Format : Score and Parts
SKU: M7.SMP-581
English.
This was recorded by the Stan Kenton Orchestra on Back To Balboa, and it is a highly original, exciting chart (latin/swing) on a great standard tune. Johnny Richards wrote for Kenton as well as anyone. Solos for Alto Sax, Baritone Sax, Trumpet and Trombone. 5-5-5-3 (can be played with 8 brass).
SKU: AP.12-0571541887
ISBN 9780571541881. English.
Thomas Adès's Violin Concerto Concentric Paths, written in 2005, is one of the most important additions to the violin concerto repertoire since Ligeti's. Cast in three contrasting movements?each linked by a preoccupation with circling musical figures? the concerto, subtitled Concentric Paths now occupies a place in standard repertoire. Two lithe, rhythmically driven movements, Rings and Rounds bookend Paths, an intensely emotional and gritty exploration of passacaglia-like sequences, which peaks in a lyrical outpouring of exceptional beauty. This is the violin part and piano reduction. In just 20 minutes, this three-movement piece does something magical. The way it swirls ethereally in the first movement, exerts a tragic and vice-like grip in the chaconne-like second part and finally propels you into the uninhibited flight of the finale is like being spun into an infinite space. The Guardian (Tom Service).
SKU: CF.CPS218F
ISBN 9781491153123. UPC: 680160910625.
Portrait in Rhythm is a study in various rhythmic moods and will challenge your players to “stay on their toes†and concentrate on rhythmic accuracy. But, the piece is so much more than that. Veteran composer Gary Fagan has written a wonderfully tuneful composition that uses ever changing rhythm to give it it's hock but without sacrificing a wonderful melodic sensibility.Among the most important parameters in music is rhythm. It is rhythm that give music its drive and vitality and causes us to tap our foot (many times unconsciously) when we listen to music. Portrait in Rhythm is a study in various rhythmic moods and will challenge your players to “stay on their toes†and concentrate on rhythmic accuracy. It is also an ideal study in changing meters moving through 5/4, ¾, 4/4 and 6/8 meters throughout the piece.
SKU: CF.FPS160F
ISBN 9781491159521. UPC: 680160918119.
Here is a fun piece to play that involves eighth-note rhythms. The instrument ranges are limited so that students can concentrate on the rhythms. It is suggested that you have the band clap and count the eighth-note rhythms before playing. The melody is passed around between sections. Enjoy!.Here is a fun piece to play that involves eighth-note rhythms. The instrument ranges are limited so that students can concentrate on the rhythms.It is suggested that you have the band clap and count the eighth-note rhythms before playing. The melody is passed around between sections.Enjoy!
SKU: CF.FPS160
ISBN 9781491159514. UPC: 680160918102.
SKU: CF.CPS218
ISBN 9781491152447. UPC: 680160909940.
SKU: BR.EB-9428
ISBN 9790004189054. 9 x 12 inches.
The Travel Preludes are three short pieces ideally conceived for opening a concert.The first, Urgent Call, is like a bell calling the audience and stressing the importance - and at times the urgency - of making music. The second prelude, The Art of Taking a Seat, has to do with that carefulness, kindness and attention the attendance of a concert requires from the audience. Because to take a seat, to concentrate and to open heart and mind to the music is an art everybody should practice. The third piece, In Praise of Discretion, is an homage to all those musicians, who enter the stage without pretensions or theatrics, being able to concentrate on nothing but the music itself. (Nicola Campogrande, July 2021 ). Sono tre brevi pagine, idealmente pensate per aprire un concerto. La prima, Urgent call, e come un campanello che richiama il pubblico e gli ricorda in modo deciso quanto sia importante - e talvolta davvero urgente - la pratica della musica. La seconda, The Art of Taking a Seat, ha a che fare con la cura, il garbo, l'attenzione che si richiedono a chi assiste a un concerto. Perche sedersi, concentrarsi, aprire il cuore e il cervello alla musica sono davvero un'arte che tutti dovrebbero conoscere. La terza, In Praise of Discretion, e un elogio agli interpreti che salgono sul palcoscenico senza enfasi, senza teatralita, e sanno concentrarsi sulla musica. (Nicola Campogrande, luglio 2021)World premiere: Cernobbio/Italy, Piazza del Risorgimento, July 1, 2021.
SKU: CF.CAS7
ISBN 9780825847578. UPC: 798408047573. 8.5 X 11 inches. Key: D major.
When you have the good fortune to visit Red Rock country in the southwestern United States, you will all at once feel that majesty and beauty in the towering red landscape. You can trek, bike, paddle, ride horseback or drive through the canyons, past the strangely shaped rocks and over the enormous boulders. Each time you turn a corner you will be dazzled by yet another magnificent vista. The Red Rock areas in Utah, Nevada, Arizona and New Mexico formed millions of years ago when that part of North America was primarily under water. The water left behind the shells and skeletons of sea creatures that gradually turned into limestone and similar rocks. Beginning 225 million years ago, the earth's crust began to move and the seabed slowly rose. Streams entering the shallow water deposited mud and sand that turned into shale and marine sandstone. As the land continued to rise and dry out, some of the rocks oxidized (combined with oxygen) and turned red in color. Subsequently the area was covered with sands that eventually compressed into what is called Aztec sandstone. Sometimes, when iron was concentrated in the rock, the sandstone turned a bright red color. Following the introduction, the music in Red Rock Rag takes on a typical ragtime melody and rhythm. It then transitions by changing key, time signature and the structure into a swing waltz. At m. 60, it moves into a combined time signature of one measure of 3/4 time and two measures of 2/4 time with an occasional lick in the bass line. Finally, it moves back into the swing-waltz style and finishes with the original ragtime melody. Red Rock Rag is challenging stylistically and rhythmically. It would be appropriate to study both the ragtime and swing styles while working on it.When you have the good fortune to visit Red Rock country in the southwestern United States, you will all at once feel that majesty and beauty in the towering red landscape. You can trek, bike, paddle, ride horseback or drive through the canyons, past the strangely shaped rocks and over the enormous boulders. Each time you turn a corner you will be dazzled by yet another magnificent vista. The Red Rock areas in Utah, Nevada, Arizona and New Mexico formed millions of years ago when that part of North America was primarily under water. The water left behind the shells and skeletons of sea creatures that gradually turned into limestone and similar rocks. Beginning 225 million years ago, the earth's crust began to move and the seabed slowly rose. Streams entering the shallow water deposited mud and sand that turned into shale and marine sandstone. As the land continued to rise and dry out, some of the rocks oxidized (combined with oxygen) and turned red in color. Subsequently the area was covered with sands that eventually compressed into what is called Aztec sandstone. Sometimes, when iron was concentrated in the rock, the sandstone turned a bright red color. Following the introduction, the music in Red Rock Rag takes on a typical ragtime melody and rhythm. It then transitions by changing key, time signature and the structure into a swing waltz. At m. 60, it moves into a combined time signature of one measure of 3/4 time and two measures of 2/4 time with an occasional lick in the bass line. Finally, it moves back into the swing-waltz style and finishes with the original ragtime melody.A Red Rock RagA is challenging stylistically and rhythmically. It would be appropriate to study both the ragtime and swing styles while working on it.When you have the good fortune to visit Red Rock country in the southwestern United States, you will all at once feel that majesty and beauty in the towering red landscape. You can trek, bike, paddle, ride horseback or drive through the canyons, past the strangely shaped rocks and over the enormous boulders. Each time you turn a corner you will be dazzled by yet another magnificent vista. The Red Rock areas in Utah, Nevada, Arizona and New Mexico formed millions of years ago when that part of North America was primarily under water. The water left behind the shells and skeletons of sea creatures that gradually turned into limestone and similar rocks. Beginning 225 million years ago, the earth's crust began to move and the seabed slowly rose. Streams entering the shallow water deposited mud and sand that turned into shale and marine sandstone. As the land continued to rise and dry out, some of the rocks oxidized (combined with oxygen) and turned red in color. Subsequently the area was covered with sands that eventually compressed into what is called Aztec sandstone. Sometimes, when iron was concentrated in the rock, the sandstone turned a bright red color. Following the introduction, the music in Red Rock Rag takes on a typical ragtime melody and rhythm. It then transitions by changing key, time signature and the structure into a swing waltz. At m. 60, it moves into a combined time signature of one measure of 3/4 time and two measures of 2/4 time with an occasional lick in the bass line. Finally, it moves back into the swing-waltz style and finishes with the original ragtime melody.A Red Rock RagA is challenging stylistically and rhythmically. It would be appropriate to study both the ragtime and swing styles while working on it.When you have the good fortune to visit Red Rock country in the southwestern United States, you will all at once feel that majesty and beauty in the towering red landscape. You can trek, bike, paddle, ride horseback or drive through the canyons, past the strangely shaped rocks and over the enormous boulders. Each time you turn a corner you will be dazzled by yet another magnificent vista. The Red Rock areas in Utah, Nevada, Arizona and New Mexico formed millions of years ago when that part of North America was primarily under water. The water left behind the shells and skeletons of sea creatures that gradually turned into limestone and similar rocks. Beginning 225 million years ago, the earth's crust began to move and the seabed slowly rose. Streams entering the shallow water deposited mud and sand that turned into shale and marine sandstone. As the land continued to rise and dry out, some of the rocks oxidized (combined with oxygen) and turned red in color. Subsequently the area was covered with sands that eventually compressed into what is called Aztec sandstone. Sometimes, when iron was concentrated in the rock, the sandstone turned a bright red color. Following the introduction, the music in Red Rock Rag takes on a typical ragtime melody and rhythm. It then transitions by changing key, time signature and the structure into a swing waltz. At m. 60, it moves into a combined time signature of one measure of 3/4 time and two measures of 2/4 time with an occasional lick in the bass line. Finally, it moves back into the swing-waltz style and finishes with the original ragtime melody. Red Rock Rag is challenging stylistically and rhythmically. It would be appropriate to study both the ragtime and swing styles while working on it.When you have the good fortune to visit Red Rock country in the southwestern United States, you will all at once feel that majesty and beauty in the towering red landscape. You can trek, bike, paddle, ride horseback or drive through the canyons, past the strangely shaped rocks and over the enormous boulders. Each time you turn a corner you will be dazzled by yet another magnificent vista. The Red Rock areas in Utah, Nevada, Arizona and New Mexico formed millions of years ago when that part of North America was primarily under water. The water left behind the shells and skeletons of sea creatures that gradually turned into limestone and similar rocks. Beginning 225 million years ago, the earth's crust began to move and the seabed slowly rose. Streams entering the shallow water deposited mud and sand that turned into shale and marine sandstone. As the land continued to rise and dry out, some of the rocks oxidized (combined with oxygen) and turned red in color. Subsequently the area was covered with sands that eventually compressed into what is called Aztec sandstone. Sometimes, when iron was concentrated in the rock, the sandstone turned a bright red color. Following the introduction, the music in Red Rock Rag takes on a typical ragtime melody and rhythm. It then transitions by changing key, time signature and the structure into a swing waltz. At m. 60, it moves into a combined time signature of one measure of 3/4 time and two measures of 2/4 time with an occasional lick in the bass line. Finally, it moves back into the swing-waltz style and finishes with the original ragtime melody. Red Rock Rag is challenging stylistically and rhythmically. It would be appropriate to study both the ragtime and swing styles while working on it.When you have the good fortune to visit Red Rock country in the southwestern United States, you will all at once feel that majesty and beauty in the towering red landscape. You can trek, bike, paddle, ride horseback or drive through the canyons, past the strangely shaped rocks and over the enormous boulders. Each time you turn a corner you will be dazzled by yet another magnificent vista.The Red Rock areas in Utah, Nevada, Arizona and New Mexico formed millions of years ago when that part of North America was primarily under water. The water left behind the shells and skeletons of sea creatures that gradually turned into limestone and similar rocks. Beginning 225 million years ago, the earth's crust began to move and the seabed slowly rose. Streams entering the shallow water deposited mud and sand that turned into shale and marine sandstone. As the land continued to rise and dry out, some of the rocks oxidized (combined with oxygen) and turned red in color. Subsequently the area was covered with sands that eventually compressed into what is called Aztec sandstone. Sometimes, when iron was concentrated in the rock, the sandstone turned a bright red color.Following the introduction, the music in Red Rock Rag takes on a typical ragtime melody and rhythm. It then transitions by changing key, time signature and the structure into a swing waltz. At m. 60, it moves into a combined time signature of one measure of 3/4 time and two measures of 2/4 time with an occasional lick in the bass line. Finally, it moves back into the swing-waltz style and finishes with the original ragtime melody. Red Rock Rag is challenging stylistically and rhythmically. It would be appropriate to study both the ragtime and swing styles while working on it.
SKU: CL.LDP-7050-00
This beautiful lyrical piece is a set of eleven variations built on two eight-measure themes. The burdens of technique and range are gone, so the young player can just concentrate on making beautiful sounds. Music for the Mind, but mostly for the Heart!
SKU: CY.CC2881
5-Minute Lessons for Trumpet Method by David Brubeck is comprised of 12 progressive lessons for beginners, featuring fun but simple melodies. The lessons concentrate on: a) getting a steady stream of air going, b) good posture and relaxation of the body c) working with the teacher, d) scales and some of their modes, e) articulation, f) learning about rest, g) rhythm, h) duple and triple meters, i) fun songs to play, j) slurring and legatoPresented in a handsome coil-bound booklet, this method book is an excellent way to introduce a beginning young performer to the artistry of learning the Trumpet.Mr. Brubeck composes some of his own songs as well as using more familiar traditional melodies.
SKU: HL.14028872
Based on the requirements of the Associated Board of the Royal Schools of Music, Scale Shapes is an invaluable aid for grade exams and general progress, which uses a new diagram-based way to learn piano scales using the Stocken Method. The unique Keyboard Diagrams provide a system which allows the student to concentrate exclusively on the physical shapes of the technical exercise and in consequence, to focus on the acquisition of 'good legato, even fingers, firm tone and a musical curve'. This method is not designed to be a substitute for the acquisition of the ability to read staff notation, but the complications of staff notation are no longer linked to the physical complications of a given scale with this method.
SKU: AP.20145UK
ISBN 9780739096840. English.
We all agree that scales are a basis for learning cello technique, which is why we include scales in our teaching. The trick of course, is how to integrate scales into the learning process so that at the moment the repertoire demands the technique, the fingers are able to respond. All too often scales are divorced from their musical environment or teachers are compelled to cut and paste from traditional scale books to try to match technique and learning.Here, in this new series, Scale Builder Orfilia Saiz Vega meticulously matches scale development to the appropriate level of technique. Through this, the patterns and rhythms expected of the student at their level of musical competence are precisely those practised. Moreover, the skilful integration of bowing and other techniques specific to the instrument mean that acquiring the scales across a whole range of technical devices means that when they appear in the music they are expected to play, teachers can concentrate on the musical elements safe in the knowledge that the technique is secure.Great musicians are formed from early age. We finally have this gradual, attractive and adapted system of scales to start building student's technique, which will be at the service of their artistry in the future. I strongly recommend it!ASIER POLO Cello player, soloist and Artistic director at the Faculty of Music and Performing Arts of the University'Alfonso X el Sabio' (Madrid).
SKU: HL.282475
ISBN 9781540034328. UPC: 888680789190. 9.0x12.0x0.847 inches.
Music is what helped many keep their spirits up during the Great Depression in the 1930s. Here are 100 of the most memorable songs of the decade presented in easy piano arrangements with lyrics. Songs include: As Time Goes By * Blue Moon * Body and Soul * Embraceable You * Georgia on My Mind * The Glory of Love * How Deep Is the Ocean (How High Is the Sky) * I Don't Know Why (I Just Do) * I Got Rhythm * I'll Be Seeing You * In the Mood * The Lady Is a Tramp * Love Is Here to Stay * Mood Indigo * My Funny Valentine * The Nearness of You * Over the Rainbow * Sing, Sing, Sing * Summertime * Thanks for the Memory * The Very Thought of You * The Way You Look Tonight * and more.
SKU: AP.48346
UPC: 038081551692. English.
The setting sun serves as the inspiration for this introspective and serene choral work. An elegantly simple melody is harmonized beautifully with block chords in chorale style. Expert choral writing makes it smoothly singable, allowing three-part choirs to concentrate on finer points of artistry and expression.
About Alfred Choral Designs
The Alfred Choral Designs Series provides student and adult choirs with a variety of secular choral music that is useful, practical, educationally appropriate, and a pleasure to sing. To that end, the Choral Designs series features original works, folk song settings, spiritual arrangements, choral masterworks, and holiday selections suitable for use in concerts, festivals, and contests.
SKU: AP.20144UK
ISBN 9780739087787. English.
