E-Z Play Today Volume 14-Feel free to take requests! This super collection contains 28 terrific standards: April Showers * Easter Parade * If My Friends Could See Me Now * Inch Worm * Last Night When We Were Young * Pigalle * What Kind of Fool Am I? * and more!

By Popular Request includes thirteen superb arrangements of classic popular songs for mixed voice choirs. The selection covers a wide range of styles and moods, so choirs will be sure to find the right piece to provide a light selection in a concert programme, or simply as an encore! Selected and edited by Ralph Allwood, one of the UK's most distinguished choral directors. / Chant Et Piano

Andantino-English Dances Set I opus 27 is a light classic composition that was written for orchestra by the British composer Malcolm Arnold in 1950. The set contains four dances that continue without pause: the individual movements are indicated by the tempo markings. The work came about at the request of Bernard de Nevers at the time the head of publisher Alfred Lengnick and Co. who asked Arnold to write a suite of dances as an English counterpart to Dvo ákâ??s Slavonic Dances and Bartókâ??s Romanian Folk Dances. The première took place in the spring of 1951 played by the London Philharmonic Orchestra conducted by Sir Adrian Boult. Following the success of the first set DeNevers asked the composer to write a second one which Arnold completed the next year (Op. 33). The Andantino from the first set has been skilfully arranged and orchestrated for brass band by Ray Farr. English Dances Set I opus 27 is a light classic composition that was written for orchestra by the British composer Malcolm Arnold in 1950. The set contains four dances that continue without pause: the individual movements are indicated by the tempo markings. The work came about at the request of Bernard de Nevers at the time the head of publisher Alfred Lengnick and Co. who asked Arnold to write a suite of dances as an English counterpart to Dvo ákâ??s Slavonic Dances and Bartókâ??s Romanian Folk Dances. The première took place in the spring of 1951 played by the London Philharmonic Orchestra conducted by Sir Adrian Boult. Following the success of the first set DeNevers asked the composer to write a second one which Arnold completed the next year (Op. 33). The Andantino from the first set has been skilfully arranged and orchestrated for brass band by Ray Farr.

Marches 1-5-Pride pomp and circumstance of glorious war! – It is these words from Shakespeare's Othello that the probably best-known work by the English composer Sir Edward William Elgar falls back on: the five marches which are contained in Pomp and Circumstance Marches op. 39.The work was a sensational success from the very beginning especially March No. 1 should be going around in the head of every lover of classical music. At its premiere in 1901 under the composer's direction the audience requested two repeats; in 1902 the words of 'Land of Hope and Glory' were added to the march at the request of Edward VII for his coronation ceremonial. The resulting version is nowperformed every year at the Last Night of the Proms and as English hymn at the Commonwealth Games.Motivated by the success of the first two marches Elgar composed another three which were performed in 1905 1907 and 1930. No. 4 is as euphemistic and formal as No. 1 whereas the others are of a rather melancholy nature.

Par MIER MARTHA. Due to numerous piano teacher and student requests, Martha Mier has written Book 5 in her best-selling Jazz, Rags and Blues series. Titles: Blue Interlude * Hot Potato Rag * Jazz Finale * Memphis Blues * Opening Night Jazz * Persnickety Rag * River City Blues * Steamboat Jazz. \'This is a great way for students that aren\'t keen on classical music to discover an appreciation for the timeless melodies.\' -Jean Ritter, Progressions \'Hot Potato Rag,\' \'Persnickety Rag,\' and \'River City Blues\' are Federation Festivals 2014-2016 selections. / Instrumental Music, Miscellaneous, Piano Music / Recueil / Piano

A course for teenage beginners. Grade 1-2-When Play Piano! was released in January 2006 piano teachers liked the format so much countless requests for a version for teenagers were received so here it is! Play Piano! Teenage Book One featuresthe same fun systematic and educational approach as the original but it is styled specifically with teenagers in mind a first for such a piano course. Stimulating exercises reinforce topics lessons and concepts all inthis laid-back yet effective method.

Par SPARKE PHILIP. This is an ancient Welsh air that was first published in Relics of the Welsh Bards in 1794. Dafydd (David) Owain was a famous Welsh bard who lived on a farm called Gareg Wen (The White Rock) in Eifionydd, Carnarnvonshire, North Wales. Tradition has it that on his deathbed he called for his harp and composed this lovely melody, requesting that it be played at his funeral. Accordingly, it was later played at the parish church of Ynys-Cynhaiarn. Lyrics were later added by Ceiriog Hughes, which describe the melody's inspiration. This version for fanfare band retains all the beauty and simplicity of the original. / Niveau : 3 / Pièce de concert / Répertoire / Fanfare

This book was created to help drummers improve their abilities to play great drum fills. The material presented was originally developed over the course of several years as a result of the needs and requests of many of mystudents. As drummers practice playing fills it becomes apparent that there are a variety of issues that need to be addressed. To play fluent and creative fills a drummer needs a strong foundation of basic fill concepts thetechnique to execute the fill and musical ideas for the content of the fill. Without these key elements playing fills can be a source of difficulty and frustration. To further illustrate this idea… In some cases a drummer maypractice a particular lick or sticking pattern to a high degree of physical execution but does not have a clear understanding of how to apply it well within a musical phrase. The opposite is also sometimes true a drummer mayunderstand a simple rhythmic idea and play it very well as a fill but doesn't quite know how to employ more interesting techniques or sounds into the phrase and get something else out of it. The goal of this book is to helpdrummers achieve a balance in these necessary skills. This book presents a diverse collection of studies and exercises that clarify the basics of drum fills develop more advanced and specific techniques to use in fills andpresent many ideas for musical phrases using the techniques. The studies are presented in an order that follows a natural progression of ability however… the exercises do not need to be played in the order they are presented.Students and teachers can select exercises to design a curriculum that fits a student's needs as their skills develop. With each set of exercises you will find descriptions tips and practice instructions. Sometimes they arewritten for each individual study and when appropriate they are written for the entire chapter. Be sure to read the text that accompanies each part of this book to get the most out of the exercise.

Welcome to Gospel Tunes For Clawhammer Banjo. After many years of requests by you and the publisher I have made this collection of Gospel favorites available to those of you who play the Clawhammer Banjostyle. The versions of the tabs presented here are neither overly simple nor particularly complex. Anyone with basic Clawhammer skills should be able to play the tab as written or get close enough so they can create a satisfyingversion of each tune for themselves. Includes access to online audio. Should you find you need an instructional book please get my Clawhammer Banjo From Scratch book. You may also wish to see Jack Hatfield's Old-TimeGospel Banjo Solos for 3 finger bluegrass/Scruggs versions of many of the tunes presented here.

An outstanding addition to the BandQuest series “Sweet like that” features low brass emphasis at the beginning and end trap set and other requests from students with whom Mr. Theofanidis workshopped the piece. Thiswork is exuberant joyful and with a whiff of gospel; capsulizing the sound of the American street instrumental doo-wop; an urban march. Free interdisciplinary curriculum for the piece is available for download athttp://www.BandQuest.org. (Grade 3)

Ravel, Maurice Tzigane Concert rhapsody for violin and piano In 1922 Maurice Ravel heard the young Hungarian violin virtuoso and niece of Joseph Joachim, Jelly D'Aranyi, in concert in London. Following the performance, Ravel spent the remainder of the evening requesting D'Aranyi to play numerous gypsy tunes on her violin, probing her on the technical limits of the instrument. The result of this encounter is Ravel's virtuoso classic 'Tzigane'. Written originally for violin and piano or luthéal (a mechanism invented in 1919 that attaches to a piano, producing a sound similar to the rich overtones of the Cimbalon), the premiere took place in London in April 1924. The composer had finished the work only days beforehand. Ravel later orchestrated 'Tzigane' and both versions remain a 'must' for music-lovers and aspiring violinists today. Jelly D'Aranyi performed both versions regularly throughout her long career. This Urtext edition presents the first scholarly-critical edition of Ravel's masterpiece. It is published both in the orchestral version, complete with full score and performance material, as well as in the composer's earlier version for violin and piano. All known sources, including letters, have been drawn on for the new edition; one of the available sources, consulted for the first time, was a copy of 'Tzigane' from the estate of Jelly D'Aranyi, which is today part of a private collection. The version for piano and violin contains, besides the Urtext part, a second violin part as a facsimile with performance instructions by Jelly D'Aranyi. D'Aranyi's alterations and fingering reflect how Ravel must have heard the work in rehearsals and performance and as such are a document of early 20th century performance practice. The cooperation between Ravel and D'Aranyi is comparable to that of Brahms and Joachim working on the Brahms violin concerto. - First scholarly-critical Urtext edition of the work - Presented are both versions: for violin and orchestra and for violin and piano - Includes Jelly D'Aranyi's fingering

Opera seria in two acts - Urtext Edition - Couverture Rigide. Par MOZART WOLFGANG AMADEUS. Due to numerous customer requests, Bärenreiter will be successively offering vocal scores to major Mozart operas in hardback editions again. This means you now have the choice: perhaps you prefer a lower-priced and slightly lighter soft-cover edition with excellent lay-flat characteristics or you feel that sturdier hardcover editions of important repertoire works are more likely to survive the rigours of a musician’s life. The vocal score to Mozart’s „La clemenza di Tito“ is available in this hardcover edition as well as in a soft-cover edition (BA 4554-90). This means that you have the choice: perhaps you prefer a lower-priced and slightly lighter soft-cover edition with excellent lay-flat characteristics or you feel that sturdier hardcover editions of important repertoire works are more likely to survive the rigours of a musician’s life. Mozart’s last two operas, „The Magic Flute“ and „La clemenza di Tito“, are not only remarkable for their outstanding quality but also for the astonishingly short period of time Mozart needed to write them: From the first sketches and drafts to the completed scores Mozart put on paper approximately 800 pages of music between April and September of 1791, a six month period./ Répertoire / Chant et Piano