based
on the open strings in
perfectly tuned fifths,
with the violin's D
string tuned 294 hertz.
The first moments of the
piece provide opportunity
to tune to the tape part.
(This tuning probably
differs imperceptibly
from a tempered tuning
since the E string of the
violin is only 1/33 of a
semitone sharper then in
a tempered system and the
C strings of the viola
and 'cello 1/33 of a
semitone flatter.) Most
subsequent pitches in the
movement are either the
open strings or major and
minor thirds above and
below the open strings.
The minor thirds will be
slightly sharp with
respect to equal tempered
tuning about 15 cents or
1/6 of a semitone and the
major thirds will be
slightly flat about 14
cents, or one seventh of
a semitone. Listen to the
tape part as a guide. All
harmonics in this
movement are to be played
as natural harmonics and
open strings are to be
used whenever possible.
In the second movement,
At a Distance, the tape
part largely doubles
selected pitches in the
string parts and should
be thought of as a
backdrop rather then
counterpart. In this and
the remaining movements
equal tempered tuning is
used though it will
probably not be necessary
to retune the instruments
for this reason alone.
The third movement, In
Practice, is a study in
modes of performance
particularly with respect
to rhythmic rigidity and
flexibility. While the
tape part may seem to
bend and sway a great
deal, the string parts
are to be played with as
much rhythmic precision
as possible. At many
points it may be
necessary to delay or
anticipate beats in order
to coincide with the
arrival of beats in the
tape part, though in
general the quarter
equals 120 is accurate.
In the fourth movement,
In Distinction, different
kinds of musical
conceptions are
counter-pointed and
counter-posed. Here the
beat is quite accurate
although the notation of
the synthetic saxophone
part is only approximate.
All the tape parts are
based on computer
reprocessed violin except
for parts of the fourth
movement in which
synthetic saxophone is
used. The tape part was
synthesized on the IBM
3033 and 3081 computers
at Princeton University
and converted at the
Winham Laboratory. The
violin source was
performed by Cyrus
Stevens. Commissioned
by the Princeton-Columbia
Electronic Music Center
for SpeculumMusicae in
1981.The first movement,
In Preparation, is a
study in tuning and
intonation and isbased on
the open strings in
perfectly tuned fifths,
with the violin’s
D stringtuned 294 hertz.
The first moments of the
piece provide opportunity
to tuneto the tape part.
(This tuning probably
differs imperceptibly
from a temperedtuning
since the E string of the
violin is only 1/33 of a
semitone sharper then ina
tempered system and the C
strings of the viola and
‘cello 1/33 of a
semitoneflatter.) Most
subsequent pitches in the
movement are either the
open stringsor major and
minor thirds above and
below the open strings.
The minor thirdswill be
slightly sharp with
respect to equal tempered
tuning about 15 cents
or1/6 of a semitone and
the major thirds will be
slightly flat about 14
cents, or oneseventh of a
semitone. Listen to the
tape part as a guide. All
harmonics in thismovement
are to be played as
natural harmonics and
open strings are to be
usedwhenever possible.In
the second movement, At a
Distance, the tape part
largely doubles
selectedpitches in the
string parts and should
be thought of as a
backdrop rather
thencounterpart. In this
and the remaining
movements equal tempered
tuning is usedthough it
will probably not be
necessary to retune the
instruments for this
reasonalone.The third
movement, In Practice, is
a study in modes of
performance
particularlywith respect
to rhythmic rigidity and
flexibility. While the
tape part may seemto bend
and sway a great deal,
the string parts are to
be played with as
muchrhythmic precision as
possible. At many points
it may be necessary to
delay oranticipate beats
in order to coincide with
the arrival of beats in
the tape part,though in
general the quarter
equals 120 is accurate.In
the fourth movement, In
Distinction, different
kinds of musical
conceptions
arecounter-pointed and
counter-posed. Here the
beat is quite accurate
although thenotation of
the synthetic saxophone
part is only
approximate.All the tape
parts are based on
computer reprocessed
violin except for parts
ofthe fourth movement in
which synthetic saxophone
is used. The tape part
wassynthesized on the IBM
3033 and 3081 computers
at Princeton University
andconverted at the
Winham Laboratory. The
violin source was
performed by
CyrusStevens. $29.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Third Position for the Viola, Book One Alto seul - Débutant C. Harvey Publications
Composed by Cassia Harvey. For viola. Instructional; string techniques. Method b...(+)
Composed by Cassia
Harvey. For viola.
Instructional; string
techniques. Method book.
43 pages. Published by C.
Harvey Publications
$9.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
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