| Three Virtues - Intermédiaire Forton Music
Alto saxophone and piano - Intermediate SKU: FT.FM478 Composed by Phillip...(+)
Alto saxophone and piano
- Intermediate SKU:
FT.FM478 Composed by
Phillip Rawle. Alto Sax
and Piano. Score and
part. Forton Music
#FM478. Published by
Forton Music (FT.FM478).
ISBN
9790570483778. Comp
assion As the title
suggests, this piece
should be played with
warmth, the middle
departure showing a
little more anxiety
before a return to the
optimism of the opening
theme. Apart from this
there is no formal
structure. There should
be a marked contrast
between the flowing,
lyrical passages of the
opening section and the
crisp staccato in the
middle descending
arpeggios. Although the
tempo indicates
quickness, the feel
should be one of
animation rather than
pace. The dynamic range
is not great but should
be accurately observed
with clear contrasts.
Tenderness This piece,
written in the middle to
high register, has a
simple structure being a
stable melody with
variations and ornaments
remaining in the key of C
major. Where the piano
accompaniment has the
theme it should be
allowed to show through.
As the title suggests
this should be played
with a gentle lilt but
not over sentimental..
Aim for a warm to mellow
texture with comforting
sounds. There is a
general but slight
crescendo throughout the
piece. Mercy Much more of
a duet for flute and
piano rather than a solo.
This has a yearning,
minor aspect with a
contrasting few bars of a
more comfortable major
feel at the end of the
middle section.The lively
tempo should be driven
through the whole piece
with only a slight let up
in the final two
measures. Although
written in waltz time,
this is no dance being
loaded with underlying
energy and emotion. The
dynamics remain fairly
loud with only the
expected variation in
line with the
phrasing. $19.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| How Sweet the Name of Jesus Sounds Chorale SATB SATB, Piano [Octavo] Sacred Music Press
Composed by Brenda Portman. Sacred Anthem. Octavo. Sacred Music Press #10/4868S....(+)
Composed by Brenda
Portman. Sacred Anthem.
Octavo. Sacred Music
Press #10/4868S.
Published by Sacred Music
Press (LO.10-4868S).
$2.75 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| LCT 840 Hal Leonard
SKU: HL.1117973 Lewitt Audio. Microphone. Hal Leonard #LCT840. Published ...(+)
SKU: HL.1117973
Lewitt Audio. Microphone.
Hal Leonard #LCT840.
Published by Hal Leonard
(HL.1117973). UPC:
847986001085.
7.0x19.5x18.0
inches. Please
note: although we don't
keep stock on hand, this
item will drop ship
direct from the
manufacturer at the time
of your order. Your tube
mic that sounds even
better than it looks. If
you are looking for
larger-than-life tube
sound, look no further.
The LCT 840 stands for
exceptionally warm and
classic tube sound. The
dual triode 12AX7 tube
delivers comforting sound
with smooth high
frequencies, while still
preserving the ability to
cut through the mix. Low
self-noise and high
dynamic range exemplify
how the LCT 840 is
classic design brought
into the present. The
LC10 capsule is precision
taken to a new level. The
externally polarized
dual-diaphragm 1″
capsule captures every
nuance of your
performance thanks to its
3-micron-thin,
gold-layered, low-mass
diaphragms. It handles
everything from vocals to
full orchestras. Dual
triode 12AX7 tube for
warm sound The LCT 840 is
fully devoted to warm
tube sound. We use a dual
triode 12AX7 tube to
create that warm and
comforting sound with
smooth high frequencies
while still preserving
the ability to cut
through the mix. Remote
control and power supply
in one The user interface
on the remote control
with integrated power
supply allows a quick
setup of polar pattern,
pre-attenuation, and
low-cut. It is easy to
check or change the
settings even in complete
darkness due to its
illuminated user
interface. $1199.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Ingenting utanför (Nothing beyond) - Intermédiaire/avancé Barenreiter
Female choir (SSMezAA) - Level 4 SKU: BA.BA08522 Composed by Marten Janss...(+)
Female choir (SSMezAA) -
Level 4 SKU:
BA.BA08522 Composed
by Marten Jansson.
Stapled. Choral score. 11
pages. Baerenreiter
Verlag #BA08522_00.
Published by Baerenreiter
Verlag (BA.BA08522).
ISBN 9790006563210. 27
x 19 cm inches. Text
Language: Swedish,
English. Libretto: Einar
Askestad. Text: Einar
Askestad. “In
genting utanför /
Nothing Beyond†is
another collaboration
between MÃ¥rten Jansson
and the Swedish poet
Einar Askestad. This a
cappella choral work
deals with sorrow and
loss. After a forceful,
harmonically ambiguous
section and a clear break
in the music, the piece
ends with a comforting
decrescendo of
reconciliation. It was
commissioned by the
Uppsala female choir
“La Cappellaâ€
and is dedicated to its
choral director Tony
Margeta.
“My
music is my own and I
have never tried to be
original. That has always
been my motto and I have
only tried to use music
to express all the
feelings which life has
to offer. This has led
people to describe my
music as ‘so sad
that it sounds like birds
who have lost their
wings’ but also as
‘the happiest
classical music that we
have ever
heard‘. My
compositions are almost
all sacred. They express
not only my own faith but
also my appreciation and
respect for the timeless
texts that have been used
for centuries and
centuries.“
MÃ¥rten Jansson (b.
1965), elected member of
the Föreningen svenska
tonsättare (the
Society of Swedish
Composers), graduated
from the Royal College of
Music, Stockholm (KHM)
with an MFA degree in
Music Education, Dalcroze
Eurhythmics and Voice.
For more than ten years
he was the music director
and conductor of
“Carmenâ€, one
of the most prominent
womens’ vocal
ensembles in Sweden. He
currently teaches choral
conducting and music
theory as well as giving
vocal tuition at the
Bolandgymnasiet and
Musikskolan in his home
town of
Uppsala.
$7.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Gottwald/Wolf: Drei Lieder Carus Verlag
Composed by Hugo Wolf (1860-1903). For 8-part mixed choir. Contemporary choral m...(+)
Composed by Hugo Wolf
(1860-1903). For 8-part
mixed choir. Contemporary
choral music. Collection.
12 pages. Published by
Carus Verlag
$8.95 - 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 | | |
| For the Mystic Harmony [Conducteur] Theodore Presser Co.
Band Bass Clarinet, Bass Drum, Bassoon 1, Bassoon 2, Bongos, Castanets, Celesta,...(+)
Band Bass Clarinet, Bass
Drum, Bassoon 1, Bassoon
2, Bongos, Castanets,
Celesta, Clarinet,
Clarinet 1, Clarinet 2,
Clarinet 3, Contrabass
Clarinet, Contrabassoon,
English Horn, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Horn 1, Horn 2,
Horn 3 and more. SKU:
PR.16500100F Hymns
for Wind Ensemble.
Composed by Dan Welcher.
Sws. Full score. 48
pages. Duration 10
minutes, 41 seconds.
Theodore Presser Company
#165-00100F. Published by
Theodore Presser Company
(PR.16500100F). ISBN
9781491114421. UPC:
680160669783. 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. $25.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| TYGR 300 R Gaming Headphones Open Back Aucune valeur Hal Leonard
SKU: HL.1739071 Beyer-Dynamic. Monitors and Headphones. Duration 300 seco...(+)
SKU: HL.1739071
Beyer-Dynamic. Monitors
and Headphones. Duration
300 seconds. Hal Leonard
#733016. Published by Hal
Leonard (HL.1739071).
8.5x9.0x4.5
inches. The TYGR
300 R is an open-back
headphone with true
professional sound
reinvented for gaming.
High wearing comfort and
detailed sound create a
unique adventure and
brings gaming to another
level. Hear sounds that
you have never
experienced before. The
magnificent soundstage of
the TYGR headphones is
adapted for accurate and
fast in-game sound
localization. The
open-back design and
innovative
acoustic-fleece emphasize
the spatial sound
environment. The result
is a perfectly balanced
sound for an impressive
gaming experience. Time
is limitless when you are
in the game. The TYGR
headphones combine
carefully selected
materials, light design
and robust build to
provide the perfect
synergy between comfort
and quality. Even the
sound is optimized for an
ultimate wearing comfort.
The integrated
acoustic-fleece prevents
fatigue due to sharp
heights, since it levels
the high frequencies
without any loss of
detail. Therefore,
nothing stands between
you and a long gaming
session. Designed to be
used for many years, the
TYGR 300 R is a solid
long-term investment. The
materials used are
carefully handcrafted by
highly skilled experts in
Germany. This degree of
manual workmanship
results in a unique level
of quality and ensures
that the headphones will
fit comfortably for years
and years to come. $299.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
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