' Bastien Piano Basics: Theory ' is the theory workbook portion of the Bastien Piano Basics course. Each book contains written work and some short pieces to reinforce the concepts presented in 'Bastien Piano Basics: Piano' . Games puzzles and colorful illustrations make learning fun! Your students will gain a better understanding of the music they are playing and they will learn more easily whentheory instruction is a regular part of their Piano studies. Each page is carefully correlated with Piano Performance and Technique. The Primer Level includes drills games and short pieces to reinforce the conceptspresented in 'Bastien Piano Basics: Piano' . Level 1 presents theory materials correlated with 'Bastien Piano Basics: Piano' .

Contents: Bring a Torch Jeannette Isabella œ Ding Dong! Merrily on High! œ Go Tell It on the Mountain œ God Rest Ye Merry Gentlemen œ Here We Come A-Wassailing œ The Huron Carol œ I Saw Three Ships œ Sussex Carol.

Ferrer Ferran raconte en musique l’extraordinaire périple du navigateur portugais Fernando de Magallanes (Ferdinand Magellan). À la tête d’une flottille de cinq navires Magellan quitte l’Espagne en septembre 1519. Persuadé que l’on peut atteindre l’Asie en contournant les terres du Nouveau Monde Magellan missionné par Charles Quint doit ouvrir la voie vers la route des épices. Il accomplira admirablement sa mission mais ne reviendra jamais en Espagne car il meurt au cours de son périple. Un seul des cinq navires de l’expédition rentrera en Espagne trois ans plus tard bouclant ainsi le premier tour du monde.

For Horn and String Quartet (or Violin 2 Violas Cello). Published 1981. First performance: Locrain Quartet 9th October 1981. For Horn and String Quartet (or Violin 2 Violas Cello). Published 1981. First performance: Locrain Quartet 9th October 1981.

From the stunning movie blockbuster Oz the Great and Powerful comes this distinctive and varied soundtrack from Danny Elfman. Featuring some of the film’s lighter as well as darker moments here is a great sounding medley for band.

Written in a grand film score style this magnificent work opens with a dynamic fanfare featuring soaring brass and woodwind flourishes. Descriptive and evocative with every phrase including a beautiful slow lyricsection transport your audience on a thrilling musical adventure with this impressive overture! Dur: 5:50 (Grade 5)Written in a grand film score style this magnificent work opens with a dynamic fanfare featuring soaring Brass and Woodwind flourishes. Descriptive and evocative with every phrase including a beautiful slow lyric section transport your audience on a thrilling musical adventure with this impressive overture! Dur: 5:50 (Grade 5)

Luis Tinoco (Composer) and Stephen Plaice (Libretto) wrote 'Paint Me' and Opera for six singers and Chamber Orchestra. Rui Horta and Joana Carneiro are responsible for the stage direction and the musical direction. My idea in writing Paint Me was to bring together six characters all of whom have a prolific imaginative interior life and to explore what they would make of each other in the confines of a railway compartment. The model for my libretto is Geoffrey Chaucer’s The Canterbury Tales. The travellers in Paint Me are also on their way to Canterbury but they are strangers thrown together by the randomness of modern travel. Their tales are not told publicly but in theirown imaginations. Most journeys in the modern age are anonymous and conducted in silence. We have only a visual or perhaps manneristic impression of the people sitting opposite us. This introspection in public opens up a private fantasy space in which our fellow travellers can become the characters in instant psychological dramatisations.I wanted to formalize each character’s fantasy into a full narrative. The result is a kind of anthology of operatic short stories surrounded by the framework of an ordinary journey. - Stephen Plaice Luis Tinoco (Composer) and Stephen Plaice (Libretto) wrote 'Paint Me' and Opera for six singers and Chamber Orchestra. Rui Horta and Joana Carneiro are responsible for the stage direction and the musicaldirection. 'My idea in writing Paint Me was to bring together six characters all of whom have a prolific imaginative interior life and to explore what they would make of each other in the confines of a railwaycompartment. The model for my libretto is Geoffrey Chaucer’s The Canterbury Tales. The travellers in Paint Me are also on their way to Canterbury but they are strangers thrown together by the randomness of modern travel. Theirtales are not told publicly but in their own imaginations. Most journeys in the modern age are anonymous and conducted in silence. We have only a visual or perhaps manneristic impression of the people sitting opposite us. Thisintrospection in public opens up a private fantasy space in which our fellow travellers can become the characters in instant psychological dramatisations.I wanted to formalize each character’s fantasy into a full narrative. Theresult is a kind of anthology of operatic short stories surrounded by the framework of an ordinary journey. ' - Stephen Plaice

Concerto no. 23 (Viotti)- Parisian violinist Georges Catherine (1872-1958) compiles an exciting collection for the Violin repertoire. The first solo from Viotti s Concerto No. 23 is clearly printed with a helpful key of unusual techniques. Viotti (1755-1824) was an Italian Violin virtuoso. He composed a significant 29 concertos for the Violin which remain popular in the advanced violinists repertoire. The Violin solo line of Concerto No. 23 makes use of extended techniques including harmonics bow techniques aritculations and hand positions. Catherine s series First Solos extracted from the ClassicConcertos provides essential access to significant repertoire of the Violin preparing advanced violinists for the major concertos.

For choir (4 sopranos 4 altos 4 tenors 4 basses) and string orchestra (7 violins 2 violas 2 celli 1 double bass). For choir (4 sopranos 4 altos 4 tenors 4 basses) and string orchestra (7 violins 2 violas 2 celli 1 double bass).

Craig Hella Johnson Choral Series-This setting of a prayer for peace from the Jewish liturgy is a fitting work for our time. Opening quietly it builds steadily to an intense emotional outpouring then gradually retreats to a hushed conclusion. Duration: ca. 4:45. This setting of a prayer for peace from the Jewish liturgy is a fitting work for our time. Opening quietly it builds steadily to an intense emotional outpouring then gradually retreats to a hushed conclusion. Duration: ca.4:45.

Fifteen medium level sight reading pieces for second- and third-year bands. Average length of each song is one full page per student part. - Time signatures: 4/4 3/4 2/4 cut time 6/8 - Keys: ConcertF Concert Bb Concert Eb Concert Ab - Note/rest values: Whole half quarter eighth dotted half dotted quarter eighth/two sixteenths - Tempi: Moderato Allegro Andante Allegretto March Tempo Adagio - Dynamics/expressions etc: mf f mp ff crescendo decrescendo staccato accent trio

Score and Parts-Written in a romantic/heroic style this impressive overture from Rossano Galante features sweeping and lush melodies along with brilliant brass fanfares and woodwind flourishes. For the mature ensemble here is a dynamic concert opener. Dur: 5:40 (Grade 5) Written in a romantic/heroic style this impressive overture from Rossano Galante features sweeping and lush melodies along with brilliant brass fanfares and woodwind flourishes. For the mature ensemble here is adynamic concert opener. Dur: 5:40 (Grade 5)

The famous serenade KV 525 by W. A. Mozart for soprano-flute and piano adapted by A. Rosenstengel.

Compiled from the celebrated Victor Method and useful for both full ensembles and individual study the 167 exercises in this book cover virtually every aspect of technical study for bands and wind ensembles from thebasics of intonation and tone quality to increased fluency. Exercises include rehearsal letters every 2-4 measures to save rehearsal time and allow for easy practice loops. (Includes additional material by Tom C.Rhodes and Donald Bierschenk)

Ten festal tunes for weddings and other special occasions. For the average parish organist who is fairly competent with pedals. Ten festal tunes for weddings and other special occasions. For the average parish organist who is fairly competent with pedals.

A time honored text to a new tune by Michael Cox this is a welcome adaptation for male choruses.

Standard US Set (without European suppl. set)-From Samuel Barber's acclaimed First Symphony here is a masterful adaptation for band of the stunningly beautiful lyric movement. While carefully preserving Barber's original intent Richard has created a setting that effectively suits the band medium. From Samuel Barber's acclaimed First Symphony here is a masterful adaptation for band of the stunningly beautiful lyric movement. While carefully preserving Barber's original intent Richard has created a settingthat effectively suits the band medium.

American Idol winner Lee DeWyze scored big with his cover of the U2 pop hit. Building into a sweeping and epic chorus this will be a perfect addition to all types of concerts and popular with audiences of all ages. American Idol winner Lee DeWyze scored big with his cover of the U2 pop hit. Building into a sweeping and epic chorus this will be a perfect addition to all types of concerts and popular with audiences of all ages.

Composed in 2004 this concise and compelling work is part of Saariaho's Tempest Songs and is written for Soprano and Baritone soloists with chamber ensemble. Also included in the Tempest Songs cycle are: Ariel's Hall (Soprano) Caliban's Dream (Baritone) Miranda's Lament (Soprano) Prospero's Vision (Baritone) Works may be performed in any order and a full song cycle.

Mots; Enfant d'Avril; O Pluie!