| Spotlight Piano Solo Collection, Book 2 Piano seul [Partition] FJH
By Various. For Piano. Contents include: Castle Days (Massoud); Three Country Da...(+)
By Various. For Piano.
Contents include: Castle
Days (Massoud); Three
Country Dances
(Strickland); Prelude No.
1 (Miller); The Tennis
Match (Holmes); Moonlight
Waltz (Moon); Flight of
the Witches (Greenleaf);
Sunset Over the Bay
(Costley); Spanish
Nocturne (Massoud); Party
Monster (McLean). Level:
Late Elementary/Early
Intermediate. Book.
Published by The FJH
Music Company, Inc.
$8.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| High Flight Chorale 3 parties SSA Boosey and Hawkes
SA Choral (SSA Choir) SKU: HL.1224660 Composed by David L. Brunner. Chora...(+)
SA Choral (SSA Choir)
SKU: HL.1224660
Composed by David L.
Brunner. Choral. Concert,
Festival. Octavo.
Duration 200 seconds.
Boosey and Hawkes
#M051500017. Published by
Boosey and Hawkes
(HL.1224660). UPC:
196288143635.
6.75x10.5x0.029
inches. Now
available for treble
voices. Royal Canadian
Air Force Pilot John
Magee wrote his popular
poem ââ¬ÅHigh
Flightââ¬Â when
he was just 19 years old.
In the poem, he describes
the delirious feeling of
wheeling and soaring, and
an intimate connection
with the divine. Setting
these words, the
composer's music soars
and dives and floats and
reflects the joy this
young pilot experienced
from the pilot's
chair. $2.50 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Flight of the Witches Piano seul [Feuillet] - Intermédiaire FJH
By Elizabeth W. Greenleaf. For Piano. Spotlight Solo Sheets. With its cackling w...(+)
By Elizabeth W.
Greenleaf. For Piano.
Spotlight Solo Sheets.
With its cackling
witches' laugh and
musical shiver, this
piece will delight
performers and audiences.
Halloween. Level: Early
Intermediate. Solo Sheet.
Published by The FJH
Music Company Inc.
$2.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| On Wings of Flight - Facile Carl Fischer
Band Bass Clarinet, Bass Drum, Bass Trombone, Bassoon, Bells, Clarinet 1, Clarin...(+)
Band Bass Clarinet, Bass
Drum, Bass Trombone,
Bassoon, Bells, Clarinet
1, Clarinet 2, Crash
Cymbals, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Horn 1, Horn 2,
Mallet Percussion, Oboe,
Percussion 1, Percussion
2, Percussion 3, Piccolo,
Snare Drum and more. -
Grade 3 SKU:
CF.CPS244 Composed by
Michael Boo. Folio. Cps.
Set of Score and Parts.
1+8+8+4+8+8+2+2+4+4+2+2+8
+8+4+4+6+6+3+2+1+2+1+1+1+
4+4+2+20 pages. Duration
3 minutes, 16 seconds.
Carl Fischer Music
#CPS244. Published by
Carl Fischer Music
(CF.CPS244). ISBN
9781491157985. UPC:
680160916580. 9 x 12
inches. On Wings of
Flight is a jubilant,
short overture that is
meant to convey the
wonder of soaring high
above the ground.
Programmatically, it can
represent either the
flight of birds or
aircraft. Donat be
concerned if you donat
have some of the lower
voice color instruments
such as bass clarinet,
baritone saxophone,
and/or bassoon. Those
instruments are doubled
in the low brass. Bass
trombone isnat essential
as it doubles tuba, but a
lack or scarcity of bass
trombone and/or tuba
isnat critical if you do
have those other low
woodwinds. The repetitive
eighth-note accents
should be lighter than
normal so the ongoing
effect is more propulsive
than heavy. Keep those
eighth-note patterns
locked into the tempo so
the band refrains from
unwittingly accelerating.
Think of the legato
accented notes as
slightly separated as
opposed to being slurred.
When the accented whole
notes surrounded by rests
are played, be sure they
are held out for a full
four counts. Save the
crescendo for m. 19 and
quickly drop back down in
volume at m. 21. At m.
31, the whole notes do
not crescendo to the same
ff volume as the melody.
Those parts are to save
their crescendo for m.
35. Pay attention to the
instruments that do not
diminuendo at m. 39. In
the slower section after
m. 41, be careful that
the diminuendos on the
half notes donat sag in
pitch as the notes get
softer. Trumpets and
horns at m. 49 must not
play their notes as
accents. Give particular
attention to the
diminuendos in the melody
at m. 56, so that they
fade out as the volume of
the other instruments
grows. The accented notes
at mm. 85 and 86 should
each be heard through the
volume of the rest of the
instruments, so that the
addition of each pitch is
adequately heard. If you
wish, you may place more
emphasis on the accents
in the last two measures
of the piece than you did
earlier throughout the
piece. On Wings of
Flight is a jubilant,
short overture that is
meant to convey the
wonder of soaring high
above the ground.
Programmatically, it can
represent either the
flight of birds or
aircraft. Don't be
concerned if you don't
have some of the lower
voice color instruments
such as bass clarinet,
baritone saxophone,
and/or bassoon. Those
instruments are doubled
in the low brass. Bass
trombone isn't essential
as it doubles tuba, but a
lack or scarcity of bass
trombone and/or tuba
isn't critical if you do
have those other low
woodwinds. The repetitive
eighth-note accents
should be lighter than
normal so the ongoing
effect is more propulsive
than heavy. Keep those
eighth-note patterns
locked into the tempo so
the band refrains from
unwittingly accelerating.
Think of the legato
accented notes as
slightly separated as
opposed to being slurred.
When the accented whole
notes surrounded by rests
are played, be sure they
are held out for a full
four counts. Save the
crescendo for m. 19 and
quickly drop back down in
volume at m. 21. At m.
31, the whole notes do
not crescendo to the same
ff volume as the melody.
Those parts are to save
their crescendo for m.
35. Pay attention to the
instruments that do not
diminuendo at m. 39. In
the slower section after
m. 41, be careful that
the diminuendos on the
half notes don't sag in
pitch as the notes get
softer. Trumpets and
horns at m. 49 must not
play their notes as
accents. Give particular
attention to the
diminuendos in the melody
at m. 56, so that they
fade out as the volume of
the other instruments
grows. The accented notes
at mm. 85 and 86 should
each be heard through the
volume of the rest of the
instruments, so that the
addition of each pitch is
adequately heard. If you
wish, you may place more
emphasis on the accents
in the last two measures
of the piece than you did
earlier throughout the
piece. On Wings of
Flight is a jubilant,
short overture that is
meant to convey the
wonder of soaring high
above the ground.
Programmatically, it can
represent either the
flight of birds or
aircraft.Don’t be
concerned if you
don’t have some of
the lower voice color
instruments such as bass
clarinet, baritone
saxophone, and/or
bassoon. Those
instruments are doubled
in the low brass. Bass
trombone isn’t
essential as it doubles
tuba, but a lack or
scarcity of bass trombone
and/or tuba isn’t
critical if you do have
those other low
woodwinds.The repetitive
eighth-note accents
should be lighter than
normal so the ongoing
effect is more propulsive
than heavy. Keep those
eighth-note patterns
locked into the tempo so
the band refrains from
unwittingly accelerating.
Think of the legato
accented notes as
slightly separated as
opposed to being
slurred.When the accented
whole notes surrounded by
rests are played, be sure
they are held out for a
full four counts. Save
the crescendo for m. 19
and quickly drop back
down in volume at m. 21.
At m. 31, the whole notes
do not crescendo to the
same ff volume as the
melody. Those parts are
to save their crescendo
for m. 35. Pay attention
to the instruments that
do not diminuendo at m.
39.In the slower section
after m. 41, be careful
that the diminuendos on
the half notes
don’t sag in pitch
as the notes get softer.
Trumpets and horns at m.
49 must not play their
notes as accents. Give
particular attention to
the diminuendos in the
melody at m. 56, so that
they fade out as the
volume of the other
instruments grows.The
accented notes at mm. 85
and 86 should each be
heard through the volume
of the rest of the
instruments, so that the
addition of each pitch is
adequately heard. If you
wish, you may place more
emphasis on the accents
in the last two measures
of the piece than you did
earlier throughout the
piece. $85.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| On Wings of Flight [Conducteur] - Facile Carl Fischer
Band Bass Clarinet, Bass Drum, Bass Trombone, Bassoon, Bells, Clarinet 1, Clarin...(+)
Band Bass Clarinet, Bass
Drum, Bass Trombone,
Bassoon, Bells, Clarinet
1, Clarinet 2, Crash
Cymbals, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Horn 1, Horn 2,
Mallet Percussion, Oboe,
Percussion 1, Percussion
2, Percussion 3, Piccolo,
Snare Drum and more. -
Grade 3 SKU:
CF.CPS244F Composed
by Michael Boo. Sws. Cps.
Full score. 20 pages.
Duration 3 minutes, 16
seconds. Carl Fischer
Music #CPS244F. Published
by Carl Fischer Music
(CF.CPS244F). ISBN
9781491157992. UPC:
680160916597. 9 x 12
inches. On Wings of
Flight is a jubilant,
short overture that is
meant to convey the
wonder of soaring high
above the ground.
Programmatically, it can
represent either the
flight of birds or
aircraft. Donat be
concerned if you donat
have some of the lower
voice color instruments
such as bass clarinet,
baritone saxophone,
and/or bassoon. Those
instruments are doubled
in the low brass. Bass
trombone isnat essential
as it doubles tuba, but a
lack or scarcity of bass
trombone and/or tuba
isnat critical if you do
have those other low
woodwinds. The repetitive
eighth-note accents
should be lighter than
normal so the ongoing
effect is more propulsive
than heavy. Keep those
eighth-note patterns
locked into the tempo so
the band refrains from
unwittingly accelerating.
Think of the legato
accented notes as
slightly separated as
opposed to being slurred.
When the accented whole
notes surrounded by rests
are played, be sure they
are held out for a full
four counts. Save the
crescendo for m. 19 and
quickly drop back down in
volume at m. 21. At m.
31, the whole notes do
not crescendo to the same
ff volume as the melody.
Those parts are to save
their crescendo for m.
35. Pay attention to the
instruments that do not
diminuendo at m. 39. In
the slower section after
m. 41, be careful that
the diminuendos on the
half notes donat sag in
pitch as the notes get
softer. Trumpets and
horns at m. 49 must not
play their notes as
accents. Give particular
attention to the
diminuendos in the melody
at m. 56, so that they
fade out as the volume of
the other instruments
grows. The accented notes
at mm. 85 and 86 should
each be heard through the
volume of the rest of the
instruments, so that the
addition of each pitch is
adequately heard. If you
wish, you may place more
emphasis on the accents
in the last two measures
of the piece than you did
earlier throughout the
piece. On Wings of
Flight is a jubilant,
short overture that is
meant to convey the
wonder of soaring high
above the ground.
Programmatically, it can
represent either the
flight of birds or
aircraft. Don't be
concerned if you don't
have some of the lower
voice color instruments
such as bass clarinet,
baritone saxophone,
and/or bassoon. Those
instruments are doubled
in the low brass. Bass
trombone isn't essential
as it doubles tuba, but a
lack or scarcity of bass
trombone and/or tuba
isn't critical if you do
have those other low
woodwinds. The repetitive
eighth-note accents
should be lighter than
normal so the ongoing
effect is more propulsive
than heavy. Keep those
eighth-note patterns
locked into the tempo so
the band refrains from
unwittingly accelerating.
Think of the legato
accented notes as
slightly separated as
opposed to being slurred.
When the accented whole
notes surrounded by rests
are played, be sure they
are held out for a full
four counts. Save the
crescendo for m. 19 and
quickly drop back down in
volume at m. 21. At m.
31, the whole notes do
not crescendo to the same
ff volume as the melody.
Those parts are to save
their crescendo for m.
35. Pay attention to the
instruments that do not
diminuendo at m. 39. In
the slower section after
m. 41, be careful that
the diminuendos on the
half notes don't sag in
pitch as the notes get
softer. Trumpets and
horns at m. 49 must not
play their notes as
accents. Give particular
attention to the
diminuendos in the melody
at m. 56, so that they
fade out as the volume of
the other instruments
grows. The accented notes
at mm. 85 and 86 should
each be heard through the
volume of the rest of the
instruments, so that the
addition of each pitch is
adequately heard. If you
wish, you may place more
emphasis on the accents
in the last two measures
of the piece than you did
earlier throughout the
piece. On Wings of
Flight is a jubilant,
short overture that is
meant to convey the
wonder of soaring high
above the ground.
Programmatically, it can
represent either the
flight of birds or
aircraft.Don’t be
concerned if you
don’t have some of
the lower voice color
instruments such as bass
clarinet, baritone
saxophone, and/or
bassoon. Those
instruments are doubled
in the low brass. Bass
trombone isn’t
essential as it doubles
tuba, but a lack or
scarcity of bass trombone
and/or tuba isn’t
critical if you do have
those other low
woodwinds.The repetitive
eighth-note accents
should be lighter than
normal so the ongoing
effect is more propulsive
than heavy. Keep those
eighth-note patterns
locked into the tempo so
the band refrains from
unwittingly accelerating.
Think of the legato
accented notes as
slightly separated as
opposed to being
slurred.When the accented
whole notes surrounded by
rests are played, be sure
they are held out for a
full four counts. Save
the crescendo for m. 19
and quickly drop back
down in volume at m. 21.
At m. 31, the whole notes
do not crescendo to the
same ff volume as the
melody. Those parts are
to save their crescendo
for m. 35. Pay attention
to the instruments that
do not diminuendo at m.
39.In the slower section
after m. 41, be careful
that the diminuendos on
the half notes
don’t sag in pitch
as the notes get softer.
Trumpets and horns at m.
49 must not play their
notes as accents. Give
particular attention to
the diminuendos in the
melody at m. 56, so that
they fade out as the
volume of the other
instruments grows.The
accented notes at mm. 85
and 86 should each be
heard through the volume
of the rest of the
instruments, so that the
addition of each pitch is
adequately heard. If you
wish, you may place more
emphasis on the accents
in the last two measures
of the piece than you did
earlier throughout the
piece. $14.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Music of Free Flight, Volume 1 -- Classical Pieces in Jazz Style Piano seul [Partition + CD] Alfred Publishing
Free Flight. For Piano Acc. Instrumental Series. The Music of Free Flight. Jazz....(+)
Free Flight. For Piano
Acc. Instrumental Series.
The Music of Free Flight.
Jazz. Book and CD. 56
pages. Published by
Alfred Publishing.
$24.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Spotlight
Exceptional recordings featuring the soloists of the Washington Winds performing...(+)
Exceptional recordings
featuring the soloists of
the Washington Winds
performing outstanding
works for soloists and
wind band. Wonderful
performances that provide
hours of listening
enjoyment and great
performance models for
students of all ages. One
of our best CDs
ever!
-
-
Intrada, Recitative and
Rondo
-
-
All Those Endearing Young
Charms
-
-
Allegro from Concerto for
Trumpet
-
-
Rim Shot
-
-
Rondo for Solo and Wind
Band
-
-
The Old Grumbly Bear
-
-
Double Concerto
-
-
Romanza
-
-
Concerto for Drum Set and
Concert Band
-
-
Love's Old Sweet Song
-
-
Fandango for Mallet
Percussion and Band
-
-
Triad
-
-
Solo Flight
-
-
Angela's Song
-
-
Concert Rondo
-
-
Triple Treat
| | |
| Flight of the Bumblebee for Alto Sax and Piano (all Eb) Saxophone Alto et Piano Santorella Publications
Flight of The Bumblebee for Alto Sax and Piano composed by Nikolay Andreyevich R...(+)
Flight of The Bumblebee
for Alto Sax and Piano
composed by Nikolay
Andreyevich
Rimsky-Korsakov
(1844-1908). Arranged by
Jonathon Robbins. For
alto sax solo and piano
accompaniment. Solo with
Accompaniment. Classical.
Score and solo part. Text
Language: English. 8
pages. Published by
Santorella Publications
(1)$6.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
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