SKU: CL.012-4500-01
Karl King’s Cyrus The Great March had been a band favorite for nearly a century, and this Karl L. King Centennial Edition by Andrew Glover gives new life to this classic march! Long a favorite of circus bands, with its ponderous low brass lines and ominous minor key tonalities, this engaging march provides opportunities for all sections to display technical and musical virtuosity. Proof that not all marches sound alike, Cyrus The Great will delight and impress your audiences from start to finish.
SKU: CL.012-4500-75
Karl King's Cyrus The Great March had been a band favorite for nearly a century, and this Karl L. King Centennial Edition by Andrew Glover gives new life to this classic march! Long a favorite of circus bands, with its ponderous low brass lines and ominous minor key tonalities, this engaging march provides opportunities for all sections to display technical and musical virtuosity. Proof that not all marches sound alike, Cyrus The Great will delight and impress your audiences from start to finish.
SKU: CF.BE10F
ISBN 9780825891175. UPC: 798408091170. 8.5 x 11 inches. Key: G major.
Commissioned by the Princeton-Columbia Electronic Music Center for Speculum Musicae in 1981. The first movement, In Preparation, is a study in tuning and intonation and is based on the open strings in perfectly tuned fifths, with the violins D string tuned 294 hertz. The first moments of the piece provide opportunity to tune to the tape part. (This tuning probably differs imperceptibly from a tempered tuning since the E string of the violin is only 1/33 of a semitone sharper then in a tempered system and the C strings of the viola and cello 1/33 of a semitone flatter.) Most subsequent pitches in the movement are either the open strings or major and minor thirds above and below the open strings. The minor thirds will be slightly sharp with respect to equal tempered tuning about 15 cents or 1/6 of a semitone and the major thirds will be slightly flat about 14 cents, or one seventh of a semitone. Listen to the tape part as a guide. All harmonics in this movement are to be played as natural harmonics and open strings are to be used whenever possible. In the second movement, At a Distance, the tape part largely doubles selected pitches in the string parts and should be thought of as a backdrop rather then counterpart. In this and the remaining movements equal tempered tuning is used though it will probably not be necessary to retune the instruments for this reason alone. The third movement, In Practice, is a study in modes of performance particularly with respect to rhythmic rigidity and flexibility. While the tape part may seem to bend and sway a great deal, the string parts are to be played with as much rhythmic precision as possible. At many points it may be necessary to delay or anticipate beats in order to coincide with the arrival of beats in the tape part, though in general the quarter equals 120 is accurate. In the fourth movement, In Distinction, different kinds of musical conceptions are counter-pointed and counter-posed. Here the beat is quite accurate although the notation of the synthetic saxophone part is only approximate. All the tape parts are based on computer reprocessed violin except for parts of the fourth movement in which synthetic saxophone is used. The tape part was synthesized on the IBM 3033 and 3081 computers at Princeton University and converted at the Winham Laboratory. The violin source was performed by Cyrus Stevens.Commissioned by the Princeton-Columbia Electronic Music Center for Speculum Musicae in 1981. The first movement, In Preparation, is a study in tuning and intonation and is based on the open strings in perfectly tuned fifths, with the violinas D string tuned 294 hertz. The first moments of the piece provide opportunity to tune to the tape part. (This tuning probably differs imperceptibly from a tempered tuning since the E string of the violin is only 1/33 of a semitone sharper then in a tempered system and the C strings of the viola and acello 1/33 of a semitone flatter.) Most subsequent pitches in the movement are either the open strings or major and minor thirds above and below the open strings. The minor thirds will be slightly sharp with respect to equal tempered tuning about 15 cents or 1/6 of a semitone and the major thirds will be slightly flat about 14 cents, or one seventh of a semitone. Listen to the tape part as a guide. All harmonics in this movement are to be played as natural harmonics and open strings are to be used whenever possible. In the second movement, At a Distance, the tape part largely doubles selected pitches in the string parts and should be thought of as a backdrop rather then counterpart. In this and the remaining movements equal tempered tuning is used though it will probably not be necessary to retune the instruments for this reason alone. The third movement, In Practice, is a study in modes of performance particularly with respect to rhythmic rigidity and flexibility. While the tape part may seem to bend and sway a great deal, the string parts are to be played with as much rhythmic precision as possible. At many points it may be necessary to delay or anticipate beats in order to coincide with the arrival of beats in the tape part, though in general the quarter equals 120 is accurate. In the fourth movement, In Distinction, different kinds of musical conceptions are counter-pointed and counter-posed. Here the beat is quite accurate although the notation of the synthetic saxophone part is only approximate. All the tape parts are based on computer reprocessed violin except for parts of the fourth movement in which synthetic saxophone is used. The tape part was synthesized on the IBM 3033 and 3081 computers at Princeton University and converted at the Winham Laboratory. The violin source was performed by Cyrus Stevens.Commissioned by the Princeton-Columbia Electronic Music Center for Speculum Musicae in 1981. The first movement, In Preparation, is a study in tuning and intonation and is based on the open strings in perfectly tuned fifths, with the violin's D string tuned 294 hertz. The first moments of the piece provide opportunity to tune to the tape part. (This tuning probably differs imperceptibly from a tempered tuning since the E string of the violin is only 1/33 of a semitone sharper then in a tempered system and the C strings of the viola and 'cello 1/33 of a semitone flatter.) Most subsequent pitches in the movement are either the open strings or major and minor thirds above and below the open strings. The minor thirds will be slightly sharp with respect to equal tempered tuning about 15 cents or 1/6 of a semitone and the major thirds will be slightly flat about 14 cents, or one seventh of a semitone. Listen to the tape part as a guide. All harmonics in this movement are to be played as natural harmonics and open strings are to be used whenever possible. In the second movement, At a Distance, the tape part largely doubles selected pitches in the string parts and should be thought of as a backdrop rather then counterpart. In this and the remaining movements equal tempered tuning is used though it will probably not be necessary to retune the instruments for this reason alone. The third movement, In Practice, is a study in modes of performance particularly with respect to rhythmic rigidity and flexibility. While the tape part may seem to bend and sway a great deal, the string parts are to be played with as much rhythmic precision as possible. At many points it may be necessary to delay or anticipate beats in order to coincide with the arrival of beats in the tape part, though in general the quarter equals 120 is accurate. In the fourth movement, In Distinction, different kinds of musical conceptions are counter-pointed and counter-posed. Here the beat is quite accurate although the notation of the synthetic saxophone part is only approximate. All the tape parts are based on computer reprocessed violin except for parts of the fourth movement in which synthetic saxophone is used. The tape part was synthesized on the IBM 3033 and 3081 computers at Princeton University and converted at the Winham Laboratory. The violin source was performed by Cyrus Stevens.Commissioned by the Princeton-Columbia Electronic Music Center for SpeculumMusicae in 1981.The first movement, In Preparation, is a study in tuning and intonation and isbased on the open strings in perfectly tuned fifths, with the violin’s D stringtuned 294 hertz. The first moments of the piece provide opportunity to tuneto the tape part. (This tuning probably differs imperceptibly from a temperedtuning since the E string of the violin is only 1/33 of a semitone sharper then ina tempered system and the C strings of the viola and ‘cello 1/33 of a semitoneflatter.) Most subsequent pitches in the movement are either the open stringsor major and minor thirds above and below the open strings. The minor thirdswill be slightly sharp with respect to equal tempered tuning about 15 cents or1/6 of a semitone and the major thirds will be slightly flat about 14 cents, or oneseventh of a semitone. Listen to the tape part as a guide. All harmonics in thismovement are to be played as natural harmonics and open strings are to be usedwhenever possible.In the second movement, At a Distance, the tape part largely doubles selectedpitches in the string parts and should be thought of as a backdrop rather thencounterpart. In this and the remaining movements equal tempered tuning is usedthough it will probably not be necessary to retune the instruments for this reasonalone.The third movement, In Practice, is a study in modes of performance particularlywith respect to rhythmic rigidity and flexibility. While the tape part may seemto bend and sway a great deal, the string parts are to be played with as muchrhythmic precision as possible. At many points it may be necessary to delay oranticipate beats in order to coincide with the arrival of beats in the tape part,though in general the quarter equals 120 is accurate.In the fourth movement, In Distinction, different kinds of musical conceptions arecounter-pointed and counter-posed. Here the beat is quite accurate although thenotation of the synthetic saxophone part is only approximate.All the tape parts are based on computer reprocessed violin except for parts ofthe fourth movement in which synthetic saxophone is used. The tape part wassynthesized on the IBM 3033 and 3081 computers at Princeton University andconverted at the Winham Laboratory. The violin source was performed by CyrusStevens.
SKU: HL.4006263
UPC: 888680975821. 9.0x12.0x0.032 inches.
Recorded by American rapper Lil Nas X and joined in the music video by country singer Billy Ray Cyrus, this mega hit stayed #1 on the Hot 100 pop chart for a record-breaking 19 consecutive weeks! Paul Murtha's version for young bands captures the unique sound of this appealing tune in this great-sounding arrangement.
SKU: HL.4006294
UPC: 888680979089. 9.0x12.0x0.019 inches.
Recorded by Lil Nas X, and featuring Billy Ray Cyrus in the entertaining video, here is a fun arrangement of this mega hit for second year players that will sound great with limited rehearsal time.
SKU: AP.50059
ISBN 9781470663711. UPC: 038081580753. English.
Perfect for your spring concert, Miley Cyrus's massive number-one hit on the Billboard Hot 100, Flowers, arranged by Patrick Roszell, comes to your concert band. This arrangement would be great with your middle or high school band. (2:30).
SKU: BT.MUSAM1010647
ISBN 9781783059812. English.
The Really Easy Piano Playalong series provides you with Easy Piano arrangements of hit songs by the most popular artists of today, with online audio that gives you demonstration and playalong tracks for each tune. With this edition of the bestselling series, you can learn 17 Chart Hits then play along to professionally-recorded backing tracks. Featuring many of the top tunes of today, Chart Hits includes simplified arrangements for solo Piano, so these massively famous songs can be played by all abilities. With songs like Best Song Ever by One Direction, Happy by Pharrell Williams, Roar by Katy Perry and Ed Sheeran's Thinking Out Loud , these pop chart-topperswill impress anyone and everyone when played on the Piano. Each tune is arranged for Easy Piano, meaning the chords and tune can be picked up by beginners to the Piano, letting them play famous songs quickly and easily. Using the accompanying download card, you can get instant online access to demonstration and backing tracks of each song, letting you first hear how it's meant to be played, then learn the song using the sheet music, and finally play along to a professionally-recorded backing track, ensuring you sound great and just like the original! Also included in this Really Easy Piano Playalong sheet music songbook is some very helpful and useful fingering tips, as well as lyrics, fascinating background information and invaluable performance hints, all contributing to make this a really great way for beginning pianists to learn all the best tunes of today. With songs by Miley Cyrus, Passenger, Coldplay, Adele, Taylor Swift and Rihanna, Really Easy Piano Playalong presents a great number of today's bestselling, radio-conquering Chart Hits along with some demonstrations and backing tracks that will enable beginning pianists to play 17 brilliant pop songs with ease. The Really Easy Piano Playalong series provides you with Easy Piano arrangements of hit songs by the most popular artists of today, with a unique download card that gives you demonstration and playalong tracks foreach tune. With this edition of the bestselling series, you can learn 17 Chart Hits then play along to professionally-recorded backing tracks.
SKU: CL.115-4251-01
Ten piece saxophone ensemble: 2 soprano, 4 alto, 2 tenor, 1 bari, 1 bass. Also includes an optional part for Eb sopranino.
SKU: CL.016-0306-00
SKU: CL.073-6006-03
CONTENTS: An Autumn Romance Serenade * Tuscarawas March * Hosts of Freedom March * Monte Carlo March * Sir Henry March * Cyrus the Great Persian March * Cle Elum Eagles March * Cruiser Omaha March * Fete Triumphal March * Yellowstone Trail March * Vindication March * In Old Pekin A Chinese Romance * The Octopus and the Mermaid A Deep-Sea Serenade * The Silver Fountain Waltz * Walsenburg Galop * Eclipse Galop *.
SKU: CL.013-0736-00
SKU: CL.074-6042-04
CONTENTS: * An Autumn Romance Serenade * Tuscarawas March * Hosts of Freedom March * Monte Carlo March * Sir Henry March * Cyrus the Great Persian March * Cle Elum Eagles March * Cruiser Omaha March * Fete Triumphal March * Yellowstone Trail March * Vindication March * In Old Pekin A Chinese Romance * The Octopus and the Mermaid A Deep-Sea Serenade * The Silver Fountain Waltz * Walsenburg Galop * Eclipse Galop *.
SKU: CF.BE10
ISBN 9780825891168. UPC: 798408091163. Score. 8.5x11, Pts. 9x12 inches. Key: G major.
As If is Paul Lansky at the genesis of his computer music powers. Here he explores the relationship between pre-recorded and live performers, forcing a re-examination of the concepts of both composition and performance. Lansky worked with an early IBM computer (1981) for As If, a far cry from the powerful computers and complex algorithms he would later create. Duration: 19'37.Commissioned by the Princeton-Columbia Electronic Music Center for SpeculumMusicae in 1981.The first movement, In Preparation, is a study in tuning and intonation and isbased on the open strings in perfectly tuned fifths, with the violin’s D stringtuned 294 hertz. The first moments of the piece provide opportunity to tuneto the tape part. (This tuning probably differs imperceptibly from a temperedtuning since the E string of the violin is only 1/33 of a semitone sharper then ina tempered system and the C strings of the viola and ‘cello 1/33 of a semitoneflatter.) Most subsequent pitches in the movement are either the open stringsor major and minor thirds above and below the open strings. The minor thirdswill be slightly sharp with respect to equal tempered tuning about 15 cents or1/6 of a semitone and the major thirds will be slightly flat about 14 cents, or oneseventh of a semitone. Listen to the tape part as a guide. All harmonics in thismovement are to be played as natural harmonics and open strings are to be usedwhenever possible.In the second movement, At a Distance, the tape part largely doubles selectedpitches in the string parts and should be thought of as a backdrop rather thencounterpart. In this and the remaining movements equal tempered tuning is usedthough it will probably not be necessary to retune the instruments for this reasonalone.The third movement, In Practice, is a study in modes of performance particularlywith respect to rhythmic rigidity and flexibility. While the tape part may seemto bend and sway a great deal, the string parts are to be played with as muchrhythmic precision as possible. At many points it may be necessary to delay oranticipate beats in order to coincide with the arrival of beats in the tape part,though in general the quarter equals 120 is accurate.In the fourth movement, In Distinction, different kinds of musical conceptions arecounter-pointed and counter-posed. Here the beat is quite accurate although thenotation of the synthetic saxophone part is only approximate.All the tape parts are based on computer reprocessed violin except for parts ofthe fourth movement in which synthetic saxophone is used. The tape part wassynthesized on the IBM 3033 and 3081 computers at Princeton University andconverted at the Winham Laboratory. The violin source was performed by CyrusStevens.