Top Moustaki

SATB Choir (SATB)

SKU: HL.48188164

Composed by Georges Moustaki. Leduc. Softcover. Heugel & Cie #HE32199. Published by Heugel & Cie (HL.48188164).

Moustaki Chansons De Notre Temps Pj245 Il Y Avait Un Jardin 4 Part.

Band concert band - Grade 1.5

SKU: KJ.WB388F

Composed by Gary Gazlay. Bandworks. Score. Neil A. Kjos Music Company #WB388F. Published by Neil A. Kjos Music Company (KJ.WB388F).

The title of Majestica is taken from the word majestic which means having or displaying great dignity or nobility and was inspired by Psalm 8:9. It was composed for the 8th grade band members of the Madison County Central School Band 2006-2007 as an expression of my appreciation for their encouragement and positive impact in my life. It is my hope that Majestica will provide students with a song that they will enjoy learning to play and provide other music educators with a teaching tool that can be used in helping to motivate and encourage their students.

Orchestra - advanced

SKU: HL.49027996

Score. Composed by Paul Hindemith. This edition: Saddle stitching. Sheet music. Concertino (Chamber Orchestra). Classical. Score. Composed 1932. 40 pages. Duration 16'. Schott Music #CON 78. Published by Schott Music (HL.49027996).

ISBN 9790001022491.

The suite from the cycle 'Ploner Musiktag' (1932) was structured according to the exact instrumentation directions of the composer and completed with a percussion part ad lib. Particular attraction is caused by the different instrumentation of the four movements which, how-ever, takes into consideration the conditions of school practice.

Bassoon; Clarinet; French Horn; Oboe (STUDY SCORE)

SKU: HL.49009811

Composed by Wolfgang Amadeus Mozart. Edited by Harry Newstone. Arranged by Harry Newstone. This edition: Saddle stitching. Sheet music. Edition Schott. Classical. Study Score. Composed 1781. 76 pages. Eulenburg Edition #ETP308. Published by Eulenburg Edition (HL.49009811).

ISBN 9783795766368. UPC: 841886013667. 5.25x7.5x0.276 inches.

In November 1781 Mozart, in a letter to his father, mentioned the composition of this Serenade: 'I wrote this music for St Theresa's Day [15 October] • for Frau von Hickl's sister, or rather the sister-in-law of Herr von Hickl, court painter. But the chief reason why I composed it was in order to let Herr von Strack, who goes there every day, hear something of my composition; so I wrote it rather carefully.' I. Allegro maestoso • II. Menuetto I • III. Adagio • IV. Menuetto II • V. Allegro.

Composed by Calvert Shenk. For organ. Impressive, contemporary processionals. General, Wedding. Published by CanticaNOVA Publications

Evening Concert, No. 5 from Ploner Musiktag. Composed by Paul Hindemith (1895-1963). Edited by Peter Thalheimer. This edition: Saddle stitching. Sheet music. Original Music for Recorder. Classical. Score and parts. Composed 1932. 215. 40 pages. Duration 8'. Schott Music #OFB215. Published by Schott Music (HL.49019172).

Nouvelle technique de la contrebasse, Vol. 4 is the fourth book of a method for Double Bass by Francois Rabbath. Following the three previous volumes, it can be used by upper beginners or intermediate players and requires some basic musical knowledge in theory and reading. It also includes a DVD and provides full explanations, including pictures for all the technical points in French, English, German and Spanish. This book is divided into five chapters: exercises, studies, scales and arpeggios, orchestral figures and pieces for solo Double Bass. In term of technical points, it features the different positions, the double chords, the pivot and some highlight on the bow and the wrist positions among others. This helpful method is definitely one of the most complete. It will help all Double Bass beginners to get the necessary basic skills. Born in Syria in 1931, Francois Rabbath has been playing the Double Bass from a really young age. He later settled in Paris when he was the main Double Bass accompaniment for renowned French artists including Edith Piaf, Georges Moustaki and Serge Gainsbourg. He recorded some CDs and DVDs, did some touring and was offered the possibility of writing his own Double Bass method in which he describes his ?crab technique?.

Composed by Georges Moustaki, Jean Pagot. Secular, Chanson. Choir part. 4 pages. Published by Editions a Coeur Joie (CJ.A110300024).

3-Part Choir

SKU: BT.ALHE32200

Pj246 Requiem Pour N'Importe. Composed by Georges Moustaki. Choral Score. Composed 2015. Heugel & Cie #ALHE32200. Published by Heugel & Cie (BT.ALHE32200).

French.

By Moustaki/Monnot/Piaf. Arranged by Fienga. Varietes francaises. For Wind Band. Orchestral Music. Intermediate (grade 3 ). Duration 3'52. Published by Editions Robert Martin

Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade 1

SKU: CF.BAS78

Composed by Bruce W. Tippette. Beginning String Orchestra (BAS). Set of Score and Parts. With Standard notation. 8+2+8+5+5+5+2+8 pages. Duration 2 minutes, 38 seconds. Carl Fischer Music #BAS78. Published by Carl Fischer Music (CF.BAS78).

ISBN 9781491151235. UPC: 680160908738. 9 x 12 inches. Key: G major.

The imagery of a lush, green meadow helps set the stage for Verdant Meadows. This simple, yet harmonically adventurous composition alternates between legato melodies and staccato harmonies. Following a climactic moment, a peaceful resolution hearkens back to earlier material and ends the piece with a Maestoso section.
Imagine taking a gentle stroll through a lush, green meadow, filled with wildlife and vegetation. This imagery helps set the stage for the melodic content of Verdant Meadows. In the key of G major (and sometimes E minor), this simple, yet harmonically adventurous composition alternates between soaring legato melodies and staccato harmonies. Following the broadly climactic moment, a peaceful resolution hearkens back to earlier material and ends the piece with a wonderful Maestoso section. .
Imagine taking a gentle stroll through a lush, green meadow, filled with wildlife and vegetation. A This imagery helps set the stage for the melodic content of Verdant Meadows. In the key of G major (and sometimes E minor), this simple, yet harmonically adventurous composition alternates between soaring legato melodies and staccato harmonies. A Following the broadly climactic moment, a peaceful resolution hearkens back to earlier material and ends the piece with a wonderful Maestoso section. A .
Imagine taking a gentle stroll through a lush, green meadow, filled with wildlife and vegetation. A This imagery helps set the stage for the melodic content of Verdant Meadows. In the key of G major (and sometimes E minor), this simple, yet harmonically adventurous composition alternates between soaring legato melodies and staccato harmonies. A Following the broadly climactic moment, a peaceful resolution hearkens back to earlier material and ends the piece with a wonderful Maestoso section. A .
Imagine taking a gentle stroll through a lush, green meadow, filled with wildlife and vegetation. This imagery helps set the stage for the melodic content of Verdant Meadows. In the key of G major (and sometimes E minor), this simple, yet harmonically adventurous composition alternates between soaring legato melodies and staccato harmonies. Following the broadly climactic moment, a peaceful resolution hearkens back to earlier material and ends the piece with a wonderful Maestoso section. .
Imagine taking a gentle stroll through a lush, green meadow, filled with wildlife and vegetation. This imagery helps set the stage for the melodic content of Verdant Meadows. In the key of G major (and sometimes E minor), this simple, yet harmonically adventurous composition alternates between soaring legato melodies and staccato harmonies. Following the broadly climactic moment, a peaceful resolution hearkens back to earlier material and ends the piece with a wonderful Maestoso section.
Imagine taking a gentle stroll through a lush, green meadow, filled with wildlife and vegetation.  This imagery helps set the stage for the melodic content of Verdant Meadows. In the key of G major (and sometimes E minor), this simple, yet harmonically adventurous composition alternates between soaring legato melodies and staccato harmonies.  Following the broadly climactic moment, a peaceful resolution hearkens back to earlier material and ends the piece with a wonderful Maestoso section.  .

About Carl Fischer Beginning String Orchestra Series

This series of Grade 1 pieces is designed for first year string groups. The pieces in this series are characterized by:

• Limited parts (often 2nd violin and viola are the same part, cello and bass are same part)
• Limited keys and rhythms - only simple 8th note patterns
• Limited independence of parts
• Playable after limited study time
• First position and natural bowings
• Piano for rehearsal and reinforcement

Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade 2

SKU: CF.YAS184

Composed by Alan Lee Silva. Young String Orchestra (YAS). Set of Score and Parts. With Standard notation. 8+8+2+5+5+5+3+8 pages. Carl Fischer Music #YAS184. Published by Carl Fischer Music (CF.YAS184).

ISBN 9781491151495. UPC: 680160908998. 9 x 12 inches. Key: G major.

Alan Lee Silva's Northwestern Skies?is lyrical and fresh,? with his signature open and expressive style. Young string orchestras will sound rich and full with this sweeping composition.
 

From the opening fanfare to the final ensemble gesture, Northwestern Skies is an engaging musical journey with expressive ensemble phrases and challenging section features. The A theme at m. 9, a recurring heroic statement, provides an opportunity to develop solid tone production and intonation in sustained forte passages. The B theme at m. 17, enters quietly and features singing, legato lines and delicate accompaniment. The connected countermelodies in both the A and B sections should be balanced under the main melody. More instrtuments are added to the melody in m. 25, building to the return of the A theme in m. 33.

The lower strings carry the C theme in m. 49, supported by tutti figures in the upper strings. All sections come together in m. 56 to a ritardando into the Maestoso section, setting up a grand ensemble statement in m. 57-58. The moving legatolines at m. 59 and the aggressive figures at m. 61 propel the piece to its final build.

The Coda section at m. 65 begins with a variation of the B melody in the violas and then the violins over a dominant pedal point in the lower strings. Commanding tutti statements of the A theme at m. 69 end the piece with power and excitement.

.
 

From the opening fanfare to the final ensemble gesture, Northwestern Skies is an engaging musical journey with expressive ensemble phrases and challenging section features. The A theme at m. 9, a recurring heroic statement, provides an opportunity to develop solid tone production and intonation in sustained forte passages. The B theme at m. 17, enters quietly and features singing, legato lines and delicate accompaniment. The connected countermelodies in both the A and B sections should be balanced under the main melody. MoreA instrtuments areA added to the melody in m. 25, building to the return of the A theme in m. 33.

The lower stringsA carry the C theme in m. 49, supported byA tutti figures in the upper strings. All sections come together in m. 56 to a ritardando into the Maestoso section, setting up a grand ensemble statement in m. 57-58. The movingA legatolines at m. 59 and the aggressive figures at m. 61 propel the piece to its final build.

The Coda section at m. 65 begins with a variation of the B melody in theA violas and then the violinsA over a dominant pedal point in the lower strings. Commanding tutti statements of the A theme at m. 69 end the piece with power and excitement.

.
 

From the opening fanfare to the final ensemble gesture, Northwestern Skies is an engaging musical journey with expressive ensemble phrases and challenging section features. The A theme at m. 9, a recurring heroic statement, provides an opportunity to develop solid tone production and intonation in sustained forte passages. The B theme at m. 17, enters quietly and features singing, legato lines and delicate accompaniment. The connected countermelodies in both the A and B sections should be balanced under the main melody. MoreA instrtuments areA added to the melody in m. 25, building to the return of the A theme in m. 33.

The lower stringsA carry the C theme in m. 49, supported byA tutti figures in the upper strings. All sections come together in m. 56 to a ritardando into the Maestoso section, setting up a grand ensemble statement in m. 57-58. The movingA legatolines at m. 59 and the aggressive figures at m. 61 propel the piece to its final build.

The Coda section at m. 65 begins with a variation of the B melody in theA violas and then the violinsA over a dominant pedal point in the lower strings. Commanding tutti statements of the A theme at m. 69 end the piece with power and excitement.

.
 

From the opening fanfare to the final ensemble gesture, Northwestern Skies is an engaging musical journey with expressive ensemble phrases and challenging section features. The A theme at m. 9, a recurring heroic statement, provides an opportunity to develop solid tone production and intonation in sustained forte passages. The B theme at m. 17, enters quietly and features singing, legato lines and delicate accompaniment. The connected countermelodies in both the A and B sections should be balanced under the main melody. More instrtuments are added to the melody in m. 25, building to the return of the A theme in m. 33.

The lower strings carry the C theme in m. 49, supported by tutti figures in the upper strings. All sections come together in m. 56 to a ritardando into the Maestoso section, setting up a grand ensemble statement in m. 57-58. The moving legatolines at m. 59 and the aggressive figures at m. 61 propel the piece to its final build.

The Coda section at m. 65 begins with a variation of the B melody in the violas and then the violins over a dominant pedal point in the lower strings. Commanding tutti statements of the A theme at m. 69 end the piece with power and excitement.

.
  From the opening fanfare to the final ensemble gesture, Northwestern Skies is an engaging musical journey with expressive ensemble phrases and challenging section features. The A theme at m. 9, a recurring heroic statement, provides an opportunity to develop solid tone production and intonation in sustained forte passages. The B theme at m. 17, enters quietly and features singing, legato lines and delicate accompaniment. The connected countermelodies in both the A and B sections should be balanced under the main melody. More instrtuments are added to the melody in m. 25, building to the return of the A theme in m. 33. The lower strings carry the C theme in m. 49, supported by tutti figures in the upper strings. All sections come together in m. 56 to a ritardando into the Maestoso section, setting up a grand ensemble statement in m. 57-58. The moving legatolines at m. 59 and the aggressive figures at m. 61 propel the piece to its final build. The Coda section at m. 65 begins with a variation of the B melody in the violas and then the violins over a dominant pedal point in the lower strings. Commanding tutti statements of the A theme at m. 69 end the piece with power and excitement.
 From the opening fanfare to the final ensemble gesture, Northwestern Skies is an engaging musical journey with expressive ensemble phrases and challenging section features. The A theme at m. 9, a recurring heroic statement, provides an opportunity to develop solid tone production and intonation in sustained forte passages. The B theme at m. 17, enters quietly and features singing, legato lines and delicate accompaniment. The connected countermelodies in both the A and B sections should be balanced under the main melody. More instrtuments are added to the melody in m. 25, building to the return of the A theme in m. 33.The lower strings carry the C theme in m. 49, supported by  tutti figures in the upper strings. All sections come together in m. 56 to a ritardando into the Maestoso section, setting up a grand ensemble statement in m. 57-58. The moving legatolines at m. 59 and the aggressive figures at m. 61 propel the piece to its final build.The Coda section at m. 65 begins with a variation of the B melody in the violas and then the violins over a dominant pedal point in the lower strings. Commanding tutti statements of the A theme at m. 69 end the piece with power and excitement.

About Carl Fischer Young String Orchestra Series

This series of Grade 2/Grade 2.5 pieces is designed for second and third year ensembles. The pieces in this series are characterized by:
--Occasionally extending to third position
--Keys carefully considered for appropriate difficulty
--Addition of separate 2nd violin and viola parts
--Viola T.C. part included
--Increase in independence of parts over beginning levels