Matériel : DVD
SKU: LP.765762212503
UPC: 765762212503.
Blast off on an intergalactic adventure in the newest release from best-selling children's music creator Celeste Clydesdale! Join Rudy Rachel and Riley aboard the space shuttle Discovery as they travel through space and discover all the indescribable things in creation that were made by the hand of God. With help from various stars planets a cantankerous robot and the wise and patient Flight Commander Mr. Houston they learn that the God who created the stars and the heavens is the same God that loved the world so much that He sent His son to die for them wants to have a relationship with them and that with Him nothing is impossible. An accompaniment DVD with videos for three songs and a spaced-themed video loop has been created to aid in performance as well as a Digital Resource Kit and Demonstration DVD to help with teaching and choreography. This year gather your students and Blast Off together to discover the God of Creation!
SKU: LP.765762010437
UPC: 765762010437.
SKU: LP.765762011335
UPC: 765762011335.
SKU: LP.765762161320
UPC: 765762161320.
SKU: LP.765762161429
UPC: 765762161429.
SKU: LP.765762010338
UPC: 765762010338.
SKU: LP.765762212602
UPC: 765762212602.
SKU: LP.765762161221
UPC: 765762161221.
SKU: LP.765762161825
UPC: 765762161825.
SKU: LP.9780834182486
ISBN 9780834182486.
Blas t off on an intergalactic adventure in the newest release from best-selling children's music creator Celeste Clydesdale! Join Rudy Rachel and Riley aboard the space shuttle Discovery as they travel through space and discover all the indescribable things in creation that were made by the hand of God. With help from various stars planets a cantankerous robot and the wise and patient Flight Commander Mr. Houston they learn that the God who created the stars and the heavens is the same God that loved the world so much that He sent His son to die for them wants to have a relationship with them and that with Him nothing is impossible. An accompaniment DVD with videos for three songs and a spaced-themed video loop has been created to aid in performance as well as a Digital Resource Kit and Demonstration DVD to help with teaching and choreography. This year gather your students and Blast Off together to discover the God of Creation!
SKU: PR.416412370
UPC: 680160092178. 9 x 12 inches.
Ideal for family concerts about space travel and adventure, Dorff’s BLAST OFF! was commissioned by Lockheed Martin for narration by astronaut Kenneth Reightler; the score itself was a traveler on NASA’s mission STS 1000. The travelogue about a trip to space is also designed to teach about the sounds of each family of instruments; CD available on Bridge Records.
SKU: HL.49015218
ISBN 9783795727659. German.
In diesem Werk legt der Autor die Summe eines kunstlerischen Lebens, des Umgangs mit Musik und dem Flotenspiel vor. Es ist das Resultat jahrzehntelanger Erfahrungen, Forschungen, Erkenntnisse und einer langen kunstlerisch-padagogische n Tatigkeit.Gustav Scheck, dessen Name seit Jahrzehnten mit den Fragen und Interpretationen der Auffuhrungspraxis Alter Musik verknupft ist und der als Mitbegrunder des Kammermusikkreises Scheck-Wenzinger bekannt ist, zieht hier das Fazit seiner kunstlerischen Tatigkeit. Schon seit 1934 als Lehrer, seit 1942 als Professor an der Berliner Musikhochschule an hervorragender Stelle tatig, entwickelte er nach dem Krieg die Initiative zur Grundung der Musikhochschule Freiburg i.B., die er 18 Jahre lang leitete. Eine entsprechend grosse Zahl bekannter Flotisten zahlen zu seinen Schulern. Aus diesem Wirken heraus sind Zielsetzung, Stil und Methode des Buches entstanden.Es ist aber nicht nur die Alte Musik, um die es Gustav Scheck geht: auch seine intensive Beschaftigung mit den Problemen der Moderne (es sei an der Freundschaft mit Paul Hindemith sowie an die kompositorische Nachkriegssituation und die Zusammenarbeit mit Wolfgang Fortner erinnert) schlagt sich in seinem Buch ausserst fruchtbar nieder und bezeugt den weiten geistig-kunstlerischen Horizont seiner Arbeitsweise und Personlichkeit. Diese schlechthin universale Betrachtungs- und Darstellungsweise des Themas Die Flote und ihre Musik verleiht dem Buch seine einmalige, umfassende Bedeutung.Ein Blick auf die Inhaltsubersicht lasst erkennen, dass hier nahezu alle Aspekte des Instruments und seiner Musik bis ins Detail behandelt, dabei auf knappstem Raum komprimiert sind: die akustischen Phanomene, die Geschichte der Block- und Querfloten, Physiologie der Blastechnik, Tonbildungsmethoden, Artikulationspraktiken, Haltung und Fingertechnik sowie Fragen der Interpretation. Ganz besonderen Wert besitzen die hier vielleicht erst- und einmalig gegebenen Analysen der wichtigsten Flotenkompositionen von Bach bis Berio, die durch Marginalien bedeutender zeitgenossischer Werke komplettiert werden. Die 49 hochinteressanten bildlichen Darstellungen und 196 Notenbeispiele erhohen optimal den Informationswert des Textes, ebenso wie das umfangreiche Auswahlverzeichnis der so uberreich vorhandenen Literatur.Wer heute das Studium der Flote und ihrer Musik betreibt, wird auf dieses lebendig geschriebene Standardwerk nicht verzichten konnen, seien es Solisten, Padagogen, Studierende, Musikologen, Komponisten, Dirigenten o.a., so wie es der Autor formuliert: Die Idee des Buches, das seine kritischen und padagogischen Tendenzen nicht verleugnet, wird deutlich: den Flotenspielern ein umfassendes Werk zu bieten, Monographie des Instruments zugleich und Lehrbuch des Musizierens.
SKU: KN.19844
UPC: 822795198447.
This collection of eight pieces for buckets (and shaker, pot lid & large plastic bin) offers rhythm music spanning grade 1-4 levels. The variety in difficulty makes this collection great for general music classrooms and percussion ensembles.Content s:De/Reconstruction; Joropo Cubano; Impending Improvisation; John's Groove; Palindrome; Robotic Interplay; Time Shifter's Waltz; Backbeat Blasters.
SKU: PR.114414450
ISBN 9781598064087. UPC: 680160597635. 9x12 inches.
Inspired by the tale of a legendary folk hero, Adolphus Hailstork’s tour-de-force for trombone and piano is a riveting portrayal of the steely strength and stamina of John Henry, a former slave who helped build the American railroads and ultimately outperformed a steam engine. This composition uses quotes from the spiritual Every Time I Feel the Spirit and the folk song The Ballad of John Henry. For advanced players. Duration: 13’_______________ _________________________ __Text on the scanned back cover:JOHN HENRY'S BIG(MAN vs. MACHINE)FOR TROMBONE AND PIANOInspired by the tale of the legendary hero, Adolphus Hailstork’s tour-de-force for trombone and piano is a riveting portrayal of the steely strength and stamina of John Henry, a former slave who helped build the American railroads and ultimately outperformed a steam engine.PROGRAM NOTES by the ComposerJohn Henry was born a slave in the 1840’s or 1850’s. It is important to remember that no one knows for sure if John Henry existed or is a tall tale created by writers. That is one of the things that makes the legend so intriguing.According to the legend, he grew to stand 6 feet tall, 200 pounds – a giant in that day.Though the story of John Henry sounds like the quintessential tall tale, it is certainly based, at least in part, on historical circumstance. There are disputes as to where the legend originates. Some place John Henry in West Virginia, while recent research suggests Alabama. Still, all share a similar back-story.In order to construct the railroads, companies hired thousands of men to smooth out terrain and cut through obstacles that stood in the way of the proposed tracks. One such chore that figures heavily into some of the earliest John Henry ballads is the blasting of the Big Bend Tunnel, more than a mile straight through a mountain in West Virginia.Steel-drivinâ₠¬â„¢ men like John Henry used large hammers and stakes to pound holes into the rock, which were were then filled with explosives that would blast a cavity deeper and deeper into the mountain. In the folk ballads, the central event took place under such conditions. Eager to reduce costs and speed up progress, some tunnel engineers were using steam drills to power their way into the rock. According to the great American tall tales, on hearing of the machine, John Henry challenged the steam drill to a contest. He won, but died of exhaustion, his life cut short by his own superhuman effort.This composition uses quotes from the spiritual Every Time I Feel the Spirit and the folk song The Ballad of John Henry.JOHN HENRY’S BIG was composed for trombonist David Jackson.
SKU: CF.BPS137F
ISBN 9781491158494. UPC: 680160917099. 9 x 12 inches.
Fanfare and Jubilation is a Grade 1 work that is playable by any beginning band with any instrumentation due to extensive doubling. The mood is regal and optimistic and is non-programmatic, conveying no picturesque image or storyline. It is appropriate for any occasion. Accents are to be emphasized more than non-accented notes, but are not to be hammered hard. Stress that accented notes are to be played with the same good tone as the other notes and that pitches should not suffer from the additional emphasis. Think of the accents as more of an additional emphasis from the air column and not the tongue. Percussion accents are to played with more emphasis than non-accented notes, but shouldnat be perceived as being much louder. Timpani is only two pitches and is optional. The piece will not suffer at all if you donat have access to Timpani or a timpanist. Bells cover a wide rangea|the lower octave sections should not be played louder just because theyare low pitched, as those notes will still be appropriately heard while supporting the melody. Do not use brass mallets. Balter 10 Phenolic mallets or equivalent (such as clear Balter Lexan or white Medium Hard Poly models) are most appropriate. Think of the m. 10 accented quarter notes tied to the half notes (and similar later examples) as being akin to Horn rips in a Hollywood movie. They are to be emphasized slightly but should not be blaring. Even though they are the only things happening on counts 2 and 3, care must be given that the young players donat get carried away and give them more emphasis than is musically desired. At m. 21, be careful that the bass line isnat plodding or over-emphasized due to the accents. Those players should be aware of the sudden drop in volume and lack of accents at m. 25. Attention to sudden dynamic shifts will add interest to the piece and present a more musical performance. Throughout this entire section, try to get all winds to sustain a single breath through four bars until the breath marks. If they are unable to do so, please explain the concept of staggered breathing between members of their section. There may be a tendency among the players to blast out m. 57 to the end. Notes should have more power than the section from mm. 21-56, but are still to be approached musically. Explaining such concepts during their early musical development will go far in helping them develop good traits that will pay off dividends in the future.Fanfare and Jubilation is a Grade 1 work that is playable by any beginning band with any instrumentation due to extensive doubling. The mood is regal and optimistic and is non-programmatic, conveying no picturesque image or storyline. It is appropriate for any occasion. Accents are to be emphasized more than non-accented notes, but are not to be hammered hard. Stress that accented notes are to be played with the same good tone as the other notes and that pitches should not suffer from the additional emphasis. Think of the accents as more of an additional emphasis from the air column and not the tongue. Percussion accents are to played with more emphasis than non-accented notes, but shouldn't be perceived as being much louder. Timpani is only two pitches and is optional. The piece will not suffer at all if you don't have access to Timpani or a timpanist. Bells cover a wide range...the lower octave sections should not be played louder just because they're low pitched, as those notes will still be appropriately heard while supporting the melody. Do not use brass mallets. Balter 10 Phenolic mallets or equivalent (such as clear Balter Lexan or white Medium Hard Poly models) are most appropriate. Think of the m. 10 accented quarter notes tied to the half notes (and similar later examples) as being akin to Horn rips in a Hollywood movie. They are to be emphasized slightly but should not be blaring. Even though they are the only things happening on counts 2 and 3, care must be given that the young players don't get carried away and give them more emphasis than is musically desired. At m. 21, be careful that the bass line isn't plodding or over-emphasized due to the accents. Those players should be aware of the sudden drop in volume and lack of accents at m. 25. Attention to sudden dynamic shifts will add interest to the piece and present a more musical performance. Throughout this entire section, try to get all winds to sustain a single breath through four bars until the breath marks. If they are unable to do so, please explain the concept of staggered breathing between members of their section. There may be a tendency among the players to blast out m. 57 to the end. Notes should have more power than the section from mm. 21-56, but are still to be approached musically. Explaining such concepts during their early musical development will go far in helping them develop good traits that will pay off dividends in the future.Fanfare and Jubilation is a Grade 1 work that is playable by any beginning band with any instrumentation due to extensive doubling. The mood is regal and optimistic and is non-programmatic, conveying no picturesque image or storyline. It is appropriate for any occasion.Accents are to be emphasized more than non-accented notes, but are not to be hammered hard. Stress that accented notes are to be played with the same good tone as the other notes and that pitches should not suffer from the additional emphasis. Think of the accents as more of an additional emphasis from the air column and not the tongue.Percussion accents are to played with more emphasis than non-accented notes, but shouldn’t be perceived as being much louder. Timpani is only two pitches and is optional. The piece will not suffer at all if you don’t have access to Timpani or a timpanist. Bells cover a wide range…the lower octave sections should not be played louder just because they’re low pitched, as those notes will still be appropriately heard while supporting the melody. Do not use brass mallets. Balter 10 Phenolic mallets or equivalent (such as clear Balter Lexan or white Medium Hard Poly models) are most appropriate.Think of the m. 10 accented quarter notes tied to the half notes (and similar later examples) as being akin to Horn rips in a Hollywood movie. They are to be emphasized slightly but should not be blaring. Even though they are the only things happening on counts 2 and 3, care must be given that the young players don’t get carried away and give them more emphasis than is musically desired.At m. 21, be careful that the bass line isn’t plodding or over-emphasized due to the accents. Those players should be aware of the sudden drop in volume and lack of accents at m. 25. Attention to sudden dynamic shifts will add interest to the piece and present a more musical performance. Throughout this entire section, try to get all winds to sustain a single breath through four bars until the breath marks. If they are unable to do so, please explain the concept of staggered breathing between members of their section.There may be a tendency among the players to blast out m. 57 to the end. Notes should have more power than the section from mm. 21-56, but are still to be approached musically. Explaining such concepts during their early musical development will go far in helping them develop good traits that will pay off dividends in the future.
SKU: CF.BPS137
ISBN 9781491158487. UPC: 680160917082. 9 x 12 inches.
SKU: AP.51018S
ISBN 9781470667917. UPC: 038081586793. English.
Imagine the sweet sounds of Silent Night lulling you to sleep when the next-door neighbors start blasting various holiday carols at full volume! All is NOT Calm, arranged by Katie O'Hara LaBrie, is a musical battle between woodwinds, brass, and percussion that features snippets of various holiday favorites. This is sure to engage your students as they explore dynamics in a fun and creative way. (1:45).
SKU: AP.51018
ISBN 9781470667900. UPC: 038081586786. English.
SKU: ML.013777070
Farewell was composed at the farewell of Fanfare Trompetterkorps Der Cavalerie in 1993. The work is based on 2 of the most famous tattoo signals in military music: Reveille and Tattoo. Farewell opens festively with blasting trumpets and then continues with a somewhat melancholy melody based on the reveille theme. After interweaving all the signals and themes in the work's climax, the work ends quietly, with in the distance a lone trumpet playing the tattoo signal.... Farew ell werd gecomponeerd bij het afscheid van Fanfare Trompetterkorps Der Cavalerie in 1993. Het werk is gebaseerd op 2 van de bekendste taptoesignalen uit de militaire muziek: Reveille en Taptoe. Farewell opent feestelijk met stralende trompetten en vervolgt dan met een wat melancholieke melodie, gebaseerd op het reveille thema. Nadat in het hoogtepunt van het werk alle signalen en thema's met elkaar verweven zijn eindigt het werk verstild, met 'in de verte' een eenzame trompet die het taptoesignaal speelt....Farewel l a été composée à l'occasion des adieux de la Fanfare Trompetterkorps Der Cavalerie en 1993. L'œuvre est basée sur deux des signaux de tatouage les plus célèbres de la musique militaire : Reveille et Tattoo. Farewell s'ouvre de manière festive avec des trompettes explosives et se poursuit avec une mélodie quelque peu mélancolique basée sur le thème du Réveil. Après que tous les signaux et thèmes se sont entremêlés dans le point culminant de l'œuvre, celle-ci se termine tranquillement, avec au loin une trompette solitaire jouant le signal de tatouage....Farew ell wurde anlässlich der Verabschiedung des Fanfaren Trompetterkorps Der Cavalerie im Jahr 1993 komponiert. Das Werk basiert auf 2 der berühmtesten Zapfenstreichsignale in der Militärmusik: Reveille und Tattoo. Farewell beginnt feierlich mit schmetternden Trompeten und setzt dann mit einer etwas melancholischen Melodie fort, die auf dem Reveille-Thema basiert. Nachdem alle Signale und Themen im Höhepunkt des Werks miteinander verwoben sind, endet das Werk ruhig, wobei in der Ferne eine einsame Trompete das Tätowierungssignal spielt....
SKU: TM.03697SET
Please specify key when ordering.
SKU: CL.RWS-2305-01
If your beginning band needs a piece to help give the bass players more confidence while having fun, then this is the piece for you! This clever work for young band is based on a groove featuring low brass and woodwinds. It also includes a bass drum solo, hence the name So Low. Your students will love rehearsing this one and will hurry to the band room every day to play it. It will also be a real treat for parents as they watch their students have a blast performing this infectious, yet simple composition.
