In Springtime

SKU: HL.14022922

12.0x16.5x0.475 inches. English.

Springtime On Funen Op.42 by Carl Nielsen for Soprano Solo, Tenor Solo, Bass Baritone Solo, SATB and Children's choirs and Orchestra. Full Score. Springtime On Funen Op.42 by Carl Nielsen for Soprano Solo, Tenor Solo, Bass Baritone Solo, SATB and Children's choirs and Orchestra. Full Score.

SKU: BT.WH30703

English.

Springt ime On Funen Op.42 by Carl Nielsen for Soprano Solo, Tenor Solo, Bass Baritone Solo, SATB and Children's choirs and Orchestra. Full Score.

SKU: HL.154003

ISBN 9781941566459. UPC: 888680098087. 9.0x12.0x0.216 inches.

Men with a falsetto will shine with this collection of ten Broadway songs. In addition to the book, the CD provides example vocals and separate background tracks in an actual professional setting. Songs include: Younger Than Springtime * Miracle of Miracles * Oh What a Beautiful Morning * It Ain't Necessarily So * Till Good Luck Comes My Way * You've Got to Be Carefully Taught * The Highest Judge of All * There's a Boat Dat's Leavin' Soon for N.Y. * Shipoopi * Bring Him Home.

SKU: HL.14015106

10.25x14.5x0.422 inches.

SKU: HL.153580

UPC: 888680096427. 6.75x10.5 inches.

This joyful da capo aria by Telemann with violin will showcase developing vocal skills for treble singers in middle school or community children's choir. A delightful introduction to Baroque style!

SKU: HL.14022923

ISBN 9788759814413. English.

Springtime On Funen Op.42 by Carl Nielsen for Soprano Solo, Tenor Solo, Bass Baritone Solo, SATB and Children's choirs and Orchestra. Orchestral parts.

SKU: SU.80111303

Guitar Duration: 7' Composed: 1984 Published by: Soundspells Productions The Widow's Lament in Springtime (1984) is a 7 minute fantasy inspired by the poem by William Carlos Williams.

SKU: CF.YAS178

ISBN 9781491151433. UPC: 680160908936. 9 x 12 inches. Key: D major.

The title of this piece,?Le Printemps,?is French for the springtime. This piece brings images of springtime to the listener's mind. ?The rhythmic pattern that begins in the bass and works its way up to the violins illustrates the patter of raindrops or of flowers bursting into bloom. The beautiful melodies in the piece engage players and audiences.
The title Le Printemps is French for the springtime. This piece is meant to bring images of springtime to the listeners mind. The rhythmic pattern that begins in the bass and works its way up through the sections to the violins could be the patter of raindrops, or indicative of flowers pushing their way up through the ground and bursting into bloom. All the instruments that have the staccato notes are the backup; the instruments who have the slurred notes are playing the melody in these sections and should bring the melody out a little bit. The middle section is a little softer (mp< /em>) and more legato, and could bring to mind a lovely, warm breeze that is gently moving across the new, green grass and the budding leaves of the trees. It should be played with tenderness and feeling, paying careful attention to the crescendo in mm. 2528, building up to the mf. In m. 34, make the most of the poco rall. as you prepare to reiterate the staccato portion that begins again in m. 35. Again, the moving parts here with the slurs have the melody and should not be overwhelmed by the staccato instruments. At m. 55 should begin to build slightly into the crescendo at m. 57 and really build that up through beat 3 of m. 58. At m. 59, be suddenly very soft to begin the final ascent into the climactic ending. Build steadily through the last four measures and give a good solid bowing of your last note. Enjoy Le Printemps!.
The title Le PrintempsA is French for athe springtime.a This piece is meant to bring images of springtime to the listeneras mind. A The rhythmic pattern that begins in the bass and works its way up through the sections to the violins could be the patter of raindrops, or indicative of flowers pushing their way up through the ground and bursting into bloom. All the instruments that have the staccato notes are the backup; the instruments who have the slurred notes are playing the melody in these sections and should bring the melody out a little bit. The middle section is a little softer (mp< /em>) and more legato, and could bring to mind a lovely, warm breeze that is gently moving across the new, green grass and the budding leaves of the trees. It should be played with tenderness and feeling, paying careful attention to the crescendo in mm. 25a28, building up to the mf. In m. 34, make the most of the poco rall. as you prepare to reiterate the staccato portion that begins again in m. 35. Again, the moving parts here with the slurs have the melody and should not be overwhelmed by the staccato instruments. At m. 55 should begin to build slightly into the crescendo at m. 57 and really build that up through beat 3 of m. 58. At m. 59, be suddenly very soft to begin the final ascent into the climactic ending. Build steadily through the last four measures and give a good solid bowing of your last note. A Enjoy Le Printemps!.
The title Le Printemps is French for the springtime. This piece is meant to bring images of springtime to the listener's mind. The rhythmic pattern that begins in the bass and works its way up through the sections to the violins could be the patter of raindrops, or indicative of flowers pushing their way up through the ground and bursting into bloom. All the instruments that have the staccato notes are the backup; the instruments who have the slurred notes are playing the melody in these sections and should bring the melody out a little bit. The middle section is a little softer (mp< /em>) and more legato, and could bring to mind a lovely, warm breeze that is gently moving across the new, green grass and the budding leaves of the trees. It should be played with tenderness and feeling, paying careful attention to the crescendo in mm. 25-28, building up to the mf. In m. 34, make the most of the poco rall. as you prepare to reiterate the staccato portion that begins again in m. 35. Again, the moving parts here with the slurs have the melody and should not be overwhelmed by the staccato instruments. At m. 55 should begin to build slightly into the crescendo at m. 57 and really build that up through beat 3 of m. 58. At m. 59, be suddenly very soft to begin the final ascent into the climactic ending. Build steadily through the last four measures and give a good solid bowing of your last note. Enjoy Le Printemps!.
The title Le Printemps is French for the springtime. This piece is meant to bring images of springtime to the listener's mind. The rhythmic pattern that begins in the bass and works its way up through the sections to the violins could be the patter of raindrops, or indicative of flowers pushing their way up through the ground and bursting into bloom. All the instruments that have the staccato notes are the backup; the instruments who have the slurred notes are playing the melody in these sections and should bring the melody out a little bit. The middle section is a little softer (mp) and more legato, and could bring to mind a lovely, warm breeze that is gently moving across the new, green grass and the budding leaves of the trees. It should be played with tenderness and feeling, paying careful attention to the crescendo in mm. 25-28, building up to the mf. In m. 34, make the most of the poco rall. as you prepare to reiterate the staccato portion that begins again in m. 35. Again, the moving parts here with the slurs have the melody and should not be overwhelmed by the staccato instruments. At m. 55 should begin to build slightly into the crescendo at m. 57 and really build that up through beat 3 of m. 58. At m. 59, be suddenly very soft to begin the final ascent into the climactic ending. Build steadily through the last four measures and give a good solid bowing of your last note. Enjoy Le Printemps!.
The title Le Printemps is French for “the springtime.” This piece is meant to bring images of springtime to the listener’s mind.  The rhythmic pattern that begins in the bass and works its way up through the sections to the violins could be the patter of raindrops, or indicative of flowers pushing their way up through the ground and bursting into bloom. All the instruments that have the staccato notes are the backup; the instruments who have the slurred notes are playing the melody in these sections and should bring the melody out a little bit.The middle section is a little softer (mp) and more legato, and could bring to mind a lovely, warm breeze that is gently moving across the new, green grass and the budding leaves of the trees. It should be played with tenderness and feeling, paying careful attention to the crescendo in mm. 25–28, building up to the mf. In m. 34, make the most of the poco rall. as you prepare to reiterate the staccato portion that begins again in m. 35. Again, the moving parts here with the slurs have the melody and should not be overwhelmed by the staccato instruments.At m. 55 should begin to build slightly into the crescendo at m. 57 and really build that up through beat 3 of m. 58. At m. 59, be suddenly very soft to begin the final ascent into the climactic ending. Build steadily through the last four measures and give a good solid bowing of your last note.  Enjoy Le Printemps!

SKU: CF.YAS178F

ISBN 9781491151808. UPC: 680160909308. 9 x 12 inches.

The title of this piece,?Le Printemps,?is French for the springtime. This piece brings images of springtime to the listener's mind. ?The rhythmic pattern that begins in the bass and works its way up to the violins illustrates the patter of raindrops or of flowers bursting into bloom. The beautiful melodies in the piece engage players and audiences.
The title Le Printemps is French for the springtime. This piece is meant to bring images of springtime to the listeners mind. The rhythmic pattern that begins in the bass and works its way up through the sections to the violins could be the patter of raindrops, or indicative of flowers pushing their way up through the ground and bursting into bloom. All the instruments that have the staccato notes are the backup; the instruments who have the slurred notes are playing the melody in these sections and should bring the melody out a little bit. The middle section is a little softer (mp< /em>) and more legato, and could bring to mind a lovely, warm breeze that is gently moving across the new, green grass and the budding leaves of the trees. It should be played with tenderness and feeling, paying careful attention to the crescendo in mm. 2528, building up to the mf. In m. 34, make the most of the poco rall. as you prepare to reiterate the staccato portion that begins again in m. 35. Again, the moving parts here with the slurs have the melody and should not be overwhelmed by the staccato instruments. At m. 55 should begin to build slightly into the crescendo at m. 57 and really build that up through beat 3 of m. 58. At m. 59, be suddenly very soft to begin the final ascent into the climactic ending. Build steadily through the last four measures and give a good solid bowing of your last note. Enjoy Le Printemps!.
The title Le PrintempsA is French for athe springtime.a This piece is meant to bring images of springtime to the listeneras mind. A The rhythmic pattern that begins in the bass and works its way up through the sections to the violins could be the patter of raindrops, or indicative of flowers pushing their way up through the ground and bursting into bloom. All the instruments that have the staccato notes are the backup; the instruments who have the slurred notes are playing the melody in these sections and should bring the melody out a little bit. The middle section is a little softer (mp< /em>) and more legato, and could bring to mind a lovely, warm breeze that is gently moving across the new, green grass and the budding leaves of the trees. It should be played with tenderness and feeling, paying careful attention to the crescendo in mm. 25a28, building up to the mf. In m. 34, make the most of the poco rall. as you prepare to reiterate the staccato portion that begins again in m. 35. Again, the moving parts here with the slurs have the melody and should not be overwhelmed by the staccato instruments. At m. 55 should begin to build slightly into the crescendo at m. 57 and really build that up through beat 3 of m. 58. At m. 59, be suddenly very soft to begin the final ascent into the climactic ending. Build steadily through the last four measures and give a good solid bowing of your last note. A Enjoy Le Printemps!.
The title Le Printemps is French for the springtime. This piece is meant to bring images of springtime to the listener's mind. The rhythmic pattern that begins in the bass and works its way up through the sections to the violins could be the patter of raindrops, or indicative of flowers pushing their way up through the ground and bursting into bloom. All the instruments that have the staccato notes are the backup; the instruments who have the slurred notes are playing the melody in these sections and should bring the melody out a little bit. The middle section is a little softer (mp< /em>) and more legato, and could bring to mind a lovely, warm breeze that is gently moving across the new, green grass and the budding leaves of the trees. It should be played with tenderness and feeling, paying careful attention to the crescendo in mm. 25-28, building up to the mf. In m. 34, make the most of the poco rall. as you prepare to reiterate the staccato portion that begins again in m. 35. Again, the moving parts here with the slurs have the melody and should not be overwhelmed by the staccato instruments. At m. 55 should begin to build slightly into the crescendo at m. 57 and really build that up through beat 3 of m. 58. At m. 59, be suddenly very soft to begin the final ascent into the climactic ending. Build steadily through the last four measures and give a good solid bowing of your last note. Enjoy Le Printemps!.
The title Le Printemps is French for the springtime. This piece is meant to bring images of springtime to the listener's mind. The rhythmic pattern that begins in the bass and works its way up through the sections to the violins could be the patter of raindrops, or indicative of flowers pushing their way up through the ground and bursting into bloom. All the instruments that have the staccato notes are the backup; the instruments who have the slurred notes are playing the melody in these sections and should bring the melody out a little bit. The middle section is a little softer (mp) and more legato, and could bring to mind a lovely, warm breeze that is gently moving across the new, green grass and the budding leaves of the trees. It should be played with tenderness and feeling, paying careful attention to the crescendo in mm. 25-28, building up to the mf. In m. 34, make the most of the poco rall. as you prepare to reiterate the staccato portion that begins again in m. 35. Again, the moving parts here with the slurs have the melody and should not be overwhelmed by the staccato instruments. At m. 55 should begin to build slightly into the crescendo at m. 57 and really build that up through beat 3 of m. 58. At m. 59, be suddenly very soft to begin the final ascent into the climactic ending. Build steadily through the last four measures and give a good solid bowing of your last note. Enjoy Le Printemps!.
The title Le Printemps is French for “the springtime.” This piece is meant to bring images of springtime to the listener’s mind.  The rhythmic pattern that begins in the bass and works its way up through the sections to the violins could be the patter of raindrops, or indicative of flowers pushing their way up through the ground and bursting into bloom. All the instruments that have the staccato notes are the backup; the instruments who have the slurred notes are playing the melody in these sections and should bring the melody out a little bit.The middle section is a little softer (mp) and more legato, and could bring to mind a lovely, warm breeze that is gently moving across the new, green grass and the budding leaves of the trees. It should be played with tenderness and feeling, paying careful attention to the crescendo in mm. 25–28, building up to the mf. In m. 34, make the most of the poco rall. as you prepare to reiterate the staccato portion that begins again in m. 35. Again, the moving parts here with the slurs have the melody and should not be overwhelmed by the staccato instruments.At m. 55 should begin to build slightly into the crescendo at m. 57 and really build that up through beat 3 of m. 58. At m. 59, be suddenly very soft to begin the final ascent into the climactic ending. Build steadily through the last four measures and give a good solid bowing of your last note.  Enjoy Le Printemps!

SKU: HL.14012906

ISBN 9781844494828. 9.0x12.0x0.139 inches. English.

Sixteen sparkling new musical items for Easter and Springtime from some of today's best-loved children's composers, including Sheila Wilson, Niki Davies, Alison Hedger and others.This invaluable resource provides teachers and leaders of youth singing groups with songs and instrumentals suitable for all children within the Primary age range.The first part of the compilation follows the Biblical story and can be used as a musical framework for a sacred Easter presentation. The second part of the selection contains more general Easter and Springtime songs for use in class and concerts. Also includes a class activity - making a Mini Easter Egg Box from a cross!