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Elementary Music Games
Musical course - Solfege
Heritage Music Press
Composed by Vanessa Christian. Classroom Music. Reproducible collection. Heritag...
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Composed by Vanessa Christian. Classroom Music. Reproducible collection. Heritage Music Press #75/1051H. Published by Heritage Music Press (LO.75-1051H).
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Music Proficiency Pack #5 - Melody Mice
Musical course - Solfege
Heritage Music Press
(Melody Dictation Activity Boards). By Artie Almeida. Published by Heritage Musi...
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(Melody Dictation Activity Boards). By Artie Almeida. Published by Heritage Music Press
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Music Proficiency Pack #3 - Beat Strips and Rhythm Markers
Musical course - Solfege
Heritage Music Press
(An Activity Kit for the Study of Audiation, Steady Beat and Note Values). By Ar...
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(An Activity Kit for the Study of Audiation, Steady Beat and Note Values). By Artie Almeida. Published by Heritage Music Press
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Music Proficiency Pack #4 - Doggone Dynamics
Musical course - Solfege
Heritage Music Press
(Dynamic Markings and Terms). By Artie Almeida. Published by Heritage Music Pres...
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(Dynamic Markings and Terms). By Artie Almeida. Published by Heritage Music Press
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Messes are the Best!
Musical Awakening
[Sheet music + Audio access]
Heritage Music Press
Composed by Darren Fellows. Book, audio/data CD. Heritage Music Press #75/1032H...
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Composed by Darren Fellows. Book, audio/data CD. Heritage Music Press #75/1032H. Published by Heritage Music Press (LO.75-1032H).
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Adventures with the Orchestra
Musical Awakening
[Sheet music + Audio access]
Heritage Music Press
Composed by Artie Almeida. Classroom Music. Book, audio/data CD. Heritage Music...
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Composed by Artie Almeida. Classroom Music. Book, audio/data CD. Heritage Music Press #75/1034H. Published by Heritage Music Press (LO.75-1034H).
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Found Soundology
Musical Awakening
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Intermediate/advanced
Heritage Music Press
(Making Music with Random Stuff). Composed by Mark Shelton. Classroom Music. Gra...
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(Making Music with Random Stuff). Composed by Mark Shelton. Classroom Music. Grade 4-8. Book and CD with printable parts. 88 pages. Heritage Music Press #75/1027H. Published by Heritage Music Press
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Activate! Aug/Sept 15
Musical Awakening
[Sheet music + Audio access]
Heritage Music Press
Composed by Jeanette Morgan. Classroom Music. Book, audio/data CD. Heritage Mus...
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Composed by Jeanette Morgan. Classroom Music. Book, audio/data CD. Heritage Music Press #AC0815. Published by Heritage Music Press (LO.AC0815).
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Awesome Books with Musical Hooks
Musical course - Solfege
[Sheet music + Audio access]
Heritage Music Press
Composed by Katie Grace Miller. Classroom Music. Book, audio/data CD. Heritage ...
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Composed by Katie Grace Miller. Classroom Music. Book, audio/data CD. Heritage Music Press #75/1040H. Published by Heritage Music Press (LO.75-1040H).
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Games with Get Up and Go
Musical Awakening
[Sheet music + CD-ROM]
Heritage Music Press
(Ten Action-Packed Assessment Activities). By Jeanette Morgan. Book and CD-ROM. ...
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(Ten Action-Packed Assessment Activities). By Jeanette Morgan. Book and CD-ROM. Published by Heritage Music Press
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Mission: Composition
Musical course - Solfege
[Sheet music + Audio access]
Heritage Music Press
Composed by Matthew Cremisio. Arranged by Jennifer Lee-Alden. Classroom Music. B...
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Composed by Matthew Cremisio. Arranged by Jennifer Lee-Alden. Classroom Music. Book, audio/data CD. Heritage Music Press #75/1030H. Published by Heritage Music Press (LO.75-1030H).
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Recorder Monster Teacher Book
Musical Awakening
[Sheet music + Audio access]
Heritage Music Press
Composed by Mari Schay. Classroom Music. Book, audio/data CD. Heritage Music Pr...
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Composed by Mari Schay. Classroom Music. Book, audio/data CD. Heritage Music Press #75/1035H. Published by Heritage Music Press (LO.75-1035H).
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Jig!
Musical Awakening
[Book + CD]
Heritage Music Press
(Irish Music for Barred Percussion). Composed by Doug Edwards. General, Classroo...
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(Irish Music for Barred Percussion). Composed by Doug Edwards. General, Classroom. Grades 4-8. Book and CD printable resources. 60 pages. Heritage Music Press #75/1026H. Published by Heritage Music Press
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Ten to Teach Rhythm
Musical course - Solfege
[Book + CD-Rom]
Heritage Music Press
General, Classroom. Grades K-6. Book and CD-ROM. 32 pages. Heritage Music Press ...
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General, Classroom. Grades K-6. Book and CD-ROM. 32 pages. Heritage Music Press #75/1028H. Published by Heritage Music Press
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A Wide World of WebVisits 2012
Musical course - Solfege
Heritage Music Press
(Online Excursions for the Music Classroom). Composed by Jeanette Morgan. Workbo...
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(Online Excursions for the Music Classroom). Composed by Jeanette Morgan. Workbook. Published by Heritage Music Press
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More Music Fundamentals
Musical Awakening
Heritage Music Press
(21 Games That Reinforce Music Concepts). By D. Brian Weese. Level 2-6. Games, R...
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(21 Games That Reinforce Music Concepts). By D. Brian Weese. Level 2-6. Games, Reproducible. Published by Heritage Music Press
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In the Circle of the Music
Choral SATB
SATB, Piano
[Octavo]
Heritage Music Press
Composed by Lloyd Larson. For SATB choir, piano accompaniment. Octavo. Heritage ...
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Composed by Lloyd Larson. For SATB choir, piano accompaniment. Octavo. Heritage Music Press #15/3248H. Published by Heritage Music Press
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The Toyland Express
Choral SATB
SATB, Piano
Heritage Music Press
Composed by Michael Ryan. Choral. Secular Christmas. Octavo. Heritage Music Pr...
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Composed by Michael Ryan. Choral. Secular Christmas. Octavo. Heritage Music Press #15/3551H. Published by Heritage Music Press
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Music Mazes & Puzzles, Book II
[Flash Cards & Games]
Heritage Music Press
By Connie Burke. For workbook. General music. Published by Heritage Music Press....
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By Connie Burke. For workbook. General music. Published by Heritage Music Press.
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Music, Give Voice!
Choral SATB
SATB, Piano
[Octavo]
Heritage Music Press
By Joel Raney. For SATB choir, piano. Concert. Octavo. Published by Heritage Mus...
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By Joel Raney. For SATB choir, piano. Concert. Octavo. Published by Heritage Music Press
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Playapalooza
Musical Awakening
[Sheet music + CD]
Heritage Music Press
Composed by Deborah A. Imiolo. Classroom Music. Book, audio/data CD. Heritage M...
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Composed by Deborah A. Imiolo. Classroom Music. Book, audio/data CD. Heritage Music Press #75/1042H. Published by Heritage Music Press (LO.75-1042H).
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Activate! - Complete Set of Vol. 9
Musical Awakening
Heritage Music Press
Composed by Jeanette Morgan. For unison voices, orff instruments, movement. Clas...
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Composed by Jeanette Morgan. For unison voices, orff instruments, movement. Classroom Music. Grade K-6. Magazine, reproducible. Heritage Music Press #AC2014. Published by Heritage Music Press
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Activate! Oct/Nov 15
Musical Awakening
[Sheet music + Audio access]
Heritage Music Press
Composed by Jeanette Morgan. Classroom Music. Book, audio/data CD. Heritage Mus...
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Composed by Jeanette Morgan. Classroom Music. Book, audio/data CD. Heritage Music Press #AC1015. Published by Heritage Music Press (LO.AC1015).
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Activate! (2017-2018) Complete Set of Vol. 12
Musical Awakening
Heritage Music Press
Heritage Music Press #AC2017. Published by Heritage Music Press
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The Ultimate Substitute Teacher's Music Resource Guide
Heritage Music Press
By Geoffrey R Lorenz; Barbara Meeks. Text. Gen mus. Published by Heritage Music ...
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By Geoffrey R Lorenz; Barbara Meeks. Text. Gen mus. Published by Heritage Music Press.
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The Ultimate Music Game Book
[Flash Cards & Games]
Heritage Music Press
By Geoffrey R Lorenz; Barbara Meeks. For Games. General music. Published by Heri...
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By Geoffrey R Lorenz; Barbara Meeks. For Games. General music. Published by Heritage Music Press. (30/2013H)
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Musica Dei
Choral 3-part
SSA
[Octavo]
Heritage Music Press
By Mary Lynn Lightfoot. SSA. Octavo. Published by Heritage Music Press.
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Musica Dei
Choral 3-part
TTB/TBB
[Octavo]
Heritage Music Press
By Mary Lynn Lightfoot. For TTB/TBB choir and piano. Octavo. Published by Herita...
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By Mary Lynn Lightfoot. For TTB/TBB choir and piano. Octavo. Published by Heritage Music Press. (15/1419H)
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Musica Dei
Choral 2-part
2-part
[Octavo]
Heritage Music Press
By Jerry Estes. For 2-part choir. (3-part Mixed (with Opt. Staging)). New Horiz...
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By Jerry Estes. For 2-part choir. (3-part Mixed (with Opt. Staging)). New Horizons. Octavo. Published by Heritage Music Press. (15/1299H)
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HERITAGE MUSIC PRESS MAINSTREAMS PIANO NOONA
Piano solo
Heritage Music Press
Compositeur : Walter Noona
Composer : Carol Noona
Groupe d\'Instrument...
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Compositeur : Walter Noona
Composer : Carol Noona
Groupe d\'Instruments : Piano ou Clavier
Instrumentation Piano
Type de produit : Recueil
Difficulté : 3
Édition musicale : Heritage Music Press / Méthodes et pédagogie / Piano et instrument à clavier / Piano / HERITAGE MUSIC PRESS
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Rieks van der Velde: Cambridgeshire Impressions: Fanfare Band: Score & Parts
Marching band
[Score and Parts]
Gobelin Music Publications
In a four-part composition Rieks van der Velde takes us to the richly varied are...
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In a four-part composition Rieks van der Velde takes us to the richly varied area surrounding the university city of Cambridge. The Dutch composer was especially inspired by the atmosphere of Cambridgeshire the county which lies north of London. 1. The Journey. Although on arrival the area looks peaceful and friendly the ruggedness of its inhabitants and landscape have an unmistakable influence on the music. In the course of the tour which starts with an Allegro movement we are shown the vitality energy and freshness of the Cambridgeshire countryside. Short themes swift and sudden motifs and rhythmical patterns supported by the drive ofpercussion instruments give expression to this image. The first part is concluded by two 'Calmo' movements in which the music expresses how the cathedral in the city of Ely comes into sight and is gradually approached. 2. Visit to Ely Cathedral. The famous Norman cathedral church of Ely which was built in 1109 has attracted tourists from all over the world apart from being a place of worship and heritage site. A cornet solo introduces the contemplative mood of the composition at this point. The mystical atmosphere of the cathedral runs through this lyrical part like a continuous thread. 3. The Pub. The thirst caused by this intensive journey makes a visit to the local pub a definite must. These ?public houses? which may be open until the early hours of the morning offer all kinds of entertainment. Drinks are served liberally and the atmosphere is lively. 4. The Journey Back. Time has flown: In other words the moment of departure has come sooner than one would have wished. In a flashback which recaptures elements of the first part of the composition we say goodbye to Cambridgeshire in a fitting manner. Two scintillating final measures bring us abruptly back to the present.
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Rieks van der Velde: Cambridgeshire Impressions: Brass Band: Score
Brass ensemble
Gobelin Music Publications
In a four-part composition Rieks van der Velde takes us to the richly varied are...
(+)
In a four-part composition Rieks van der Velde takes us to the richly varied area surrounding the university city of Cambridge. The Dutch composer was especially inspired by the atmosphere of Cambridgeshire the county which lies north ofLondon. 1. The Journey. Although on arrival the area looks peaceful and friendly the ruggedness of its inhabitants and landscape have an unmistakable influence on the music. In the course of the tour which starts with an Allegromovement we are shown the vitality energy and freshness of the Cambridgeshire countryside. Short themes swift and sudden motifs and rhythmical patterns supported by the drive of percussion instruments give expression to this image. Thefirst part is concluded by two Calmo movements in which the music expresses how the cathedral in the city of Ely comes into sight and is gradually approached. 2. Visit to Ely Cathedral. The famous Norman cathedral church of Ely whichwas built in 1109 has attracted tourists from all over the world apart from being a place of worship and heritage site. A cornet solo introduces the contemplative mood of the composition at this point. The mystical atmosphere of thecathedral runs through this lyrical part like a continuous thread. 3. The Pub. The thirst caused by this intensive journey makes a visit to the local pub a definite must. These ?public houses? which may be open until the earlyhours of the morning offer all kinds of entertainment. Drinks are served liberally and the atmosphere is lively. 4. The Journey Back. Time has flown: In other words the moment of departure has come sooner than one would havewished. In a flashback which recaptures elements of the first part of the composition we say goodbye to Cambridgeshire in a fitting manner. Two scintillating final measures bring us abruptly back to the present.
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Rieks van der Velde: Cambridgeshire Impressions: Brass Band: Score & Parts
Brass ensemble
Gobelin Music Publications
In a four-part composition Rieks van der Velde takes us to the richly varied are...
(+)
In a four-part composition Rieks van der Velde takes us to the richly varied area surrounding the university city of Cambridge. The Dutch composer was especially inspired by the atmosphere of Cambridgeshire the county which lies north ofLondon. 1. The Journey. Although on arrival the area looks peaceful and friendly the ruggedness of its inhabitants and landscape have an unmistakable influence on the music. In the course of the tour which starts with an Allegromovement we are shown the vitality energy and freshness of the Cambridgeshire countryside. Short themes swift and sudden motifs and rhythmical patterns supported by the drive of percussion instruments give expression to this image. Thefirst part is concluded by two Calmo movements in which the music expresses how the cathedral in the city of Ely comes into sight and is gradually approached. 2. Visit to Ely Cathedral. The famous Norman cathedral church of Ely whichwas built in 1109 has attracted tourists from all over the world apart from being a place of worship and heritage site. A cornet solo introduces the contemplative mood of the composition at this point. The mystical atmosphere of thecathedral runs through this lyrical part like a continuous thread. 3. The Pub. The thirst caused by this intensive journey makes a visit to the local pub a definite must. These ?public houses? which may be open until the earlyhours of the morning offer all kinds of entertainment. Drinks are served liberally and the atmosphere is lively. 4. The Journey Back. Time has flown: In other words the moment of departure has come sooner than one would havewished. In a flashback which recaptures elements of the first part of the composition we say goodbye to Cambridgeshire in a fitting manner. Two scintillating final measures bring us abruptly back to the present.
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Rieks van der Velde: Cambridgeshire Impressions: Fanfare Band: Score
Marching band
Gobelin Music Publications
In a four-part composition Rieks van der Velde takes us to the richly varied are...
(+)
In a four-part composition Rieks van der Velde takes us to the richly varied area surrounding the university city of Cambridge. The Dutch composer was especially inspired by the atmosphere of Cambridgeshire the county which lies north of London. 1. The Journey. Although on arrival the area looks peaceful and friendly the ruggedness of its inhabitants and landscape have an unmistakable influence on the music. In the course of the tour which starts with an Allegro movement we are shown the vitality energy and freshness of the Cambridgeshire countryside. Short themes swift and sudden motifs and rhythmical patterns supported by the drive ofpercussion instruments give expression to this image. The first part is concluded by two 'Calmo' movements in which the music expresses how the cathedral in the city of Ely comes into sight and is gradually approached. 2. Visit to Ely Cathedral. The famous Norman cathedral church of Ely which was built in 1109 has attracted tourists from all over the world apart from being a place of worship and heritage site. A cornet solo introduces the contemplative mood of the composition at this point. The mystical atmosphere of the cathedral runs through this lyrical part like a continuous thread. 3. The Pub. The thirst caused by this intensive journey makes a visit to the local pub a definite must. These ?public houses? which may be open until the early hours of the morning offer all kinds of entertainment. Drinks are served liberally and the atmosphere is lively. 4. The Journey Back. Time has flown: In other words the moment of departure has come sooner than one would have wished. In a flashback which recaptures elements of the first part of the composition we say goodbye to Cambridgeshire in a fitting manner. Two scintillating final measures bring us abruptly back to the present.
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Randall Hartsell: Romantic Impressions: Piano: Instrumental Work
Piano solo
Willis Music
Pianovations Composer Series/Early Intermediate Level-Few compositions from the ...
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Pianovations Composer Series/Early Intermediate Level-Few compositions from the Classical Romantic repertoire are accessible and satisfying students who grew up in the late 20th century. Students often become frustrated working on a repertoire piece that is too difficult to play successfully. Romantic Impressions is written with these students in mind. Each piece helps create the wonderful color expressiveness and rich harmonic heritage of the Romantic Period. Titles include: Through a Misty Dawn - Moonlight on the Harbor - Romanza - Toccata Drammatica.
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Sadie Harrison: My Hazara People: Mezzo-Soprano: Vocal Work
[Vocal Score]
University Of York Music Press
'My Hazara People is a setting of two texts the title work by Shukria Rezaei a...
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'My Hazara People is a setting of two texts the title work by Shukria Rezaei a young Afghan poet and Lalai lalai babe bacha shikar rafta (Baby's father went hunting) a traditional Hazari lullaby. Although their characters are entirely different the two poems share much in common. The importance of family and home and beyond that connection with country and heritage are at the centre of both. Shukria's poem is a direct expression of love and despair for Afghanistan with intimate moments of terror - a cup falling from her mother's hand during an explosion her aunt fainting - set against the suffering of Hazaras across the world. In the contextof this devastating contemporary experience Lalai lalai is nostalgic and poignant - open gates straw latches a sleeping child. The tune of the lullaby is heard in two highly contrasted versions. For Shukria's words it is dark and restrained a repeating rhythm illustrating the Hazara's seemingly never-ending pain and for Lalai lalai it is bright and joyful with sounds of the hunt a crackling fire and a gentle chorus as the child is rocked. A further thread runs through the music - a quotation of my favourite traditional Afghan Herati lullaby Allah Hu (God is great) reflecting Shukria's reference to her people's religious heritage. I have adapted the text at the end of Lalai Lalai to bring it into the Shukria's world a reminder that each innocent person caught up in conflict is a mother a brother a sister a father a daughter .... kids like us. The work exists in two versions for voice and piano and voice and strings. The former was premiered by Charlotte Tetley (mezzo-soprano) and Graeme Bailey (piano) on 20 June 2018 at Somerville College Oxford as part of a panel discussion on women refugees. The work was commissioned by the Orchestra of St. Johns. I am indebted to Shukria for allowing to set her poem and to Cayenna Ponchione for inviting me to be part of this
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Impressions (PEETERS WILLIAM)
Piano solo
Metropolis Music Publishers
Par PEETERS WILLIAM. Impressions for Piano Solo by William Peeters is based on t...
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Par PEETERS WILLIAM. Impressions for Piano Solo by William Peeters is based on the town of Sintra, Portugal, a UNESCO world heritage site, and a place where man and nature are in perfect harmony. Impressions for Piano Solo by William Peeters is based on the town of Sintra, Portugal, a UNESCO world heritage site, and a place where man and nature are in perfect harmony./ Répertoire / Piano
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Dan Forrest: Jesus Lord We Look To Thee: SATB: Vocal Score
Choral SATB
[Vocal Score]
Hinshaw Music Inc.
The lyrics of Charles Wesley are found in almost every denominational hymnal. Th...
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The lyrics of Charles Wesley are found in almost every denominational hymnal. This anthem is scored for mixed voices with either organ or piano. Methodists might use the piece on heritage Sunday but the work would also make a fine mother's day (festival of the Christian home) anthem or for peace and justice Sunday. The lovely lyrical lines and close connection to the text are hallmarks of Dan Forrest's musical expression.
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Sean Williams Lillis S. Laoire: Bright Star of the West Joe Heaney Irish Song
Oxford University Press
Bright Star Of The West is a biography of one of the most important figures in I...
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Bright Star Of The West is a biography of one of the most important figures in Irish music in the 20th century. This is the first study focused on sean-nos a distinguished and beautiful repertoire and style and provides a unique exploration of gender and masculinity in Irish music. Bright Star Of The West is the winner of the Alan P. Merriam Prize of the Society for Ethnomusicology. Bright Star Of The West traces the life repertoire and influence of Joe Heaney Ireland's greatest sean-nós ('old style') singer. Born in 1919 Joe Heaney grew up in a politically volatile time as his nativeIreland became a democracy. He found work and relative fame as a singer in London before moving to Scotland. Eventually like many others searching for greater opportunity he emigrated to the United States where he worked as a doorman while supplementing his income with appearances at folk festivals concerts and clubs. As his reputation and following grew Heaney gained entry to the folk music scene and began leading workshops as a visiting artist at several universities. In 1982 the National Endowment for the Arts awarded Heaney America's highest honor in folk and traditional arts the prestigious National Heritage Fellowship. Although Heaney's works did not become truly popular in his homeland until many years after his death today he is hailed as a seminal figure of traditional song and is revered by those who follow traditional music. Authors Sean Williams and Lillis Ó Laoire address larger questions about song identity and culture. They explore the deep ambivalence both the Irish and Irish-Americans felt toward the traditional aspects of their culture examining other critical issues such as gender and masculinity authenticity and contemporary marketing and consumption of sean-nós singing in both Ireland and the United States. Comingling Heaney's own words with the
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Joseph M. Martin: Love Is Our Theme: Mixed Choir A Cappella: Choral Score
Choral SATB
Shawnee Press
A powerful song of unity wraps the audience in passionate music and meaningful w...
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A powerful song of unity wraps the audience in passionate music and meaningful words. The main theme in a lilting meter gradually builds to an impressive climax, delivering a credo for the worshipping church: Grace is our music; love is our theme. Hope is our message; peace is our dream. Wonderfully conceived for church dedication moments or heritage observances, this sermon in song will minister to the community of faith and its mission.
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Tango (GARDEL CARLOS)
Flute and Piano
Universal Edition
Par GARDEL CARLOS. Love, fire, passion - as one of the most emotionally-charged ...
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Par GARDEL CARLOS. Love, fire, passion - as one of the most emotionally-charged dances, the tango is an ideal match for the flute and its duo partner, the piano, as all three join in for a charming musical experience. Argentine tango expert Diego Collatti has arranged five popular tangos originally composed by Carlos Gardel, who greatly influenced the genre with his interpretations and compositions. The lively, electrifying arrangements for flute and piano show Collatti's expertise for instrumentation and reduction as they combine technique and ensemble playing with the glamour and unique atmosphere of South American passion for dancing. With this collection, the musical life of Argentina during the late 20th century - a heritage that is treasured to this day and has currently reached a new popularity - is carried into the world. In a diverse and always authentic musical setting, both voices enter a dialogue of emotions, zeitgeist and character typical for the dance, which is popular around the world. These aspects are essential for diving completely into the music and musically expressing its deeply emotional content. ? 5 popular tango classics presented as a musical dialogue arranged for flute and piano ? Vibrant, expressive and emotional - Discover the qualities of authentic tango music with these intermediate-level duets ? The melodic and rhythmic characteristics combined with unique phrasing and articulation are true to the authentic Argentinian tango ? Interwoven ensemble parts and diverse means of expression bring the unique tango atmosphere to life / Musique traditionnelle / Répertoire / Flûte Traversière et Piano
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Renaissance Anthology A Vol.4: Piano or Keyboard: Instrumental Album
Piano solo
[Sheet music]
Spartan Press
Grade 8+-It has often struck me as intriguing that The Fitzwilliam Virginal Book...
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Grade 8+-It has often struck me as intriguing that The Fitzwilliam Virginal Book (a collection of keyboard music spanning the period c.1562-1612) occupies a virtually non-existent place in the literature considered viable by pianists.Needless to say harpsichordists continue to hold the music in the highest esteem while a number of transcriptions for instruments and ensembles have been made available in more recent times. How can it be that this ancient heritage - which in keyboard music terms might be regarded as the equivalent to the Dead Sea Scrolls - has hitherto seemed a no-go area for pianists? It is as if the first 'proper' keyboard music tumbledmiraculously out of some parallel universe around Bach's time i.e. the first half of the 18th century. While our modern piano is perhaps as different from a virginal as a washing machine is from a mangle there are in fact a good many facets of virginal music which read across perfectly well to today's instruments. For this to be possible we need to take the time to lookbeyond peculiarities in translation which to a significant extent comes down to issues resulting from burgeoning notational practices. It also becomes necessary to re-imagine the music in light of what is possible as well as what is desirable. Problems with accessing the sound-world of pre-Baroque keyboard music can be overcome quite easily just as it is possible to become better in resonance withavant garde musical styles given appropriate immersion. Since the writing of the performance notes to The Fitzwilliam Virginal Book more than a century ago (by J.A. Fuller Maitland and W. Barclay Squire) the momentum generated by the Early Music Revival has brought about immeasurable insights into the intentions of Renaissance and Baroque composers. Performances on periodinstruments continue to reacquaint us with a bygone age and stimulate a healthy fascination for the practices that were once fundamental to the craft. On balance however the potential for a major
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M. Tanner: Renaissance Anthology A Vol.3: Piano: Instrumental Album
Piano solo
[Sheet music]
-
Intermediate/advanced
Spartan Press
Grades 6-7-Beautifully presented and thoroughly readable 'modern' editions of t...
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Grades 6-7-Beautifully presented and thoroughly readable 'modern' editions of the best of these pre-Baroque masterpieces. Carefully graded.It has often struck me as intriguing that The Fitzwilliam Virginal Book (a collection of keyboard music spanning the period c.1562-1612) occupies a virtually non-existent place in the literature considered viable by pianists.Needless to say harpsichordists continue to hold the music in the highest esteem while a number of transcriptions for instruments and ensembles have been made available in more recent times. How can it be that this ancient heritage - which in keyboard music terms might be regarded as the equivalent to the DeadSea Scrolls - has hitherto seemed a no-go area for pianists? It is as if the first 'proper' keyboard music tumbled miraculously out of some parallel universe around Bach's time i.e. the first half of the 18th century. While our modern piano is perhaps as different from a virginal as a washing machine is from a mangle there are in fact a good many facets of virginal music which read across perfectly well to today's instruments. For this to be possible we need to take the time to look beyond peculiarities in translation which to a significant extent comes down to issues resulting from burgeoning notational practices. It also becomes necessary to re-imagine the music in light of what is possible as well as what is desirable. Problems with accessing the sound-world of pre-Baroque keyboard music can be overcome quite easily just as it is possible to become better in resonance with avant garde musical styles given appropriate immersion. Since the writing of the performance notes to The Fitzwilliam Virginal Book more than a century ago (by J.A. Fuller Maitland and W. Barclay Squire) the momentum generated by the Early Music Revival has brought about immeasurable insights into the intentions of Renaissance and Baroque composers. Performances on period instruments continue to reacquaint us with a bygone age and stimulate a healthy fascination for the
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M. Tanner: Renaissance Keyboard Anthology 1: Harpsichord or Piano: Instrumental
Piano solo
Spartan Press
It has often struck me as intriguing that The Fitzwilliam Virginal Book (a colle...
(+)
It has often struck me as intriguing that The Fitzwilliam Virginal Book (a collection of keyboard music spanning the period c.1562-1612) occupies a virtually non-existent place in the literature considered viable by pianists.Needless to say harpsichordists continue to hold the music in the highest esteem while a number of transcriptions for instruments and ensembles have been made available in more recent times. How can it be that this ancient heritage - which in keyboard music terms might be regarded as the equivalent to the Dead Sea Scrolls - has hitherto seemed a no-go area for pianists? It is as if the first 'proper' keyboard music tumbledmiraculously out of some parallel universe around Bach's time i.e. the first half of the 18th century. While our modern piano is perhaps as different from a virginal as a washing machine is from a mangle there are in fact a good many facets of virginal music which read across perfectly well to today's instruments. For this to be possible we need to take the time to lookbeyond peculiarities in translation which to a significant extent comes down to issues resulting from burgeoning notational practices. It also becomes necessary to re-imagine the music in light of what is possible as well as what is desirable. Problems with accessing the sound-world of pre-Baroque keyboard music can be overcome quite easily just as it is possible to become better in resonance withavant garde musical styles given appropriate immersion. Since the writing of the performance notes to The Fitzwilliam Virginal Book more than a century ago (by J.A. Fuller Maitland and W. Barclay Squire) the momentum generated by the Early Music Revival has brought about immeasurable insights into the intentions of Renaissance and Baroque composers. Performances on periodinstruments continue to reacquaint us with a bygone age and stimulate a healthy fascination for the practices that were once fundamental to the craft. On balance however the potential for a major
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M. Tanner: Renaissance Keyboard Anthology 2: Harpsichord or Piano: Instrumental
Piano solo
-
Intermediate
Spartan Press
It has often struck me as intriguing that The Fitzwilliam Virginal Book (a colle...
(+)
It has often struck me as intriguing that The Fitzwilliam Virginal Book (a collection of keyboard music spanning the period c.1562-1612) occupies a virtually non-existent place in the literature considered viable by pianists.Needless to say harpsichordists continue to hold the music in the highest esteem while a number of transcriptions for instruments and ensembles have been made available in more recent times. How can it be that this ancient heritage - which in keyboard music terms might be regarded as the equivalent to the Dead Sea Scrolls - has hitherto seemed a no-go area for pianists? It is as if the first 'proper' keyboard music tumbledmiraculously out of some parallel universe around Bach's time i.e. the first half of the 18th century. While our modern piano is perhaps as different from a virginal as a washing machine is from a mangle there are in fact a good many facets of virginal music which read across perfectly well to today's instruments. For this to be possible we need to take the time to lookbeyond peculiarities in translation which to a significant extent comes down to issues resulting from burgeoning notational practices. It also becomes necessary to re-imagine the music in light of what is possible as well as what is desirable. Problems with accessing the sound-world of pre-Baroque keyboard music can be overcome quite easily just as it is possible to become better in resonance withavant garde musical styles given appropriate immersion. Since the writing of the performance notes to The Fitzwilliam Virginal Book more than a century ago (by J.A. Fuller Maitland and W. Barclay Squire) the momentum generated by the Early Music Revival has brought about immeasurable insights into the intentions of Renaissance and Baroque composers. Performances on periodinstruments continue to reacquaint us with a bygone age and stimulate a healthy fascination for the practices that were once fundamental to the craft. On balance however the potential for a major
9.99 GBP - Sold by Musicroom UK
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Canten Amigos!: Vocal: Vocal Collection
Shawnee Press
Eight Hispanic Folk Song Favorites-In this beautifully diverse world we live in ...
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Eight Hispanic Folk Song Favorites-In this beautifully diverse world we live in it is essential as educators that we expose our students to the wealth of musical treasures from many different cultures. Music teachers classroom teachers and world language teachersalike will find this collection to be a wonderful resource. Canten Amigos! is a unique compilation of eight Hispanic songs designed with detailed lesson plans to introduce your students to the rich musical heritage of theHispanic people. Each lesson plan contains a history of the song a literal translation of the Spanish vocabulary as well as detailed instructions for teaching the song to your students. The collection also includes an extensivehistory of Hispanic music and provides useful basic guidelines for teaching the songs contained within. The songs have been arranged in two parts for use in classroom or concert settings but can easily be adapted for unisonsinging as well by having students sing just the melody line. The songs contain both Spanish and English lyrics with the Spanish enunciation provided for each selection. Grades 5-8.
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Music for Children Vol. 5 (ORFF CARL / KEETMAN GUNILD)
Voix, Flûte à Bec et Percussion
[Score]
Schott
Minor: Triads. Par ORFF CARL / KEETMAN GUNILD. Carl Orff devoted much of his lif...
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Minor: Triads. Par ORFF CARL / KEETMAN GUNILD. Carl Orff devoted much of his life to the development of a philosophy of Music for Children, based on his belief that music is the natural outcome of speech, rhythm and movement. His ideas and pioneering work have had a major influence on music and dance education throughout the world and today that work continues under the guidance of leading teachers and educators in many countries. The five basic German volumes of 'Music for Children' by Carl Orff and Gunild Keetman were published between 1950 and 1954. Edition have since been published in Bolivia, Brazil, Canada, Czechoslovakia, Denmark, Estonia, France, Ghana, Great Britain (including a special Welsh edition), Greece, Italy, Japan, Korea, Latin-America, the Netherlands, Portugal, Spain, Sweden, Taiwan and the USA. In 1952 the first edition in translation appeared, an English language adaptation by Doreen Hall and Arnold Walter for their Canadian and American students. A few years later, Margaret Murray independently developed a version (1957-1966), essentially to fulfil the needs of United Kingdom teachers. Inevitably the considerable growth of Orff-Schulwerk in the United States led to the publication of the American Edition (1977) to satisfy the requirements of a different educational system and national heritage. Orff-Schulwerk: Music for Children has proved itself to be a stimulating source of material for music teaching. Carl Orff's fundamental educational ideas have revitalized music education in nursery schools, at all levels of primary and secondary education and in special music schools, based on the concepts that: - music, dance and language are inter-related and animated through rhythm. - when children discover, invent, improvise and compose, their experience of music is intensified. These creative activities are complementary to those of interpreting and listening to music. - all who take part are encouraged to contribute, not only vocally but also instrumentally. - the Orff approach to music education is many sided; it is concerned with practical music-making, it provides fundamental experiences and it lays the foundation for a comprehensive musical training. - movement games and activities for body awareness in space, time and flow, lead to movement improvisation and dance forms. - music and dance have been notated in many different ways in history. Various ways of writing down sounds and music, as well as playing from and interpreting different kinds of sources are being explored. Today, countless teachers and institutions are using these ideas. More and more teachers look for ways of invovling their students in active music making. In particular, they seek to challenge their pupils' creativity by the use of music, dance and speech - as media of human expression - as a foundation of all education. A prerequisite for work in Orff-Schulwerk is the artistic and pedagogical training of teachers. The Orff Institute was founded in 1961 as a Department of the 'Mozarteum', in Salzburg, Austria. Training offered includes a four-year diploma course, a two-year post-graduate course, and a one-year-course in English. At the opening of the Orff Institute in Salzburg in 1963, Carl Orff ended his speech with a quotation from Schiller: 'I have done my part, now do yours.' That challenge has been taken up by teachers worldwide. Hall/Walter Edition Based on Volumes 1, 2 and 4 of the original German Edition 'musik für Kinder', english adaption with additional material by Doreen Hall and Arnold Walter./ Recueil / Voix, Flûte à Bec et Percussion
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Music for Children Vol. 2 (ORFF CARL / KEETMAN GUNILD)
Voix, Flûte à Bec et Percussion
[Score]
Schott
Major - Bordun. Par ORFF CARL / KEETMAN GUNILD. Carl Orff devoted much of his li...
(+)
Major - Bordun. Par ORFF CARL / KEETMAN GUNILD. Carl Orff devoted much of his life to the development of a philosophy of Music for Children, based on his belief that music is the natural outcome of speech, rhythm and movement. His ideas and pioneering work have had a major influence on music and dance education throughout the world and today that work continues under the guidance of leading teachers and educators in many countries. The five basic German volumes of 'Music for Children' by Carl Orff and Gunild Keetman were published between 1950 and 1954. Edition have since been published in Bolivia, Brazil, Canada, Czechoslovakia, Denmark, Estonia, France, Ghana, Great Britain (including a special Welsh edition), Greece, Italy, Japan, Korea, Latin-America, the Netherlands, Portugal, Spain, Sweden, Taiwan and the USA. In 1952 the first edition in translation appeared, an English language adaptation by Doreen Hall and Arnold Walter for their Canadian and American students. A few years later, Margaret Murray independently developed a version (1957-1966), essentially to fulfil the needs of United Kingdom teachers. Inevitably the considerable growth of Orff-Schulwerk in the United States led to the publication of the American Edition (1977) to satisfy the requirements of a different educational system and national heritage. Orff-Schulwerk: Music for Children has proved itself to be a stimulating source of material for music teaching. Carl Orff's fundamental educational ideas have revitalized music education in nursery schools, at all levels of primary and secondary education and in special music schools, based on the concepts that: - music, dance and language are inter-related and animated through rhythm. - when children discover, invent, improvise and compose, their experience of music is intensified. These creative activities are complementary to those of interpreting and listening to music. - all who take part are encouraged to contribute, not only vocally but also instrumentally. - the Orff approach to music education is many sided; it is concerned with practical music-making, it provides fundamental experiences and it lays the foundation for a comprehensive musical training. - movement games and activities for body awareness in space, time and flow, lead to movement improvisation and dance forms. - music and dance have been notated in many different ways in history. Various ways of writing down sounds and music, as well as playing from and interpreting different kinds of sources are being explored. Today, countless teachers and institutions are using these ideas. More and more teachers look for ways of invovling their students in active music making. In particular, they seek to challenge their pupils' creativity by the use of music, dance and speech - as media of human expression - as a foundation of all education. A prerequisite for work in Orff-Schulwerk is the artistic and pedagogical training of teachers. The Orff Institute was founded in 1961 as a Department of the 'Mozarteum', in Salzburg, Austria. Training offered includes a four-year diploma course, a two-year post-graduate course, and a one-year-course in English. At the opening of the Orff Institute in Salzburg in 1963, Carl Orff ended his speech with a quotation from Schiller: 'I have done my part, now do yours.' That challenge has been taken up by teachers worldwide. Hall/Walter Edition Based on Volumes 1, 2 and 4 of the original German Edition 'musik für Kinder', english adaption with additional material by Doreen Hall and Arnold Walter./ Recueil / Voix, Flûte à Bec et Percussion
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Music for Children Vol. 3 (ORFF CARL / KEETMAN GUNILD)
Voix, Flûte à Bec et Percussion
[Score]
Schott
Major - Triads. Par ORFF CARL / KEETMAN GUNILD. Carl Orff devoted much of his li...
(+)
Major - Triads. Par ORFF CARL / KEETMAN GUNILD. Carl Orff devoted much of his life to the development of a philosophy of Music for Children, based on his belief that music is the natural outcome of speech, rhythm and movement. His ideas and pioneering work have had a major influence on music and dance education throughout the world and today that work continues under the guidance of leading teachers and educators in many countries. The five basic German volumes of 'Music for Children' by Carl Orff and Gunild Keetman were published between 1950 and 1954. Edition have since been published in Bolivia, Brazil, Canada, Czechoslovakia, Denmark, Estonia, France, Ghana, Great Britain (including a special Welsh edition), Greece, Italy, Japan, Korea, Latin-America, the Netherlands, Portugal, Spain, Sweden, Taiwan and the USA. In 1952 the first edition in translation appeared, an English language adaptation by Doreen Hall and Arnold Walter for their Canadian and American students. A few years later, Margaret Murray independently developed a version (1957-1966), essentially to fulfil the needs of United Kingdom teachers. Inevitably the considerable growth of Orff-Schulwerk in the United States led to the publication of the American Edition (1977) to satisfy the requirements of a different educational system and national heritage. Orff-Schulwerk: Music for Children has proved itself to be a stimulating source of material for music teaching. Carl Orff's fundamental educational ideas have revitalized music education in nursery schools, at all levels of primary and secondary education and in special music schools, based on the concepts that: - music, dance and language are inter-related and animated through rhythm. - when children discover, invent, improvise and compose, their experience of music is intensified. These creative activities are complementary to those of interpreting and listening to music. - all who take part are encouraged to contribute, not only vocally but also instrumentally. - the Orff approach to music education is many sided; it is concerned with practical music-making, it provides fundamental experiences and it lays the foundation for a comprehensive musical training. - movement games and activities for body awareness in space, time and flow, lead to movement improvisation and dance forms. - music and dance have been notated in many different ways in history. Various ways of writing down sounds and music, as well as playing from and interpreting different kinds of sources are being explored. Today, countless teachers and institutions are using these ideas. More and more teachers look for ways of invovling their students in active music making. In particular, they seek to challenge their pupils' creativity by the use of music, dance and speech - as media of human expression - as a foundation of all education. A prerequisite for work in Orff-Schulwerk is the artistic and pedagogical training of teachers. The Orff Institute was founded in 1961 as a Department of the 'Mozarteum', in Salzburg, Austria. Training offered includes a four-year diploma course, a two-year post-graduate course, and a one-year-course in English. At the opening of the Orff Institute in Salzburg in 1963, Carl Orff ended his speech with a quotation from Schiller: 'I have done my part, now do yours.' That challenge has been taken up by teachers worldwide. Hall/Walter Edition Based on Volumes 1, 2 and 4 of the original German Edition 'musik für Kinder', english adaption with additional material by Doreen Hall and Arnold Walter./ Recueil / Voix, Flûte à Bec et Percussion
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Music for Children Vol. 4 (ORFF CARL / KEETMAN GUNILD)
Voix, Flûte à Bec et Percussion
[Score]
Schott
Minor: Bordun. Par ORFF CARL / KEETMAN GUNILD. Carl Orff devoted much of his lif...
(+)
Minor: Bordun. Par ORFF CARL / KEETMAN GUNILD. Carl Orff devoted much of his life to the development of a philosophy of Music for Children, based on his belief that music is the natural outcome of speech, rhythm and movement. His ideas and pioneering work have had a major influence on music and dance education throughout the world and today that work continues under the guidance of leading teachers and educators in many countries. The five basic German volumes of 'Music for Children' by Carl Orff and Gunild Keetman were published between 1950 and 1954. Edition have since been published in Bolivia, Brazil, Canada, Czechoslovakia, Denmark, Estonia, France, Ghana, Great Britain (including a special Welsh edition), Greece, Italy, Japan, Korea, Latin-America, the Netherlands, Portugal, Spain, Sweden, Taiwan and the USA. In 1952 the first edition in translation appeared, an English language adaptation by Doreen Hall and Arnold Walter for their Canadian and American students. A few years later, Margaret Murray independently developed a version (1957-1966), essentially to fulfil the needs of United Kingdom teachers. Inevitably the considerable growth of Orff-Schulwerk in the United States led to the publication of the American Edition (1977) to satisfy the requirements of a different educational system and national heritage. Orff-Schulwerk: Music for Children has proved itself to be a stimulating source of material for music teaching. Carl Orff's fundamental educational ideas have revitalized music education in nursery schools, at all levels of primary and secondary education and in special music schools, based on the concepts that: - music, dance and language are inter-related and animated through rhythm. - when children discover, invent, improvise and compose, their experience of music is intensified. These creative activities are complementary to those of interpreting and listening to music. - all who take part are encouraged to contribute, not only vocally but also instrumentally. - the Orff approach to music education is many sided; it is concerned with practical music-making, it provides fundamental experiences and it lays the foundation for a comprehensive musical training. - movement games and activities for body awareness in space, time and flow, lead to movement improvisation and dance forms. - music and dance have been notated in many different ways in history. Various ways of writing down sounds and music, as well as playing from and interpreting different kinds of sources are being explored. Today, countless teachers and institutions are using these ideas. More and more teachers look for ways of invovling their students in active music making. In particular, they seek to challenge their pupils' creativity by the use of music, dance and speech - as media of human expression - as a foundation of all education. A prerequisite for work in Orff-Schulwerk is the artistic and pedagogical training of teachers. The Orff Institute was founded in 1961 as a Department of the 'Mozarteum', in Salzburg, Austria. Training offered includes a four-year diploma course, a two-year post-graduate course, and a one-year-course in English. At the opening of the Orff Institute in Salzburg in 1963, Carl Orff ended his speech with a quotation from Schiller: 'I have done my part, now do yours.' That challenge has been taken up by teachers worldwide. Hall/Walter Edition Based on Volumes 1, 2 and 4 of the original German Edition 'musik für Kinder', english adaption with additional material by Doreen Hall and Arnold Walter./ Recueil / Voix, Flûte à Bec et Percussion
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Zhou Long: The Future of Fire: SATB: Vocal Score
Choral SATB
[Vocal Score]
Oxford University Press
for SATB or upper voices and orchestra or wind band. Zhou Long is international...
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for SATB or upper voices and orchestra or wind band. Zhou Long is internationally recognized for creating a unique body of music that brings together the aesthetic concepts and musical elements of East and West. Deeply grounded in the entire spectrum of his Chinese heritage including folk philosophical andspiritual ideals he is a pioneer in transferring the idiomatic sounds and techniques of ancient Chinese musical traditions to modern Western instruments and ensembles. Born in Beijing but a United States citizen since 1999 Zhou Long is married to the composer-violinist Chen Yi.
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Michael Oare: Presidential Suite: Concert Band: Score & Parts
Concert band
[Score and Parts]
-
Intermediate
Hal Leonard
Commissioned by the Virginia Band and Orchestra Directors Association to commemo...
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Commissioned by the Virginia Band and Orchestra Directors Association to commemorate its 75th anniversary Presidential Suite recognizes the rich historical heritage of Virginia particularly as the birthplace of eight United States presidents. Using a suite format the work focuses on three of the founding fathers. The first movement Mount Vernon is a serene musical impression of the home of George Washington. Monticello is the second movement and portrays the stately style of music typical of Thomas Jefferson's time. The suite concludes with Montpelier the home of James Madison and uses bold and majestic motifs to portray the broad and magnificent landscape of Madison'sestate. Dur: c 5:30
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J. Paul Williams Joseph M. Martin: Community of Faith: SATB: Vocal Score
Choral SATB
[Vocal Score]
Shawnee Press
from Of Faith and Freedom-Uses: Patriotic Memorial Day Heritage Church Annive...
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from Of Faith and Freedom-Uses: Patriotic Memorial Day Heritage Church Anniversary Concert UnityScripture: Psalm 133:1; I Corinthians 1:10Composed especially for the town of Rock Hall Maryland for their tri-centennial this anthem brings together the concepts of legacy and destiny and achieves a prayer of thanksgiving as well as a challenge for the future. A powerful ballad style and a memorable chorus provide the musical foundations while themodulatory bridge builds intensity to a bold exclamatory conclusion. For civic gatherings or church heritage events this is an essential choral resource.
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John Parker Mark Hayes: Forever Faithful: SATB: Vocal Score
Choral SATB
[Vocal Score]
Shawnee Press
Utilizing all the resources of your music program this festive anthem speaks to...
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Utilizing all the resources of your music program this festive anthem speaks to the very foundations of our faith. Hayes calls upon children and youth choirs along with handbells to declare the worthiness of the Eternal God.Reformation Sunday or any church heritage moment would benefit from the programming of this distinctive choral.
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Vicki Bedford: By Grace: SATB: Vocal Score
Choral SATB
[Vocal Score]
Shawnee Press
Uses: General Church Heritage Unity Scripture: Ephesians 2:8-9: Colossians 3:1...
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Uses: General Church Heritage Unity Scripture: Ephesians 2:8-9: Colossians 3:16 Comfortable and assuring this folk-gospel octavo is an engaging way to introduce a message of hope into your worship music. The early American feel adorned with the bluegrass consort creates an eventful tone. The text reflects our reliance on God's unfailing grace in our lives and the quote from the well known text of Amazing Grace is the perfect finishing touch! Score and Parts (fdl mndln ac gtr str bs) available as a digital download.
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Don Besig Nancy Price: In Faith!: SATB: Vocal Score
Choral SATB
[Vocal Score]
Shawnee Press
Uses: General Church Heritage MissionsScripture: I John 5:4; I Peter 1:21; Mat...
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Uses: General Church Heritage MissionsScripture: I John 5:4; I Peter 1:21; Matthew 15:28; I Corinthians 3:11 This special commission piece celebrates the ministry of the church. At the sound of thetrumpet the anthem flourishes with clarion purpose before presenting a hymn-like acclamation of commitment that weds a confident text with noble music. A triumphant crescendo and modulation invite the congregation to join thesong while a soprano descant soars above. Trumpet part included. Available separately: SATB LiteTrax CD. Duration: ca. 3:23.
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