SKU: HP.C5270C
UPC: 763628952709. By Graham Kendrick. Philippians 3:7-10, Psalms 27:4.
Worship song by Graham Kendrick This Graham Kendrick song has a rich message of devotion to Christ. Lloyd Larson's tender setting is sure to expand this worship song's growing popularity. Appropriate for Lent, Eastertide or general occasions.
SKU: GI.G-9544
ISBN 9781622772810.
Knowing the Score is a comprehensive approach to all aspects of music score reading and analysis that provides a sequential system for efficient and complete score study. Central to this book are more than 300 pages of music scores for band, orchestra, and choir from a wide range of sources. This book is the culmination of Dr. Robert Quebbeman's twenty years of teaching score reading at the university level. No single resource has ever contained such a systematic guide to score reading and analysis. Knowing the Score is divided into two parts. Part 1 covers score study steps, transposition and instrumentation, form graphs and phrasal analysis, music forms in both instrumental and vocal areas, and contemporary scores. Part 2 visually enhances this resource with printed pages from the scores of 84 works from the broad spectrum of classical literature. Of particular importance to this resource are several distinctive features: An emphasis on scores in multiple genres Inclusion of complex and atypical examples Detailed instructions on marking the score Interpretation Preparing musicals and operas Memorizing the score This resource is designed for graduate- or undergraduate-level courses, or for any conductors looking to improve their own score study skills. Knowing the Score is truly the first of its kind. Robert Quebbeman is Professor of Music Emeritus from Missouri State University in Springfield, Missouri.
SKU: M7.VHR-1810
ISBN 9783940069139.
AKKORDEONpur bietet Spezialarrangements im mittleren Schwierigkeitsgrad. Mamma Mia, Fernando, Angeleyes, Voulez-Vous, Knowing Me,Knowing You, Does Your Mother Know, The Name Of The Game, Thank You For The Music.
SKU: BT.1340-06-070-MS
ISBN 9789043127875. 9x12 inches. English-German-French-Dutch.
On April 6, 1999, exactly 25 years after ABBA had won the Eurovision Song Contest with the song Waterloo, the musical Mamma Mia! opened in London. Soon, the funny and appealing love story, based on 22 ABBA classics, became a great success. Arranger Peter Kleine Schaars has selected three well-known titles from the musical (Mamma Mia; Knowing Me, Knowing You and Money, Money, Money), added the worldwide hit Waterloo, and applied his musical imagination. The result is a smart ABBA medley that will appeal to young and old alike. This arrangement is playable by any wind ensemble, the percussion part is optional.Part 1 Fl Ob Bb/Eb Clar S Sax Tpt Part 2 FlCor Ang Bb Clar Eb Clar A Sax Tpt Hn Part 3 Eb Clar T Sax Bsn Hn Trom Euph Part 4 T Sax Bsn Trom Euph Part 5 Bass Clar Bari Sax Bsn Trom Euph Tuba Cont Bsn Opt. Mallets Timp Drum Peter Kleine Schaars selecteerde uit de succesvolle musical Mamma Mia! drie bekende ABBA-hits (Mamma Mia, Knowing Me, Knowing You en Money, Money, Money), voegde de wereldhit Waterloo eraan toe enliet zijn muzikale fantasie de vrije loop. Het resultaat is een vlotte medley die jong en oud zal aanspreken. Dit arrangement is voor elk blazersensemble speelbaar, de slagwerkpartij is optioneel.Der Arrangeur Peter Kleine Schaars wählte drei bekannte Titel aus dem Musical Mamma Mia!, ergänzte sie um den Welthit Waterloo ,und ließ seiner musikalischen Phantasie freien Lauf. Das Ergebnis ist ein raffiniertes ABBA-Medley, das Jung und Alt anspricht. Diese Bearbeitung kann jedes Bläserensemble ab fünf Bläsern spielen; die Schlagzeugstimme ist optional.Part 1 Fl Ob Kl B/Es S-Sax Trp Part 2 Fl Cor Ang Kl B A-Kl A-Sax Trp Hn Part 3 A-Kl T-Sax Fg Hn Pos Euph Part 4 T-Sax Fg Pos Euph Part 5 B-Kl B-Sax Fg Pos Euph Tuba Kb Opt. Mallets Timp DrumPeter Kleine Schaars a sélectionné quatre des plus célèbres titres extraits de la comédie musicale Mamma Mia ! qui triomphe sur les scènes du monde entier. Le résultat est séduisant : un superbe arrangement qui séduira un public de 7 77 ans.Part 1 Fl Htb Cl. Si b/Mi b Sax. S. TrpPart 2 Fl Cor Angl. Cl. Si b Cl. Alto Sax. A. Trp CorPart 3 Cl. Alto Sax. T. Basson Cor Trb Euph.Part 4 Sax. T. Basson Trb Euph.Part 5 Cl. Basse Sax. B. Basson Trb Euph. Tuba C. CordesOpt. Mallets Timb. Batt.Per questo volume per strumentazione variabile a cinque voci, Peter Kleine Schaars ha arrangiato Mamma Mia, Knowing Me, Knowing You e Money, Money, Money, tre titoli famosi del musical Mamma Mia!, aggiungendo anche Waterloo. Il risultato è un raffinato medley degli ABBA.Part 1 Fl Ob Bb/Eb Clar S Sax Tpt Part 2 Fl Cor Ang Bb Clar Eb Clar A Sax Tpt Hn Part 3 Eb Clar T Sax Bsn Hn Trom Euph Part 4 T Sax Bsn Trom Euph Part 5 Bass Clar Bari Sax Bsn Trom Euph Tuba Cont Bsn Opt. Mallets Timp Drum.
SKU: MB.21447M
ISBN 9780786693405. UPC: 786693401. 8.75 x 11.75 inches.
This collection of fiddle tunes originally appeared in Kaufmans Collection of American Fiddle Tunes for Flatpicking Guitar. Steve Kaufman says he cant emphasize enough the importance of developing a large repertoire of tunes. Fiddle tunes give us melodies that eventually allow us to begin to improvise. Sometimes without even knowing it. The more tunes you know, the more melodies and intersecting melody lines you know. This allows you to eventually cut and paste portions of the melody line into another song. In the beginning you will probably unknowingly replace an ending run. These are the last two measures of the section of a tune. Many of them in the same key are interchangeable, unless they are specific to the melody of the song. After a while you will cut out measures in the middle of the song and then you will be able to take the snips of melodies and play them in another song in a different key thus beginning to improvise. All of this is possible because you built up your repertoire of tunes. Includes access to online audio.
SKU: CF.CM9570
ISBN 9781491153581. UPC: 680160911080. 6.75 x 10.5 inches. Key: Bb major. Latin. Psalms 47 from the Bible.
Psalm 47 was commissioned by the Sigma Alpha Iota Chapter of Hardin Simmons University (Abilene, Texas), Suzanne Watts, conductor, back in 1978. I was a graduate student at the time, and the premiere was a great success. Consequently, the work has received many performances since that time; however, it remained unpublished until now. In a modified tripartite structure, the psalmist uses the imperative verb tense as a command to the people: (you clap), (you shout), (you sing) to exemplify that praise and joy should be public, intelligent, cheerful, and constant. The psalmist admonishes that praise and joy are visual, aural, palpable, and most definitely contagious. The contrasting slow section with a soprano solo should be like an accompanied arioso, where the soloist is supported by lush, major/minor seventh chords in inversion (accompanied recitative). The soloist actually becomes the narrator in this section, the preacher or deliverer of the news that the people will be protected, sustained and blessed. The rapid tempo of the A-section returns and the staggered entrances in the last section/coda indicate the ecstasy knowing that belief can manifest itself in individualized, energized, emotional responses that can change the world. Rise up and claim the power of JOY!.Psalm 47A was commissioned by the Sigma Alpha Iota Chapter of Hardin Simmons University (Abilene, Texas), Suzanne Watts, conductor, back in 1978. I was a graduate student at the time, and the premiere was a great success. Consequently, the work has received many performances since that time; however, it remained unpublished until now. In a modified tripartite structure, the psalmist uses the imperative verb tense as a command to the people:A (you clap), (you shout), (you sing) to exemplify that praise and joy should be public, intelligent, cheerful, and constant. The psalmist admonishes that praise and joy are visual, aural, palpable, and most definitely contagious. The contrasting slow section with a soprano solo should be like an accompanied arioso, where the soloist is supported by lush, major/minor seventh chords in inversion (accompanied recitative). The soloist actually becomes the narrator in this section, the preacher or deliverer of the news that the people will be protected, sustained and blessed. The rapid tempo of the A-section returns and the staggered entrances in the last section/coda indicate the ecstasy knowing that belief can manifest itself in individualized, energized, emotional responses that can change the world. Rise up and claim the power of JOY!.Psalm 47 was commissioned by the Sigma Alpha Iota Chapter of Hardin Simmons University (Abilene, Texas), Suzanne Watts, conductor, back in 1978. I was a graduate student at the time, and the premiere was a great success. Consequently, the work has received many performances since that time; however, it remained unpublished until now. In a modified tripartite structure, the psalmist uses the imperative verb tense as a command to the people: (you clap), (you shout), (you sing) to exemplify that praise and joy should be public, intelligent, cheerful, and constant. The psalmist admonishes that praise and joy are visual, aural, palpable, and most definitely contagious. The contrasting slow section with a soprano solo should be like an accompanied arioso, where the soloist is supported by lush, major/minor seventh chords in inversion (accompanied recitative). The soloist actually becomes the narrator in this section, the preacher or deliverer of the news that the people will be protected, sustained and blessed. The rapid tempo of the A-section returns and the staggered entrances in the last section/coda indicate the ecstasy knowing that belief can manifest itself in individualized, energized, emotional responses that can change the world. Rise up and claim the power of JOY!.Psalm 47Â was commissioned by the Sigma Alpha Iota Chapter of Hardin Simmons University (Abilene, Texas), Suzanne Watts, conductor, back in 1978. I was a graduate student at the time, and the premiere was a great success. Consequently, the work has received many performances since that time; however, it remained unpublished until now.In a modified tripartite structure, the psalmist uses the imperative verb tense as a command to the people:Â (you clap), (you shout), (you sing) to exemplify that praise and joy should be public, intelligent, cheerful, and constant. The psalmist admonishes that praise and joy are visual, aural, palpable, and most definitely contagious. The contrasting slow section with a soprano solo should be like an accompanied arioso, where the soloist is supported by lush, major/minor seventh chords in inversion (accompanied recitative). The soloist actually becomes the narrator in this section, the preacher or deliverer of the news that the people will be protected, sustained and blessed. The rapid tempo of the A-section returns and the staggered entrances in the last section/coda indicate the ecstasy knowing that belief can manifest itself in individualized, energized, emotional responses that can change the world.Rise up and claim the power of JOY!
