| Alfred's Basic Piano Course - Merry Christmas! Ensemble Book Level 1a Ensemble de Pianos [Partition] - Débutant Alfred Publishing
Alfred's Basic Piano Course - Merry Christmas! Ensemble Book (Level 1A) by Gayle...(+)
Alfred's Basic Piano
Course - Merry Christmas!
Ensemble Book (Level 1A)
by Gayle Kowalchyk and E.
L. Lancaster. For 4-part
piano ensemble.
Method/Instruction; Piano
- Alfred's Basic Piano
Course. Alfred's Basic
Piano Library.
Instructional and
Christmas. Beginner.
Piano songbook. Easy
piano notation, solo part
and harmony parts. 48
pages. Published by
Alfred Music Publishing
$8.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Nunhead Harmony [Conducteur et Parties séparées] University Of York Music Press
Clarinet, Violin, Viola and Bass SKU: BT.MUSM570365708 Composed by James ...(+)
Clarinet, Violin, Viola
and Bass SKU:
BT.MUSM570365708
Composed by James Weeks.
Set (Score & Parts). 4
pages. University of York
Music Press
#MUSM570365708. Published
by University of York
Music Press
(BT.MUSM570365708).
English. James
Weeks ' The Nunhead
Harmony for Clarinet in
Bb, Violin, Viola and
Double Bass. Score and
parts. The Nunhead
Harmony was commissioned
by Ensemble Scratch the
Surface and first
performed by them at
King’s Place, London on
10 May 2010. Much of the
writing was completed as
part of an Aldeburgh
Composer Residency. $41.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| African Harmony - Songs from Mama Africa Chorale SATB Amstel Music
For Wind Orchestra and opt. SATB Choir 25 choir parts. Composed by Johan ...(+)
For Wind Orchestra and
opt. SATB Choir 25 choir
parts. Composed by
Johan De Meij. Amstel
Music. Symphonic,
Concert, African.
Softcover. Amstel Music
#AM158-050. Published by
Amstel Music
(HL.4005109).
$30.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Music Play 2 - Bundle (includes parts A and B) GIA Publications
SKU: GI.G-J383 Composed by Alison Reynolds, Cynthia Taggart, and Wendy H....(+)
SKU: GI.G-J383
Composed by Alison
Reynolds, Cynthia
Taggart, and Wendy H.
Valerio. Jump Right In.
Music Education. 494
pages. GIA Publications
#J383. Published by GIA
Publications (GI.G-J383).
ISBN
9781622775408. Thro
ugh engaging children
using Music Play 2,
adults may build
relationships with
newborn and young
children, additional
family members, and other
adults as they joyfully
make music together,
affirm and nurture
newborn and young
children’s innate
capacities for expressive
musicking and movement,
and honor and extend
young children’s
expressed musical
curiosities, ideas, and
audeas (musical thoughts
and ideas), helping them
realize that their
musical identities are
worth sharing,
developing, and
preserving. Music Play 2
materials function in
companion with Music Play
(GIA, 1998) and Edwin
Gordon’s Music
Learning Theory for
Newborn and Young
Children (GIA, 2013).
Music Play 2Â (494
pages) is bundled into
two parts, Part A and
Part B. The following are
the features of each
part: Â Part A (264
pages) Part B (229 pages)
Tribute to Edwin Gordon
Guiding Newborn and Young
Children’s Innate
Music Capacities Guiding
Young Children Through
Types and Stages of
Preparatory Audiation:
The Materials Using Music
Play 2 Inclusion: All
Children and Their
Families (Salvador) 45
Extended Music Engagement
Plans, each with a music
selection (i.e., song,
song/chant combination,
or chant) in a wide
variety of tonalities and
meters, and prototypical
examples of social-music
and movement play in
relation to
Gordon’s three
types of preparatory
audiation. Each song has
a chord root or bass-line
melody notated, singable
as an additional part, as
well as chord functions
to guide harmonic
accompaniment to the
melody. Each plan
features More Audeas for
Music Play, such as tonal
pattern and/or rhythm
pattern examples for each
type of preparatory
audiation, supplemental
harmonic and rhythm
accompaniments to add to
the music selection, and
More Ideas for Music
Play, such as examples of
ways to connect Music
Play 2 activities to
PK–2 2014 Music
Standards, and one
inclusion strategy in a
Domain of Learning.
Guidance for teaching
chord root or bass line
melodies and additional
harmony parts, and
chordal accompaniments.
Complete listing of all
PK–2 2014 Music
Standards, along with
which extended music
engagement plans feature
each standard. Indices:
Comprehensive Index
Headings, Music Play
(1998) and Music Play 2
Comprehensive Index of
Music Selections
Alphabetized by Type and
Title: Music Play (1998)
and Music Play 2 Modified
Comprehensive Index,
Music Play 2: Parts A and
B Music Play 2: Part A
Music Selections
Alphabetized by Type and
Title Music Play 2: Part
A Music Selections
Alphabetized by Title 71
Music Engagement Plans,
each with a music
selection (i.e., song,
song/chant combination,
or chant) in a wide
variety of tonalities and
meters, and prototypical
examples of social-music
and movement play in
relation to
Gordon’s three
types of preparatory
audiation. Each song has
a chord root or bass-line
melody notated, singable
as an additional part, as
well as chord functions
to guide harmonic
accompaniment to the
melody. Apply More Audeas
and More Ideas you
discover using Part A to
music selections and
engagement plans in Part
B. Part B features
tonalites and meters
unique to music
selections in Part B, and
“Helloâ€
and/or
“Goodbyeâ€
music selections.
Guidance for teaching
chord root or bass line
melodies and additional
harmony parts, and
chordal accompaniments.
Editor and Contributor
List (83 total) An
11-page, comprehensive
bibliography and resource
list to support
researchers and
practitioners and promote
their audiation-based
social-music and movement
play with others,
especially during early
childhood. Indices:
Comprehensive Index
Headings: Music Play
(1998) and Music Play 2
Comprehensive Index of
Music Selections
Alphabetized by Type and
Title: Music Play (1998)
and Music Play 2 Modified
Comprehensive Index,
Music Play 2: Parts A and
B Music Play 2: Part B
Music Selections
Alphabetized by Type and
Title Music Play 2: Part
B Music Selections
Alphabetized by Title
Download Music Play 2
Extended Indexes (free)
 Music Play 2 is a
welcomed contribution for
all who are concerned
with appropriately
guiding children’s
musical
understandings—par
ents, teachers, and
caregivers. The book is
extremely well organized
with an excellent balance
of theory and practice.
The theoretical
underpinnings of Music
Play 2 are presented in a
“user
friendly†manner,
the lessons are easy to
follow and adapt for
individual
children’s needs
and level of development,
the numerous songs and
chants represent a wide
variety of tonalities and
meters, and an extensive
section on inclusion and
inclusive practices has
been added. Music Play 2
will be the resource I
use for my early
childhood music classes!
—Joanne Rutkowski,
Ph.D., Professor
Emeritus, Music Education
  The
Pennsylvania State
University This book had
me interested from the
table of contents onward.
The lessons are detailed
and ready to use in the
classroom. I love that
there are tonal and
rhythmic patterns to go
with each song or chant.
This is truly a resource
that will delight
children and teachers as
it is easy to use,
appropriate for young
children, and
pedagogically sound. When
I finished, I was ready
to jump back into
teaching early childhood
music. Fantastic!
—Alice M. Hammel,
Ph.D. Â Â James
Madison University Music
Play 2 is devoted to the
wonder of young
children’s musical
development. The authors
have adeptly woven theory
and practice, offering a
treasure trove of fresh,
accessible lesson plans
developed by leading
researchers and
practitioners in the
field of early childhood
music. An excellent,
indispensable resource
with original and
high-quality music
content, Music Play 2 is
essential for all
providers of music for
young children, and sure
to be used time and time
again. —Suzanne L.
Burton, Ph.D., Professor
of Music Education Â
 University of
Delaware. $85.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Harmony In Blue And Gold Ensemble de Flûtes [Conducteur et Parties séparées] Theodore Presser Co.
By Eric Ewazen. For flute choir (3 flutes in C, alto flute in G). Contemporary. ...(+)
By Eric Ewazen. For flute
choir (3 flutes in C,
alto flute in G).
Contemporary. Score and
parts. Standard notation.
80 pages. Duration 21
minutes. Published by
Theodore Presser Company
$45.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Lauda per la Nativita del Signore Chorale SATB SATB divisi Carus Verlag
Composed by Ottorino Respighi (1879-1936). Edited by Christine Haustein. This ed...(+)
Composed by Ottorino
Respighi (1879-1936).
Edited by Christine
Haustein. This edition:
urtext. 1x 10.084/21
flute, 1x 10.084/22
piccolo, 1x 10.084/23
oboe, 1x 10.084/24
English horn, 1x
10.084/25 bassoon 1, 1x
10.084/26 bassoon 2, 1x
10.084/41 percussion.
Stuttgart Urtext Edition.
Harmony parts. Christmas.
Set of wind and brass
parts. Duration 24
minutes. Carus Verlag #CV
10.084/09. Published by
Carus Verlag
(CA.1008409).
$49.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| For the Mystic Harmony Theodore Presser Co.
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clar...(+)
Band Bass Clarinet,
Bassoon 1, Bassoon 2,
Clarinet, Clarinet 1,
Clarinet 2, Clarinet 3,
Contrabass Clarinet,
Contrabassoon, English
Horn, Flute 1, Flute 2,
Oboe 1, Oboe 2, Piccolo,
alto Saxophone, soprano
Saxophone, tenor
Saxophone SKU:
PR.165001000 Hymns
for Wind Ensemble.
Composed by Dan Welcher.
Folio. Set of Score and
Parts.
4+24+24+16+8+4+4+24+12+12
+8+4+4+4+4+8+8+8+8+4+4+4+
4+8+8+8+8+8+8+8+8+4+16+4+
8+4+8+8+4+4+4+48 pages.
Duration 10 minutes, 41
seconds. Theodore Presser
Company #165-00100.
Published by Theodore
Presser Company
(PR.165001000). ISBN
9781491129241. UPC:
680160669776. 9 x 12
inches. Commissione
d for a consortium of
high school and college
bands in the north Dallas
region, FOR THEMYSTIC
HARMONY is a 10-minute
inspirational work in
homage to Norwood and
Elizabeth Dixon,patrons
of the Fort Worth
Symphony and the Van
Cliburn Competition.
Welcher draws melodic
flavorfrom five American
hymns, spirituals, and
folk tunes of the 19th
century. The last of
these sources toappear is
the hymn tune For the
Beauty of the Earth,
whose third stanza is the
quatrain: “For the
joy of earand eye, For
the heart and
mind’s delight,
For the mystic harmony,
Linking sense to sound
and sight,â€giving
rise to the work’s
title. This work,
commissioned for a
consortium of high school
bands in the north Dallas
area, is my fifteenth
maturework for wind
ensemble (not counting
transcriptions). When I
asked Todd Dixon, the
band director
whospearheaded this
project, what kind of a
work he most wanted, he
first said
“something
that’s basically
slow,†butwanted to
leave the details to me.
During a long subsequent
conversation, he
mentioned that his
grandparents,Norwood and
Elizabeth Dixon, were
prime supporters of the
Fort Worth Symphony,
going so far as to
purchase anumber of high
quality instruments for
that orchestra. This
intrigued me, so I asked
more about his
grandparentsand was
provided an 80-page
biographical sketch.
Reading that article,
including a long section
about theirdevotion to
supporting a young man
through the rigors of the
Van Cliburn International
Piano Competition fora
number of years, moved me
very much. Norwood and
Elizabeth Dixon
weren’t just
supporters of the arts;
theywere passionate
lovers of music and
musicians. I determined
to make this work a
testament to that love,
and tothe religious faith
that sustained them both.
The idea of using extant
hymns was also suggested
by Todd Dixon,and this
10-minute work is the
result.I have employed
existing melodies in
several works, delving
into certain kinds of
religious music more than
a fewtimes. In seeking
new sounds, new ways of
harmonizing old tunes,
and the contrapuntal
overlaying of one
tunewith another, I was
able to make works like
ZION (using 19th-century
Revivalist hymns) and
LABORING SONGS(using
Shaker melodies) reflect
the spirit of the
composers who created
these melodies, without
sounding likepastiches or
medleys. I determined to
do the same with this new
work, with the added
problem of
employingmelodies that
were more familiar. I
chose five tunes from the
19th century: hymns,
spirituals, and
folk-tunes.Some of these
are known by differing
titles, but they all
appear in hymnals of
various Christian
denominations(with
various titles and
texts). My idea was to
employ the tunes without
altering their notes,
instead using aconstantly
modulating sense of
harmony —
sometimes leading to
polytonal harmonizations
of what are
normallysimple four-chord
hymns.The work begins and
ends with a repeated
chime on the note C: a
reminder of steeples,
white clapboard
churchesin the country,
and small church organs.
Beginning with a
Mixolydian folk tune of
Caribbean origin
presentedtwice with
layered entrances, the
work starts with a
feeling of mystery and
gentle sorrow. It
proceeds, after along
transition, into a second
hymn that is sometimes
connected to the sea
(hence the sensation of
water andwaves throughout
it). This tune, by John
B. Dykes (1823-1876), is
a bit more chromatic and
“shifty†than
mosthymn-tunes, so I
chose to play with the
constant sensation of
modulation even more than
the original does. Atthe
climax, the familiar
spiritual “Were you
there?†takes over,
with a double-time
polytonal feeling
propelling itforward at
“Sometimes it
causes me to
tremble.â€Trumpets
in counterpoint raise the
temperature, and the
tempo as well, leading
the music into a third
tune (ofunknown
provenance, though it
appears with different
texts in various hymnals)
that is presented in a
sprightlymanner. Bassoons
introduce the melody, but
it is quickly taken up by
other instruments over
three
“verses,â€cons
tantly growing in
orchestration and volume.
A mysterious second tune,
unrelated to this one,
interrupts it inall three
verses, sending the
melody into unknown
regions.The final melody
is “For the Beauty
of the Earth.†This
tune by Conrad Kocher
(1786-1872) is commonly
sung atThanksgiving
— the perfect
choice to end this work
celebrating two people
known for their
generosity.Keeping the
sense of constant
modulation that has been
present throughout, I
chose to present this
hymn in threegrowing
verses, but with a twist:
every four bars, the
“key†of the
hymn seems to shift
— until the
“Lord of all,
toThee we praiseâ€
melody bursts out in a
surprising compound
meter. This, as it turns
out, was the
“mystery
tuneâ€heard earlier
in the piece. After an
Ivesian, almost polytonal
climax, the Coda begins
over a long B( pedal. At
first,it seems to be a
restatement of the first
two phrases of “For
the Beauty†with
long spaces between them,
but it soonchanges to a
series of
“Amenâ€
cadences, widely
separated by range and
color. These, too, do not
conform to anykey, but
instead overlay each
other in ways that are
unpredictable but
strangely comforting.The
third verse of “For
the Beauty of the
Earth†contains
this quatrain:“For
the joy of ear and eye,
–For the heart and
mind’s delightFor
the mystic harmonyLinking
sense to sound and
sightâ€and it was
from this poetry that I
drew the title for the
present work. It is my
hope that audiences and
performerswill find
within it a sense of
grace: more than a little
familiar, but also quite
new and unexpected. $150.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
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