SKU: SU.80602950
Arr. by Walter Finlayson; Grade 1; Condensed score only Concert Band Composed: 1959 Published by: E.B. Marks Parts available for sale on request. Contact sales@subitomusic.com.
SKU: HL.339867
ISBN 9781540091406. UPC: 840126917604. 7.0x10.5x0.014 inches.
Music and text arranged and adapted by Walter Rodby.
SKU: AP.38164
UPC: 038081426365. English.
This popular song has been covered by singers from Ella and Sammy Davis Jr. to Michael Jackson and, most recently, Finn on Glee! Our chart starts in the traditional 6/8 time, then swings into the hot ending.
About Alfred Pop Choral Series
The Alfred Pop Series features outstanding arrangements of songs from the popular music genre. These publications provide exciting, contemporary, and educationally-sound arrangements for singers of all ages, from elementary through high school, to college and adult choirs.
SKU: AP.38163
UPC: 038081426358. English.
SKU: BR.EB-6775
ISBN 9790004169742. 9 x 12 inches.
This series of easy piano music for teaching purposes presents pupils in the lower and lower middle grades with a carefully chosen selection of well-known and lesserknown compositions by important masters. The volumes are deliberately kept small in extent, since it is more stimulating for children to change the teaching material frequently. In his last years, Mozart composed a large number of German Dances for orchestra. This music for daily use of the time - intended functionally, for dancing and entertainment - is distinguished by enchanting ideas and simple textures. The editor has tried to cany over the instrumental subtleties into the piano-duet writing. These dances are particularly suitable for introducing some relaxation into the learning of the piano, for the interpretative and technical workingout demanded by Mozart's original piano-duet works is not required to the same degree here. The marks of expression have been taken over from the original score and in part supplemented. Notes not marked otherwise are to be played non legato. The technical difficulty of these pieces corresponds roughly to the third and fourth year of study. Heinz Walter, Salzburg, Spring 1977.
SKU: MB.95483M
ISBN 9780786689842. 8.75 x 11.75 inches.
A collection of 78 tunes containing some Civil War selections as well as many other traditional favorites. Each arrangement features harmony, style marks and guitar chords. The music is supplemented with histories of the tunes and drumbeats. Complete Music for Fife and Drum was compiled by a professional fifer and intended for the military fife in B-flat. This book offers tunes from the Revolutionary and Civil War eras with suggested snare and bass drum parts as well as chord progressions. It also contains a wealth of fife history and resources. The author, Walter Sweet, is the son of the well-known American fife maker Ralph Sweet of Connecticut. Includes access to online audio.
SKU: BR.EB-6734
ISBN 9790004169360. 9 x 12 inches.
This series of easy piano pieces for teaching purposes presents pupils in the early and early-middle stages with a careful selection from well-known and less-known compositions by important masters. The individual volumes are deliberately kept small in compass, since it is more stimulating for children if the literature used for instruction is changed frequently. Between 1795 and 1802, Beethoven composed a large number of German dances, contredances and minuets. He made simple piano reductions of a considerable proportion of these occasional compositions. The selection of the present pieces was made on the basis of the compositions that seemed most suitable for the piano. The piano arrangements are based on the scores and the original piano reductions, and the marks of interpretation have been retained. The working-out of more finely-differentiated interpretations is left to the performer studying the pieces. These grateful little pieces are equally suitable as studies and as recital pieces. Heinz Walter, Salzburg, Fall 1974.
SKU: BR.EB-6711
ISBN 9790004169148. 9 x 12 inches.
The present series of easy piano music for teaching provides pupils in the lower and lower-middle grades with a careful selection of well-known and little-known compositions by important masters. Each book has intentionally been kept small in extent, since it is more stimulating for children to change the teaching material frequently. Mozart was in London with his parents and his sister from April 1764 to July 1765. As well as performing in concerts as a child prodigy, he composed works for various instruments and combinations. A sketch-book dating from this period (EB 3276, published in full by Georg Schunemann) contains more than 40 compositions, chiefly for piano (KV 15 a - 15 ss). The works published here have been chosen with regard to their musical and technical suitability for pupils in the lower grades. Obvious notational errors have been corrected; tempo indications and marks of expression have been supplied where necessary by the editor. In certain pieces, Mozart himself specified the performance indications (as, for example, in the case of the varying articulations in no. 9). Heinz Walter, Salzburg, Fall 1974.
SKU: CA.1632800
ISBN 9790007112745. Language: all languages.
E texts of the French author Anne-Marie Albiach have long been the point of departure for my works. Following the viola concerto << monstrueuse vecut dans le cadre >> la memoire, which is based on her << H II>> lineaires, the three texts entitled << une geometrie >> have generated a new cycle. As in the other two works of the cycle, << figurations de memoire >> is predicated on two different readings of the text: on the one hand a (private) reading by Anne-Marie Albiach in which time is measured [demarcated] out; while on the other hand the graphic text is measured millimeter by millimeter. The latter serves as the basis - the genetic code - for the temporal, horizontal structure of the quintet, whereas the reading of the author appears in rhythmic surfaces which interrupt the horizontal plane. In << figurations de memoire >> two clearly recognizable elements are repeated: the tone b (which plays a central roll in most of my works) and a chord of fifths built around the tone b - a piece of memory (memoire) from viola concerto. In contrast, the extended chords of the reading consist of five tones which in their frequencies are equidistant from each other (like an overtone chord). For the generation of tone materials the chords of both levels are compressed and stretched within the ranges (frames) of tones from which the horizontal positions of the text fragments are derived: lower, borderline tones on the left margin, and higher borderline tones on the right margin. Thus the disposition on the page, essential for Anne-Marie Albiach (and first introduced in poetry by Mallarme in Un coup de des jamais n'abolire le hasard), is rendered in sound. Naturally each element of the text serves to mold structure and dynamic, to include typography: fragments within quotation marks, in italics, etc., yield different sonorous images [sonorities] and movements. Each word from the typographical reading is orchestrated [instrumentated] differently, which is important for the whole cycle (however, the chords of the spoken reading are always played by five instruments; here only speech and pauses in speech [[interruptions of speech]are distinguished from each other). Thus a tight network of instrumental combinations is created in which, word for word, the text is made audible. The most important element in the process: the vertical, synchronized playing together of the individual instruments (Synchorniestudie), ranging from solo to quintet.
SKU: CA.1632809
Language: all languages.
E texts of the French author Anne-Marie Albiach have long been the point of departure for my works. Following the viola concerto << monstrueuse vecut dans le cadre >> la memoire, which is based on her << H II>> lineaires, the three texts entitled << une geometrie >> have generated a new cycle. As in the other two works of the cycle, << figurations de memoire >> is predicated on two different readings of the text: on the one hand a (private) reading by Anne-Marie Albiach in which time is measured [demarcated] out; while on the other hand the graphic text is measured millimeter by millimeter. The latter serves as the basis - the genetic code - for the temporal, horizontal structure of the quintet, whereas the reading of the author appears in rhythmic surfaces which interrupt the horizontal plane. In << figurations de memoire >> two clearly recognizable elements are repeated: the tone b (which plays a central roll in most of my works) and a chord of fifths built around the tone b - a piece of memory (memoire) from viola concerto. In contrast, the extended chords of the reading consist of five tones which in their frequencies are equidistant from each other (like an overtone chord). For the generation of tone materials the chords of both levels are compressed and stretched within the ranges (frames) of tones from which the horizontal positions of the text fragments are derived: lower, borderline tones on the left margin, and higher borderline tones on the right margin. Thus the disposition on the page, essential for Anne-Marie Albiach (and first introduced in poetry by Mallarme in Un coup de des jamais n'abolire le hasard), is rendered in sound. Naturally each element of the text serves to mold structure and dynamic, to include typography: fragments within quotation marks, in italics, etc., yield different sonorous images [sonorities] and movements. Each word from the typographical reading is orchestrated [instrumentated] differently, which is important for the whole cycle (however, the chords of the spoken reading are always played by five instruments; here only speech and pauses in speech [[interruptions of speech]are distinguished from each other). Thus a tight network of instrumental combinations is created in which, word for word, the text is made audible. The most important element in the process: the vertical, synchronized playing together of the individual instruments (Synchorniestudie), ranging from solo to quintet. Score and parts available separately - see item CA.1632800.
SKU: CA.1633000
ISBN 9790007113469. Language: all languages.
The texts of the French author Anne-Marie Albiach have long been the point of departure for my works. Following the viola concerto << monstrueuse vecut dans le cadre >> la memoire, which is based on her << H II >> lineaires, the three texts entitled << une geometrie >> have generated a new cycle. As in the other two works of the cycle, << vertical et blanc >> is predicated on two different readings of the text: on the one hand a (private) reading by Anne-Marie Albiach in which time is measured out; while on the other hand the graphic text is measured millimeter by millimeter. The latter serves as the basis - the genetic code - for the temporal, horizontal structures of the ensemble part, whereas the reading of the author appears late in the melodic lines of the solo alto flute, which force the ensemble to play an accompaniment in flat surfaces. In << vertical et blanc >> one clearly recognizable element is repeated: a ninth chord, the basic element in the works of Claude Debussy, the composer who I admire wholeheartedly. For the generation of tone materials this chord is compressed and stretched within the ranges (frames) of tones which are derived from the horizontal positions of the text fragments: lower, borderline tones on the left margin, and higher borderline tones on the right margin. Thus the disposition on the page, essential for Anne-Marie Albiach (and first introduced in poetry by Mallarme in Un coup de des jamais n'abolira le hasard), is rendered in sound. Naturally each element of the text serves to mould structure and dynamics, to include the typography: fragments within quotation marks, in italics, etc., yield different sonorities and movements. Whereas the ensemble articulates rhythmically each character of the text, the rhythms of the solo flute articulate only its syllables and words. Each word of the author's reading of the text is instrumentated differently, which is important for the entire cycle. Thus a compact network of instrumental combinations is created in which, word for word, the text is made audible.
